Print this post Print this post

The Gentlemen

866 words

Guy Ritchie’s The Gentlemen is his best movie since his first two feature films, Lock, Stock, and Two Smoking Barrels (1998) and Snatch (2000), largely because it is a gentrified return to their crime caper format.

Ritchie at his best is a kind of British Quentin Tarantino, with his underworld settings, non-linear storytelling, colorful and witty dialogue, and gleeful political incorrectness (because criminals don’t think and talk like SJWs would like them to) — but without Tarantino’s sprawling, self-indulgent running times.

Ritchie at his worst? Well, imagine what Tarantino would turn out if he were in indentured servitude to Disney.

The Gentlemen has a great deal of star power. Matthew McConaughey plays the protagonist, Mickey Pearson, an American who ends up at Oxford on a Rhodes Scholarship but drops out to become a drug kingpin. Some twenty years later, he has leveraged his Oxford connections into a pot-growing empire, tucked away on the country estates of aristos who are hard up for cash to maintain their stately homes.

You can buy Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies here

Mickey, however, wants to retire and offers to sell his operation for $400 million to a bland, prissy American Jewish crime lord Matthew Berger, played by Jeremy Strong. But, as he finds out, the underworld is a jungle, and it is dangerous for the king of the jungle to retire, for it signals weakness, and the jackals come running.

Mickey, however, is fortunate in his friends. Charlie Hunnam (Sons of Anarchy, The Lost City of Z) plays Raymond, Mickey’s loyal right-hand man. Michelle Dockery (Downton Abbey) play’s Mickey’s steely wife Rosalind. Colin Farrell is hilarious as an MMA coach with some obvious small-time gangster connections.

He also lucks out with his enemies. Hugh Grant is brilliant as Fletcher, a sleazy private eye and would-be blackmailer who narrates the whole tale. Then there are Berger and the Chinese narcotics mafia, led by Lord George (Tom Wu).

I won’t say much about the plot, because I actually want you to see The Gentlemen, but I do need to reveal some elements to comment on the controversy it has generated.

Like Lock, Stock, and Two Smoking Barrels and Snatch, The Gentlemen has been accused of being “racist” and “anti-Semitic,” both for its language and also for the plot conflicts. For instance, throughout The Gentlemen Jews are characterized as Jews, and this being a crime drama, none of them are good Jews. The Colin Farrell character also explains to a black fighter that he should not take offense at being called a “black bastard” because it happens to be true. The gangster Dry Eye is described as a “Chinese James Bond,” complete with “Ricense to kill.” One of Dry Eye’s henchmen is named “Phuc,” suffers from asthma, and dies hilariously. I saw this film in a packed theater, and the audience laughed heartily in all the “wrong” places.

You can buy Son of Trevor Lynch’s White Nationalist Guide to the Movies here

Beyond that, the main conflicts in the movie break down along racial and ethnic lines — whites vs. Chinese and whites vs. Jews (Berger and his Mossad bodyguards, which he calls “crabs”) — and, boy, do the whites ever win. The whites, moreover, are in the pot business, and pot doesn’t kill anyone, while the reptilian Chinese sell heroin and coke, which are “destroyers of worlds” — something made graphically clear as the film unwinds.

When the Jew, Berger, double-crosses Mickey Pearson — and don’t whine about a spoiler here, because as soon as you see Berger’s face, you know he will be a double-crosser — Mickey tells him that he can go free only after he makes financial restitution then cuts a pound of flesh from his own body. And, unlike Shylock, Mickey Pearson is not going to let himself be stopped by a technicality.

Moreover, there are a number of black bit players, most of them rapping, tumbling buffoons. All of them more or less take orders from whites.

But Ritchie has some plausible deniability on the racism charges. First of all, all the people who say bad things are criminals, so Ritchie can say that he’s just being realistic when he has bad people say bad things. Second, there are also some minor white antagonists, in the form of a Russian oligarch (who is also ex-KGB) and his hired guns.

You can buy Trevor Lynch’s White Nationalist Guide to the Movies here

Beyond that, Guy Ritchie can probably say that some of his best friends are Jews, given that he and ex-wife Madonna were deep into Kabbalah. Furthermore, Ritchie allegedly speaks some Hebrew, and he actually named his three children with Jacqui Ainsley (who does not appear to be Jewish) Rafael, Rivka, and Levi. (Ritchie also adopted an African child, David, while married to Madonna, as well as fathering her son Rocco.) Given these kinds of dues, I think Guy Ritchie is entitled to talk about Jews like they talk about themselves.

I highly recommend The Gentlemen if you are looking for a grown-up, politically incorrect comedy about colorful rogues. There’s a bit of violence but nothing too distasteful. The script is witty, the plot has some surprising twists and turns, the performances are excellent, and the pacing never fails. Although there really aren’t any good guys in this story, at least the white guys win in the end.


This article was originally published by The Unz Review on February 20, 2020.

This entry was posted in North American New Right and tagged , , , , . Post a comment or leave a trackback: Trackback URL.


  1. Bartleby
    Posted February 24, 2020 at 2:49 pm | Permalink

    I loved it, too.

  2. Orcish
    Posted February 24, 2020 at 3:43 pm | Permalink

    Nice review!

Post a Comment

Your email is never published nor shared.
Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.
Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


This site uses Akismet to reduce spam. Learn how your comment data is processed.

  • Our Titles

    White Identity Politics

    The World in Flames

    The White Nationalist Manifesto

    From Plato to Postmodernism

    The Gizmo

    Return of the Son of Trevor Lynch's CENSORED Guide to the Movies

    Toward a New Nationalism

    The Smut Book

    The Alternative Right

    My Nationalist Pony

    Dark Right: Batman Viewed From the Right

    The Philatelist

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    Venus and Her Thugs


    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics


    The Importance of James Bond

    In Defense of Prejudice

    Confessions of a Reluctant Hater (2nd ed.)

    The Hypocrisies of Heaven

    Waking Up from the American Dream

    Green Nazis in Space!

    Truth, Justice, and a Nice White Country

    Heidegger in Chicago

    The End of an Era

    Sexual Utopia in Power

    What is a Rune? & Other Essays

    Son of Trevor Lynch's White Nationalist Guide to the Movies

    The Lightning & the Sun

    The Eldritch Evola

    Western Civilization Bites Back

    New Right vs. Old Right

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles


    The Node

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Gold in the Furnace