This is Ritchie. Today turns 53. We know him since Lock y Stock, what a debut. He has dyslexia but we know that he writes street, frantic and funny dialogue like nobody else. He is a film director, that of Snatch. Pigs and diamonds (2000), another movie. Who would have thought in the year 2000 that twenty years later he would sit at a table to sell Aladdin’s diamond? He was a happy director until he got into live remakes of Disney classics. What did Guy Ritchie know about Aladdin?
But today is his birthday and the thing is to celebrate it with his best movie. Also, since he made The Gentlemen: The Mafia Lords, Guy Ritchie has returned to choral stories, crime comedy and characters badass of his first movies, so we are happy. We talk about Snatch. Pigs and diamonds. It’s a diamond in the rough that you have on HBO.
Surely you haven’t reviewed it for a long time.
Brad Pitt el “Pikey”
This is Brad Pitt. I’m not going to present it to you, why? Brad Pitt’s even the commercials are cool. He’s been cool since 1991 and by 2000 he was already a star. It had been released – and in what way – with Thelma y Louise, had broken hearts in Interview with the vampire, had left us nailed in the armchair trying to glimpse what was in the box of Seven and with 12 monkeys and Fight club He had shown that he knew how to fight and be as histrionic as his character needed without crossing the line of over-acting. It was Brad Pitt.
Guy Ritchie came from making a cult movie, Lock & Stock, And with the support of a studio like Columbia, he was taking an important leap in his next production. Pitt was his main claim and gave him a tall character. It’s Mickey O’Neil, a tricky and deceitful “pikey” with two fists and iron abs, who will do whatever it takes to get his mom a new caravan. It will be the key to the entanglement of Snatch. Pigs and diamonds.
“Pikey” is how Irish nomads are called in slang. They are a gypsy community of Irish origin that over time has developed its own culture and language. Working on that accent and making it funny and natural in the movie was a challenge for Brad Pitt. The result is a spectacle as we have only seen again in Damn bastards. And for whom this writes: here is much more fun.
The other challenge was the abs, although the Brad Pitt of Troy he has never had a problem getting them. Came well prepared. Pitt prepared the physique of Snatch and that of Fight club at the same time, with the same training. For Snatch It was not enough for him to look good, he had to appear to be a fighter with problems to contain himself if he did not want to knock out the opponent in the first round. Skipping, kicking and punching for five weeks gave him 3 to 5 kilos of new muscle mass for the movie and the look he needed. Just for that you have to see it.
Jason Statham and Guy Ritchie’s band
Jason Statham is to Guy Ritchie’s cinema what Robert De Niro or Leonardo Di Caprio is to Martin Scorsese’s. It was the director who gave him his first chance with Lock & Stock. At two years, Snatch. Pigs and diamonds finished launching the career of what would be the face of Transporter and one of the best contemporary action actors.
In the movie Statham plays “the Turk”, another cheater. A small-time gangster who will be involved, like everyone else in this movie, in an insane plot around a diamond and a rigged boxing match. Your problems will come when you try to buy a trailer from Brad Pitt. Who can bet with someone who does not owe?
In the rest of the cast there are other recurring faces from Guy Ritchie’s cinema. Like the ex-footballer Vinnie Jones, who from here would begin another fruitful career (at least in the number of titles). Also, unlike in the previous movie, behind Snatch. Pigs and diamonds there was a production company the size of Columbia, guaranteeing a major injection of capital and a distribution worthy of any Hollywood movie. So Guy Ritchie was also able to incorporate Benicio del Toro and Dennis Farina.
In case you haven’t noticed, this is a Ocean’s Eleven street before it existed Ocean’s Eleven. But what is this all about?
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A stylish diamond thief (Benicio del Toro) lands in London after the biggest heist of his life. The big thing is literal: a diamond like a fist. He has to meet with his boss Avi (Dennis Farina), but he has a gambling problem. Boris “the Razor” tempts him to bet on an illegal boxing match to try to steal his diamond. He’s already hired a sloppy trio for the job. Since you see these three disastrous thieves try to park the car you know that things cannot go well, and Avi will end up hiring Tony “Bullet Teeth” (Vinnie Jones) to recover what was stolen.
Things get more tangled, because that boxing match involves Brad Pitt’s “pikey” and the character of Jason Statham and his partner. Both have had to ask the gypsy to fight for them in rigged combat, or the most motherfucking gangster of all gangsters will feed the pigs. Of course, this one also has his nickname: “Brick” (Alan Ford).
And more than the matter gets muddled, a lot, in little more than an hour and a half. It is a whimsical and funny tale of betrayals and deception crossed, fraud and street scoundrels facing off against powerful gangsters. A violent entanglement, mixed with dogs, pigs, diamonds and weapons of all calibers. As if Guy Ritchie were directing a Quentin Tarantino story in the British style and streets of Trainspotting.
And there are still more.
A playlist handmade
Guy Ritchie wanted a rock soundtrack, in keeping with the punk spirit of his film, but he wanted it to fit like a white glove thief. Therefore, he contacted several musicians and gave each band and each artist the appropriate specifications. For the most part, bands from the English music scene of the moment. Ritchie knew how to integrate themes with action and dialogue into a brutal soundtrack. On Snatch. Pigs and diamonds eWe find songs from Oasis, Massive Attack, Mirwais and, of course, Madonna, who at that time was his recent wife.
This is Guy Ritchie, this is Snatch. Pigs and diamonds and you have it on HBO. This weekend that Ritchie turns 53, we cannot think of a better tribute than to remember the film that consecrated the director.
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