RocknRolla is a rollicking good gangster flick.
Lenny (Tom Wilkinson), the arrogant blagueur whose patch of London the film centres on, doesn’t consider himself a gangster and perhaps real gangsters wouldn’t either. But for those of us that are voyeurs of organised crime from the comfortable safety of the cinema, a gangster is absolutely what Lenny is.
Lenny and his right-hand man Archie (played by the ever dependable Mark Strong) control the shady business dealings of organised criminals like Uri (Karel Roden) and the would be bit players like One Two (Gerard Butler). The various threads of the narrative follow Lenny’s management of crooked councillors (Jimi Mistry), his interaction with the infiltration of a new breed of criminal (Uri and his fellow Russians), the alleged death of his step son – the junkie rocker Johnny Quid (Toby Kebbell), a detour into the seedier side of music mismanagement, a missing painting, someone snitching on the small timers, and declarations of love and lust.
Not so much a twist as back-story of questionable value is the inclusion of flashbacks to Johnny Quid’s childhood where we see Lenny is as domineeringly abusive to his unwanted step son as is he to the petty crims that cross his path regardless of whether or not they cross him. However, if this initial foray into using the device is what’s necessary to ensure in a later flashback - to Johnny’s stereotypical public school experience – we see Mark Strong in a clinging cardigan, a delightful powder blue rather than the dreary tones he wears the rest of the film, then it’s a very small price I’m prepared to pay.
The supporting characters are fabulous, each having small scenes in which to shine – especially Handsome Bob (Tom Hardy) slow dancing with One-Two, and Tank’s (Nonso Anozie) appreciation of English costume drama (Remains of the Day and Pride and Prejudice).
Less than fabulous is Thandie Newtown who plays Uri’s accountant, Stella, with such apathy that even dabbling in the interesting art of the double-cross doesn’t add any interest to the character or her performance. It beggars belief that One Two or Uri would have even the remotest interest in her when there are much more appealing options from within their respective crews. The less said about this sad reduction of a female presence in the film, the better.
The set-up is protracted, but like the best rides that deliberately slow initial ascent delivers a damned enjoyable time as you plummet along and around and through the twists that deliver you safely to the end. There are more twists and tangents than a twisty thing that thought about getting a higher education in tangents but settled for a technical qualification in twisting. You’ll either love or loathe the twistiness of RocknRolla, or perhaps you’ll be indifferent and that would ruin the dichotomy I claim exists, but I digress.
Guy Ritchie is back on track post-Madge with a script that is entertaining and surprisingly amusing in its homosocial reading of the rocknrolla culture.
PM: 7.5/10
RocknRolla (2008 d. Guy Ritchie)
Miss M, I whole heartedly agree with you. Criticisms have been levelled that the film is like a steam engine slowly simmering away to gather momentum with more sub plots and twists than contemporary Soap Operas. Those criticims are fair.
BUT FOR the recognition that it is part of a trilogy, and the initial glacial pace is necessary to leave us totally immersed in the world. After a good twenty minutes of mediocre enjoyment, Ritchie had me hooked. I feel that like Nicole Kidman post Tom, Ritchie is now liberated after the schism with her Madgesty.
This film plays around with the gangster genre, especially with the homoerotic overtones, the quirky dialogue juxtoposed with some poignant moments of genuine emotion, humanity. I am especially referencing Handsome Rob, 1-2 and the impeccably strong Strong. Give that man a Nom!
It is curious that there really is only 1 female character worth considering in this film and she is vapid at best, irritable, unsympathetic and distracting at best. I found myself thinking Saffron Burrows or Emily Blunt might have been able to do much more with the “character” or does the blame lie with Ritchie.
The humour assosiated with the “immigrant” Russians is worth the price of admission. While infringing on the abusrd in their relentless resiliance to 1-2, it resonates with the world Ritchie has created.
I am very much interested in part II, especially to see the Step-Son come into his own and hopefully the exposition will be discarded. The steam train had gathered so much momentum by the end I was hooked and I look forward to both Ritchie’s next installment and PM’s review.