The Gentlemen Movie Ending Explained (In Detail)

Spoilers Alert:

After forays into big-budget Hollywood cinema, Guy Ritchie returns to his roots only to say goodbye to them in the same breath. He shows up in advance THE GENTLEMEN but once again at its best. We reveal more about this in our review.

Mickey (Matthew McConaughey) would like to get out of the business. Wife Rosalind (Michelle Dockery) supports this.

The plot summary

Smart, tough and with a brilliant sense of business, exiled American Mickey Pearson (Matthew McConaughey) has built up a million-dollar marijuana empire in London over the years and exports the finest material to all of Europe. But Mickey wants to get out, finally spend more time with his wife Rosalind (Michelle Dockery) and legally enjoy life in London’s highest circles. There needs to be a buyer for the hemp plantations that are spread across the country – and well hidden thanks to the chronically cash-strapped landed gentry. Appearance: Matthew Berger (Jeremy Strong). The eccentric billionaire offers a large sum, but wants to see guarantees. And that just at the moment when all of the city’s big and small criminals got wind of Mickey’s plans – from triad boss Lord George (Tom Wu) to the crazy upstart Dry Eye (Henry Golding) to the sleazy private detective Fletcher ( Hugh Grant). While Mickey’s right-hand man Ray (Charlie Hunnam) keeps the worst of the trouble away from his boss, everyone involved outdoes each other with tricks, bribery, blackmail and other nasty deceptions and triggers an avalanche with serious consequences…

The Gentlemen Movie Meaning of ending

Guy Ritchie began his career with dirty small-time crook films like “Jack Queen King grAs” and “Snatch – Pigs and Diamonds” before the fate of many other filmmakers befell him: major Hollywood studios became aware of him. And before he knew it, he was responsible for two “Sherlock Holmes” films with multi-million budgets , a wickedly expensive (and even more wickedly flopped) King Arthur film adaptation and finally the Disney live-action adaptation of “Aladdin” . Unfortunately, over the years he lost parts of his pithy handwriting. In the case of “Aladdin,” there was nothing at all reminiscent of the Hatfield-born auteur’s dynamic, cheeky direction, so one could only hope that Ritchie would slowly but surely move away from the dream factory again. And now he did that too. With his lively crime comedy “The Gentlemen”, the director and author go back to his roots, only to finally break away from them at the same time. With the help of a meta-humoristic framework about filmmaking itself, Ritchie skilfully flirts with his own image without parodying himself and leaves it unclear at the end whether we will ever be able to see him in his element again. In the event that not, he has at least delivered a fantastic swan song with “The Gentlemen”.

Suddenly the sleazy Fletcher (Hugh Grant) appears in Ray’s kitchen and makes him an immoral offer.

Looking at Guy Ritchie’s own CV, “The Gentlemen” could best be described as a “Snatch ” staged with the stylistic awareness of a “Codename UNCLE “. Expanding a little further, the film suggests what would have become of an eccentric franchise like “Kingsman” if it had not been directed by Ritchie’s colleague Matthew Vaughn, but rather Ritchie himself. Because where Vaughn is concerned with the unwritten rules of spy and spy cinema à la “James Bond” and Co. knows exactly how to subvert the audience’s expectations with taste and insanity in the end, Ritchie takes a similar approach in the case of “The Gentlemen”: the narrative framework of the film is formed by a meeting between the two practical Ray and the cunning private investigator Fletcher, who explains the status quo to Ray in flashbacks and with the help of cinematic means. He establishes protagonists, dramaturgy, acts and twists with announcement, so that the surprising plot in the hands of Guy Ritchie no longer seems so surprising, but rather appears to be calculatedly ingratiating to the audience; and then surprised again. Ritchie confidently reveals his technical skills in “The Gentlemen”. The detective character, embodied in a congenially smarmy manner by Hugh Grant (“Paddington 2”) , becomes a tongue-in-cheek informant, so that the interaction between him and the gradually more annoyed Ray (Charlie Hunnam demonstrates for the first time ever a remarkable talent for comic timing) changes over time developed as a clear film highlight.

In the flashbacks that make up a large part of the film, the large network of characters gradually unravels, at the center of which is the drug lord Mickey Pearson, played by Oscar winner Matthew McConaughey (“Dallas Buyers Club”) . Before he leaves the scene, he wants to get his sheep in the ground quickly and is therefore looking for a suitable successor for his business so that he can retire with (mostly) clean hands. Meanwhile, the dirty work is done by his henchman Ray, who carries out his job conscientiously and elegantly – if you can even call it elegant in this business. But “The Gentlemen” doesn’t have this name for nothing. While in “James Bond”, “Kingsman” and Co. honorable gentlemen spies fight for the security of the world, in this film it is the petty criminals and crooks who get rid of their enemies effectively but, if possible, without much brutality and attention want. Gravity is sometimes blamed for the death of a villain who fell out of a window. And before an enemy gets a bullet shot in the head, the shooter explains to him in detail, in the form of a metaphorical story, why he of all people has to believe it. On the one hand, you can find this pseudo-cool, but it is delivered with such charm and verve by all the actors that you never get the feeling that author Guy Ritchie just wants to include as many potentially cult one-liners as possible in his film. The contemporaries here simply really talk like that. And that’s exactly what makes “The Gentlemen” so fun.

Ritchie also plays with the clash of different clientele in terms of staging. A high-octane dialogue about missed opportunities and the sense and nonsense of illegal activities is followed by a high-speed chase, at the end of which Ray, wrapped in an elegant blue coat, simply pulls out a machine gun and starts shooting wildly. Guy Ritchie always counteracts the desire to go crazy with an essentially down-to-earth story about drug dealing and competitiveness, to which the actors, all of whom are in an excellent mood, adapt perfectly. Where one person acts close to the caricature – simply because the business demands such an appearance from him, such as the completely free-wheeling Colin Farrell (“Widows”) – leave Henry Golding, who is on the side of the opponents (“Last Christmas”) or Eddie Marsan (“Fast & Furious: Hobbs & Shaw”) never doubt that eating cherries with them (although in completely different ways) is not good. Even when “The Gentlemen” gets more and more heated towards the end and the events take on truly outrageous features, the events always remain so grounded in reality that the film can be understood in equal parts as a crime comedy and as an adaptation of the same. And you get an idea of ​​how much method there is behind it when a “Codename UNCLE poster suddenly appears in the middle of the film; Guy Ritchie knows exactly which buttons he has to press and when, so that in the end a film is created as private detective Fletcher – perhaps a bit of Ritchie’s alter ego – imagines it.

Conclusion: Street mutts in tailored suits – “The Gentlemen” is Guy Ritchie’s answer to “Kingsman”, a balancing act between “Snatch” and “Codename UNCLE”, perhaps a farewell to the genre, but definitely a highly entertaining crime comedy that reflects its style , its humor, its actors and lots of contradictions.

“The Gentlemen” can be seen in USA cinemas from February 27th.

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