Guy Ritchie’s latest film is an espionage thriller based on real events that occurred during WWII. It leans into its simple premise and impressive cast to deliver an enjoyable modern interpretation of classic 60’s and 70’s-era rogue action flicks.
Guy Ritchie has had a long and winding career as a filmmaker for someone who became well known for making a very specific type of film. In later years he has tried to branch out with his approach, making more commercial films to broaden his professional palette and certainly to help out his wallet. Of course when a filmmaker takes the reins of a more commercial property we do expect them to have less creative input than the financial backers of the project; i.e. the studio. So it is no surprise that Guy Ritchie’s cinematic charms were notably diluted when he worked on projects that went away from what he is best known for. His latest film The Ministry of Ungentlemanly Warfare (to be referred to as TMOUW from here on out) feels like a compromise.
Ritchie’s best films tend to be packed tightly with plot twists, complicated storylines, and premises that aren’t easily described. That is what makes movies like Snatch so engaging, they kind of unfold like a puzzle box. TMOUW is not that type of film at all. This is a film that wears its purpose and intentions proudly on its sleeves. This is a WWII espionage/action film about killing Nazis. There’s nothing wrong with this type of film, it’s just a bit more transparent in the places where Ritchie has been more successful at being opaque.
The Ministry of Ungentlemanly Warfare
Directed By: Guy Ritchie
Written By: Paul Tamasy, Eric Johnson, Arash Amel, Guy Ritchie
Starring: Henry Cavill, Elza Gonzalez, Alan Ritchson, Babs OlusanmokunRelease Date: April 19, 2024
The film’s plot pretty much follows the trailer, and certainly its title. With Nazi bombing raids striking London, and a U-boat blockade prohibiting the support of foreign allies (namely the US), Winston Churchill is desperate. He launches a covert off-the-books operation to disrupt the Nazi’s by attempting to destroy their U-boat supply depot located off the coast of western Africa. Gus March-Phillips (Henry Cavill), is an incarcerated special forces soldier who is tasked with assembling a team of equally desperate fighters to achieve this mission in exchange for his freedom. In support of the team are two operatives, Marjorie Stewart (Eiza Gonzalez) and Mr. Heron (Babs Olusanmokan), who are already undercover in Africa laying the groundwork for the mission.
Of course things don’t go exactly as planned and heroics are required. Heroics result in more hectic action sequences, heightened stakes, and impressive improvisation on-the-fly. You should know that those are action-movie staples by now, and Ritchie delivers them on a wire. Part of the problem with telling a true story, even one that was confidential until recently, is that the basic direction of the ending is already known – or at least presumed. This does not allow for many opportunities to surprise the audience in terms of plot, but the film is game to switch up its approach to action to keep you on the edge of your seat.
Each of the protagonists brings a unique skill set to the group, and the film does a great job of giving each of them a moment to shine in the spotlight. Gus March-Phillips (Cavill) is the team lead, and puts his charisma and quick thinking to use. Anders Lassen (Alan Ritchson) is the arrow-slinging muscle, and helps the team succeed through brute force. Henry Hayes (Hero Fiennes Tiffin) is the sailing expert, Freddy Alvarez (Henry Golding) the explosives expert, and Geoffery Appleyard (Alex Pettyfer) is the schemer. Undercover at the mission site, Stewart is in charge of seducing the Nazi base commander as a distraction while Mr. Heron makes leverage with his local contacts and familiarity of the area.
Unfortunately we don’t really get to know any of the main characters beyond how the film applies their particular skill. The film tells us what a particular character is good at, and then later on it depicts them doing exactly that. Background facts are sparse, and honestly for the intention of the film, they don’t really matter. History buffs may be disappointed in the film’s aversion to treating its characters more like playthings than real people who actually existed, but that is just a side effect of the filmmaker’s action-forward approach.
Really TMOUW is a throwback to WWII action movies of the 1970’s, but built for modern attention spans. There are expertly choreographed fight sequences not afraid of showing a little too much blood, and elaborate set pieces with sweeping cameras and compelling cinematography that borders on artistic. With commendable production design and impressive costumes, it looks the part too. In other words, it’s the exact type of film you think it is, and yes it earns its “R” rating.
The film shifts focus between the operation itself and those in command at British intelligence who put it into motion in the first place. At the top of the chain of command is Winston Churchill himself, who is leading the operation in secret. He can’t let anyone else in government know about it otherwise they would have an excuse to relieve him of his office for the illegal activities involved in establishing the operation in the first place. In fact, some of the most tense moments of the film are when the operation is threatened not by the Nazis, but by being found out by those inside the British military itself.
This adds to the sort of desperation that fuels the mission in the first place, and provides motivation beyond simply seeing Nazis suffer. Likewise, it endears us with the characters who are not just risking their lives if they fail, but also legal ramifications when they succeed. In face of this, I appreciated how the film never gets bogged down in the bureaucratic confines the operation is at odds against – as I suspect a more historically accurate approach may feel compelled to offer for the sake of realism.
One other interesting narrative element is the inclusion of Ian Flemming, creator of James Bond as one of the characters inside the British military supporting the mission. Ritchie frames the film as a sort of “story that inspired the legend” and in many ways it feels like an espionage thriller. Like Christopher Nolan with Tenet, it serves as a sort of demonstration of what the director’s version of a James Bond film would look like if he had been given the opportunity. While that aspiration doesn’t define the film, it is another interesting little tidbit that adds more flavor to TMOUW’s somewhat straightforward (yet still entertaining) action-flick premise.
