The Gentlemen

Ritchie’s gangster flicks can be looked at as a genre screen on which the direct projects himself, or rather the current point in his life, career and position in the film industry. At the very beginning of his first film, Lock, Stock and Two Smoking Barrels, we have a group of self-confidently cheeky youths who have not only talent and ambition, but mainly more luck than sense, when they heedlessly set out into the world of omnipotent old structures. Coincidence plays a much smaller role in Ritchie’s second film, but the director, together with the protagonists, gets into a much bigger game with foreign players in a different weight category, from which he cannot allow himself to escape only with a skinned knee. The already forgotten existentially pessimistic Revolver shows the former wunderkind in his element, which he had been away from for a while, consorting with overly powerful people and now doubting himself, so he tries to kick off a big game that will get him back to the top while simultaneously reassessing his own life. RocknRolla expressed a feeling of newly replenished assuredness and, at the same time, bidding farewell to his island roots while also peculiarly focusing on the position of England/Ritchie between Europe and America. Therefore, The Gentlemen isn’t so much a comeback as an attempt to show others and himself that “the king’s still got it”. He has come a long way and from an untested, clever lout, he has developed into a man of elegance over the years and the owner of a stylish pub and his own hipster brewery, which he does not hesitate to advertise. Though he still sympathises with streetwise hooligans with their online projects, he is far removed from them in his pursuits. He mulls over retirement now that he’s in the company of the cream of society and he’s raking it in with lucrative projects, but this seemingly final money spinner put new vitality into his veins in the end. Predation, courage and cheekiness have been replaced by sophistication (albeit in the snobbish superficial sense rather than true sophistication or ingenuity) and pretentious refinement. Gangster movies have always been founded on the motif of the changing of the guard between generations, or rather the conflict between the young and old schools, so in line with Ritchie's age and self-image, this story from the underworld takes an atypical direction that would not have occurred to him in the early days of his career. The question is how this glorified flaccid middle age will be perceived by today’s young people, who are licking their chops at their own opportunities in the genre world of gangsters – in recent years, francophone productions such as the excellent Les Misérables and the hyper-stylish Gangsta have reigned supreme. However, this in no way diminishes the fun and agility of The Gentlemen, which would have ranked among the most satisfying titles in broad distribution in another, stronger year (at least from the perspective of a boomer viewer). (30/12/2020) (less) (more)