Guy Ritchie returns to the guns ‘n’ geezers mine with The Gentlemen, a caper with a beautifully dressed and enjoyably playful cast. We discuss his stylish direction, ability to work with actors, the audiences that adore his work, how the film functions as fantasy, and its issues with being casually offensive.
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King Arthur: Legend of the Sword is typical Guy Ritchie, all the Cockney crim faux-mateyness — even in Camelot! — with that amped up camera movement that doesn’t quite let the audience see, and the narrative cheats — the seeing and the re-seeing –through characters’ re-telling the story. The narrative this time encased in a by-the-book Oedipal structure. And yet I found it great fun.
I like all the macho schtik and the fast pace and the cheekyness. Plus it’s a good looking cast, which always helps. Charlie Hunnam’s never been more appealing on a big screen and it’s got Eric Bana, Jude Law and a host of excellent Brit actors relishing their parts. The film looked darker than I would have liked. But some of the fantasy/magical images were very striking (if edging on sexist — the octopus/snake witches!).
I also loved the film’s picturing of Londinium, which looks a grand riverside ruin with one of those busy bridges with shops and brothels and so on; full of Roman architecture, including remains of a Coliseum, Roman palaces etc.. The film must have been greatly influenced by the Scott Lynch’s ‘Gentlemen Thieves’ books like The Republic of Thieves or perhaps Game of Thrones because it’s all about King Arthur growing to be a man by leading a hard-knock life as a petty thief raised by a gaggle of prostitutes in a brothel instead of growing up true blue on a farm as traditional renderings have it.
It’s not good but it is fun if you don’t ask too much of it. And it was all worth it to witness the Queer as Folk re-union between Hunnam and Aiden Gillen: hey honeytits! I found it perfect rainy day Saturday afternoon viewing.
The Man From U.N.C.L.E. is unexceptional but rather fun, in a slightly leaden way. Guy Ritchie directs the action well, attempts a cheeky ironic tone for the film he doesn’t always succeed in achieving, and is not very good with those actors who need his help: Armie Hammer is completely inexpressive physically though does a great accent and can find comic timing vocally that somehow eludes other aspects of his performance; Henry Cavill does better and is better looking doing it but he’s done so much weightlifting his body strains at his suits, evoking a kind of physical boxiness that works against that nonchalant physical elegance the character is meant to exude; a rare instance in which a great body works against the role (though his performance is also sabotaged by the cinematography); Alicia Vikander is pretty but can’t find a rhythm for her performance and seems wasted; Elizabeth Debicki fares better as the villainess and her long leggy frame, elegant way of wearing clothes, and understated ironic way with a line makes her very enjoyable to watch. But it is Hugh Grant — only in the film for what seems like two minutes — who steals the show. A trifle, not light or sparkly enough but with some clever action and a great score of 60s tunes. The audience did like it even though either the print or the projection didn’t provide the luminosity the colour palette seemed to require. It is better and more enjoyable than an episode of the old TV show.
Addendum: I have now seen this twice more on Netflix and found it great fun. My appreciation of Armie Hammer and Alicia Vikander increased; my love of the soundtrack sky-rocketed. It is a trifle, very broad and fast-moving with the set-pieces working much better than my first impression. I now recommend it.