Gambit – Film Review
Director: Michael Hoffman
Starring: Colin Firth, Cameron Diaz, Alan Rickman and Stanley Tucci
Distributor: Momentum Pictures
A remake of the 1966 film of the same name, Gambit‘s script is penned by the reputable Coen Brothers, which should make audiences sit up and take notice. What could very easily have been a small film that faded into obscurity moments after it’s release is in fact…still a small film. But an incredibly funny small film nonetheless!
We are introduced to Harry (Firth), an art curator working for Lord Lionel Shabandar (Rickman), an art enthusiast and egotistical cad. Tired of being constantly mistreated by his boss, Harry hatches a plan in which he intends to sell a forgery of a Monet masterpiece, thus making him fabulously wealthy while getting one over on his odious employer. The only problem with the plan is that it requires a pawn to do the actual selling: rodeo queen PJ Puznowski (Diaz), who threatens the stability of a well crafted scheme.
The formula of the film is standard, but the execution is terrific. An opening animation sets the tone, with Pink Panther style espionage theme. The typical fish-out-of-water scenario echoes the very foundations of the type of comedy this film utilizes so well: Take the polite, tea drinking society of Britain, introduce the brash, in-your-face element that is modern America and then just watch the sparks fly. Gambit itself is an old-school comedy, reminiscent of the likes of Charlie Chaplin or the Marx brothers. It’s a film you can take your mother to see, and you’ll both come out laughing and comparing your favourite moments.
What makes Gambit a cut above most comedies is a particularly well crafted opening act and a certain aspect of Firth’s character. We are guided gently in one direction, allowing the audience to think they know what way the film and it’s characters are going in. Then, quite suddenly, this perspective is completely flipped on it’s head and onto it’s arse. It is a tactful move, one that subtly emphasizes the hilarity of the ensuing events. It also lends the film a sense of ambiguity that doesn’t demand interrogation, a feat that very few films can say to have achieved.
The cast themselves prove themselves very capable when dealing with comic material. Firth is the highlight, getting into any number of scrapes that involve a lot of bumbling improvisation. He finds himself stuck in a hotel without any trousers at one point, much to the amusement and occasional horror of the guests. A crudely overused gag in most films, in his capable hands, it is almost painfully funny. His reserved nature make the utter absurdity of these kinds of scenes that much more effective. There’s just something about a man acting nonchalant while wearing boxers and shin high socks that gets right to the funny bone…
Diaz, meanwhile, is more of the catalyst for humour, rather than the actual source. She sports an outlandish Texan accent and has fantastic screen presence. Her character is something of a mystery however, her role in the film constantly changing so that she never quite fits into the slot you think she will. At first this may seem like bad character development. But remember that ambiguity we mentioned?
Finally, Rickman balances an obnoxious attitude with sarcastic charm that makes him a villain of sorts that we are happy to see fall. He too opens comical doors for Firth to walk through (or into), but he has his own moments to shine as well. A dinner with some Japanese businessmen (why are they always Japanese businessmen?) will get plenty of sniggers. He is also complimented (and I use that word pointedly) by Stanley Tucci, an art curator that Shabandar is considering replacing Harry with. While character screen-time is particularly well balanced, it is such a shame that we can’t see more of Tucci’s camp German enthusiasm. He is only on-screen for about ten minutes, and while he wins us over almost immediately, he feels unfairly underused.
It’s a fast paced film that doesn’t stop for breath and knows how to appeal to it’s audience. The humor is universal and should appeal to anyone of decent sensibilities. It doesn’t boast about what it is because, when you get right down to it, it is a small film. But it sports good performances, is well written and will definitely make you think twice about climbing out of a hotel window.
Score: 4/5
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