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Archive for the ‘Guy Ritchie DIRECTOR’ Category

Snatch

21 Jan

Snatch — Directed by Guy Ritchie. Action Adventure, Thriller. A diamond heist and a fixed boxing match mix it up in an Irish stew. 103 minutes Color 2000.

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Brad Pitt plays a bad brit in this low-life gangster caper-comedy. Brad Pitt is an actor who can do no wrong except to wear a shirt and tie, a suit and vest, into the trap of which here he does not fall. Heaven spares us that, for in playing the members of the lower orders no one can touch him; in such parts he is an actor of genius. He has the capacity to play the fool, as did Gable, indeed to play a virtual idiot, but here he is playing an ace-up-his-sleeve English gypsy in an accent rendered as back-county double-talk. You know those English or Irish or Scottish films where you can’t understand a word said for the thickness of the accent? Well, Pitt takes this and runs with it, so that not a single word is comprehensible. It’s very funny. The two other Americans in the cast stand out as well as even funnier than the English actors themselves, all of whom are very good. Dennis Farina as a New York fence is astounding and Benicio De Toro as the beautiful heist-meister given to fine cigars, exquisite shirts, and craps is delicious. But this is a director-editor-writers’ film as much as anything, and boy do they have their comic chops down. As an example of visual narration it is up there with Lubitsch. Watch it and learn. Or learn, if you can, while laughing so hard.

 

 

 

Lock, Stock and Two Smoking Barrels

20 Jan

Lock, Stock and Two Smoking Barrels — Directed by Guy Ritchie. Action Adventure Comedy. 108 minutes Color 1998.

* * * * *

Bob Hope isn’t in it, but this is a Bop Hope film with his character divvied up into twenty parts. Bob Hope Meets Scarface it would be called if he were in it. Instead it’s a mixed salad full of various greens and surprising veggies and terrific vinaigrette holding the whole collation together. The quality of the humor lies in the plot and the plot lies in the hands of the camera work. It is a story that cannot be told without a camera because the camera is the secret screwball agent of the plot. It is a hugely mixed up mélange of betrayals and deceptions and deals and masterful meanness and young dumb luck. It never drops its comic spectacles from its nose. Even with the corpses decorating every divan, you will see that they do so with a vaudeville gesture of stage exit. Even the Cockney accents are fun, the more so when you can’t tell what they are saying — fun because the posture they assume to say it is so absurdly readable. When perversion takes its final twist it straightens up and flies right. Watch and see if aint so, corblimey.

 
 
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