Journalist Fletcher (Hugh Grant) comes to the house of an intelligent-looking man named Raymond (Charlie Hunnam) with a curious suggestion: he should listen to a script written by Fletcher exposing the boss Raymond - the owner of a large drug business Mickey Pearson (Matthew McConaughey), then agree Fletcher (under which he will not carry the script to major publications or film studios) and pay the journalist 20 million pounds.
So, Fletcher begins an eloquent (thanks to discussions about the aspect ratio, references to Coppola and jokes on previous paintings by Guy Ritchie) about how a cunning US expat, Mickey Pearson, who graduated from Oxford, settled in England and founded a huge hemp growing and marketing business .
Having established illegal entrepreneurial activity, the Yankees managed to break into the estate of aristocrats. Pearson rented a land from the Lords for a fixed amount, on which he organized secret drug farms. The startup was growing by leaps and bounds: thanks to tenant deductions, aristocrats could maintain a presentable appearance of their medieval estates, and more and more titled, but not very wealthy families were offering their land to Pierson for rent.
We learn from Fletcher that Mickey decides to retire and sell his drug crops to a colleague from America. But the detractors from the Chinese criminal syndicate or the rapper athletes filming a clip right on Pearson's farm intervene in the deal. And the editor of Fletcher was also offended by the owner of the drug empire.
"Gentlemen" is a multi-figure movie, which corresponds to a multi-line plot, where all lines are mathematically verified. It would be just right to make a mini-series out of Gentlemen (Guy Ritchie, by the way, was thinking about that).
In the new film, Ritchie continues to explore the criminal world, but this time juxtaposing the British and American class systems and simultaneously observing the carefully calibrated image of a modern gentleman. I must say that not only Pearson is trying to match him, but also Raymond, and even the cynical Fletcher (and their game of cat and mouse in a business-like format will definitely not get bored).
Naturally, the name of the film indicates not only a lifestyle, but also a gender imbalance, although one well-written female character is better than nothing. Michelle Dockery looks quite convincing in the role of spouse and partner of Mickey Pearson, in addition to her husband's drug empire, owning her own car wash (or garage?).
As for the character of McConaughey, he is still very romanticized. This is especially obvious at the moment when one Englishman with undisguised tenderness tells another about his ascent on the social ladder.
Pearson is an entrepreneurial American who looks at British culture with a straightforward look. From which it receives a lot of advantages.
The hero almost easily creates a name for himself and gains a team in which the experienced assistant Ray (aka Raymond) plays an important role. And yet, a noble criminal and his laboratories with marijuana is an unrealistic phenomenon in the criminal world. Moreover, this underworld itself is too theatrical.
- Frame from the film "Gentlemen"
- © imdb.com
However, "Gentlemen" is a movie that was really waiting. It looks like an ideological continuation of the cards “Cards, money, two trunks” and “Big jackpot” and is cut out of the same matter: we have a mix of established concepts about the poor from the East End, endless still frames and off-screen comments, colorful characters and plot twists and turns (which, it seems, is not necessary to understand).
"Gentlemen" seems to be Richie's nostalgia for the good old days, when sexist jokes and humor about skin color were perceived by the audience much more simply. Twenty years later, this manner of communication becomes obsolete. Moreover: the digital age assumes that issues are settled in a business format - without unnecessary noise and body movements (and, therefore, shootings). Not only worn out forged for greater coolness under the proletarian cockney accent is wet.
An important point: in dubbing, all conversational touches to the portraits of heroes are lost, so it makes sense to find a session with subtitles.