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Guy Ritchie’s “RocknRolla” is an expertly crafted crime caper, leading its characters through a labyrinthine space, enticing the audience with clever writing, a strong cast, and brilliantly structured scenes of extraordinary style and precision. It earns the rare distinction of being successfully violent and humorous at the same time, and yet it isn’t cheap or juvenile; it achieves a higher level of boorishness, one that doesn’t leave us feeling ashamed so worthy as it forces us to search for in helpless fascination. It tells a narrative that inventively entangles the characters–and us–in a mountainous web of corruption, deceit, and greed, and that’s only within the first fifteen minutes. With such creative, fast-paced storytelling at work, I was tickled to fair sit help, relax, and let the fable happen to me. Some may criticize “RocknRolla” for being hard to follow, and indeed, an abominable lot happens in a relatively short period of time. But if you spy and listen closely, you’ll soon realize that it’s guiding you along.
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What exactly is a RocknRolla? According to the film’s narrator, a gangster named Archie (Note Strong), to be a RocknRolla is, “not about drugs, drums, and hospital drips. We all like a bit of the reliable life–some the money, some the drugs, others the sex game, the glamour, or the fame.” But a RocknRolla is different. Why? “Because a accurate RocknRolla wants the lot.” It could be said, then, that Lenny Cole (Tom Wilkinson), Archie’s boss and the notoriously remarkable head of London’s criminal underworld, is a RocknRolla. He has complete control over the city’s booming valid estate market. One day, a pair of gangsters–One Two (Gerard Butler) and Mumbles (Idris Elba) –ask Lenny to finance a allotment of property they want to perform. Lenny agrees to loan them a sizeable sum. What they don’t know is that he doesn’t intend on giving them the permits they’re going to need; by going encourage on the deal, he can claim the property for himself and sell it for millions more. Unfortunately, this means that One Two and Mumbles will be millions of pounds in debt.
Here enters Stella (Thandie Newton), a cigarette-smoking, double-crossing temptress who, out of convenience, married a delighted lawyer. She’s a super-crafty accountant for a Russian mobster named Uri (Karel Roden), who, as it turns out, is making his gain right estate deals with Lenny. When Uri asks Stella to procure 7,000,000 euros for a business transaction, she decides to play her maintain diminutive game: She’ll hire someone to intercept the unprotected money, then she’ll pay the interceptor 2,000,000 euros and preserve the remaining 5,000,000 for herself. Lo and search for, along comes One Two, desperately in need of cash to pay off his debt.
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And this is when things really accumulate fascinating. Around the same time Stella and One Two near to an thought, Uri decides to lend his most prized possession, a painting, to Lenny. Uri says that the painting has always brought him splendid luck, and as a gesture of goodwill, he wants to temporarily fragment that luck with Lenny. What’s though-provoking about this subplot is that we never actually eye the painting, so we can only bewitch what its trusty value is. Be that as it may, the painting is very considerable to Uri, which poses a loyal predicament for Lenny when it ends up getting stolen. Not wanting to appear foolish, and hoping to hold occupy of his deal with Uri, Lenny urgently orders his men to retain scrutinize over the criminal underworld of London. This includes One Two’s gang, the Wild Bunch. It also includes Lenny’s stepson, Johnny Quid (Toby Kebbel), a rebellious, self-destructive junkie rock star who, for reasons known only to him, repeatedly fakes his have death.
As Lenny’s desperation grows, he threatens to shut down a nightclub owned by Roman (Chris “Ludacris” Bridges) and Mickey (Jeremy Piven), two Americans who frequently showcased Johnny’s band. Roman and Mickey then see out a man named Cookie (Matt King), a junkie himself before Johnny helped him overcome his addiction (or so he claims) . Because of this, Cookie refuses to stammer them where Johnny is hiding.
As the film’s writer, Ritchie not only proves that he can give his characters witty, irreverent dialogue, he also proves that he can form them in ways appropriate to the myth. One example is Pretty Bob (Tom Hardy), who comes out of the closet as he sits in the car with his best friend, One Two. In a lesser film, Magnificent Bob would be a run-of-the-mill blissful stereotype, serving no right purpose other than being everyone’s punch line. Here, he’s a functional, contributing character, and he makes it determined that he doesn’t want to do anything comical with One Two–he honest wants to dance with him. Another example is a pair of sadomasochistic Russian bodyguards, who compare scars with the same casual manner of boys comparing baseball cards. They’re virtually indestructible, as One Two discovers when he tries to prefer them of their money (another one of Stella’s jobs) . What could have been unnecessary distractions are instead sharp side characters.
As the film’s director, Ritchie takes the time to mediate every detail, from camera angles to lighting to race, all of which add to the quirkiness of the characters. Johnny, for example, is usually filmed in tiring, motion while engulfed in the murkiness of his drug den. There’s also a fabulous shot in a museum, in which Stella begins walking away from One Two; she starts at a normal accelerate, but in a moment of adrenaline, the film speeds up, and she zooms out of the shot. How perfect for a character that snappy switches allegiances whenever money is at stake. “RocknRolla” is an absolutely masterful film, wonderfully acted, carefully plotted, and cleverly structured.
Guy Richie has turned out the gem of his career with RockNrolla. Perfect cast (Wilkenson should pick up an award for this one) wonderful sound track, and a wild and imperfect location. Unlike some of his others, this one makes it a bit easier to understand the dialects. It was the delight of my movie going month in October when it came out here in the U.S.
From reading some of the reviews that pan this movie, it is definite that they are not familiar with Guy Richie’s films, his style and his offbeat humor. It is sort of like licorice; Some people esteem it some people abhor it. But for those of us who have the suitable mindset for Richie’s style of film, this it the best one to approach along in a long time.
Gerard Butler’s turn in this is hysterically humorous and is such a broad switch from his role in 300. No type casting trap for Gerry. This guy can play the heck out of any role imaginable. But if the Wild Bunch shows up again in the next Richie film, I hope Gerry is included.
DottyinCA
Riverside, CA
