Login
Obviously descended from the creative vision of Quentin Tarantino (and, to an extent, Guy Ritchie), Layer Cake is an enjoyably slick, visually ornate British gangster movie which provided Daniel Craig with the star-making role he deserved. Prior to his directorial debut here, director Matthew Vaughn had worked as a producer on Guy Ritchie's Snatch. and Lock, Stock and Two Smoking Barrels. Therefore this particular film is similarly energised and violent. Despite all this, Vaughn's low-budget crime picture falls under the unfortunate category of "Just Another British Gangster Movie". As it joyfully rattles along at an invigorating speed, it's somewhat deficient in originality and it's virtually impossible to elude the feeling that you've seen it all before in different manifestations.
Layer Cake is also one of those movies that cause you to feel dumb - if, that is, you're not dedicating every ounce of your attention to it. The plot seems moderately logical and straightforward, but (as the title may well imply) there are copious layers to absorb. The film is super-slick, stylish and enjoyable; however it's convoluted beyond all comprehension and occasionally taxing to follow.
Based on the novel by J.J. Connolly (who also wrote the screenplay), Layer Cake commences with an "Obligatory Gangster-movie Voiceover Introduction™" from the protagonist only known as XXXX (Craig). This customary voiceover brings a viewer up to speed with the essential policies and workings of the cocaine dealing business. Mr. X has made a fortune in the industry by preserving his anonymity, keeping things flowing efficiently and never getting his hands dirty. With a substantial quantity of money safely invested, Mr X. intends to quit the career of a cocaine peddler, and arranges to depart from England in order to begin a new life. On the eve of his planned early retirement, crime boss Jimmy Price (Cranham) bestows him with two assignments: negotiate the sale of one million hits of ecstasy, and track down the daughter of a crime boss. Naturally, nothing goes exactly as planned.
Layer Cake offers a tremendously convoluted and bewildering plot, rampant in double (and triple)-crosses and swarming with a massive cast of vibrant characters contending for screen-time. There are flashbacks witnessed from multiple viewpoints, with significant events often cross-cut in methods difficult to follow. To prevent yourself from being left behind it's crucial to pay very close attention at all times, otherwise you'll be lost in the fast-paced developments. Fortunately, the picture is held together by the ornately-developed characters and an inherent fascination in the story. Even at its most garrulous, the movie is able to keep a viewer interested enough to at least want to decipher it. The film encompasses instances of shocking violence, but it baulks at exaggerated gore. There's also a plethora of wily humour, but it thankfully doesn't go overboard with it.
Taking the long view, Layer Cake will almost certainly be remembered as the picture that got Daniel Craig his James Bond gig. Formerly a hardworking but little-noticed supporting player in films such as Road to Perdition and the first Tomb Raider, Craig's charismatic turn as the unnamed protagonist demonstrated his genuine star potential. Be that as it may, though, I admit I have grave qualms about Craig as James Bond. Regardless of this, his performance is effortlessly cool in Layer Cake; debonair and deadly serious, self-effacingly droll and vulnerable, Craig shows his acting chops and ability to carry a feature.
Under Vaughn's economical direction, Craig's anonymous drug purveyor is the engaging focus of this often gripping film; an appealing and humane presence, which is a breath of fresh air after the cartoon archetypes present in Guy Ritchie's prior films. Craig believably disappears into XXXX's skin and situation, playing the predicament in an entirely convincing manner from start to finish.
There's also stalwart support from Colm Meaney, Kenneth Cranham, Jamie Foreman, Michael Gambon and George Harris (among others) who provide a pitch-perfect chorus of Britain's social underbelly - a flawlessly devised cacophony of career criminals and various wannabe cretins. Sienna Miller has the obligatory lingerie scene and nothing much else as Craig's love interest in an inadequately developed and unconvincing sub-plot. The hero's immediate infatuation with her seems out of character, even if the storyline plays a somewhat crucial role later on.
The British gangland movie genre has become an over-used premise. In a national industry so tiny and in urgent need of revitalisation there are too few Danny Boyles and too many Guy Ritchies. British filmmakers cannot afford to continually rely on clichés; the industry isn't big enough to afford the luxury of recycled goods. The biggest problem of Layer Cake is that the movie suffers from "seen it all before" syndrome. No faults in the film's filmic implementation; the script just lacks original ideas. It ultimately fails to bring anything truly innovative to the gangster movie genre. The only thing setting it apart is a refreshing lack of the caricaturing and childish humour. Another pivotal setback is that it doesn't include a remarkable, show-stopping set-piece to make it more memorable. The rest of the flaws arrive at the end; it has trouble concluding the several storylines acceptably, and the conclusion feels both predictable and tacked-on. A real shame, because Layer Cake is unpredictable for roughly 80% of its runtime.
In his directorial debut, Vaughn demonstrates a striking sense of elegance and style. In addition, Vaughn's glossy shots of the London skyline draw obvious inspiration from Michael Mann (thanks to the wonderful contributions of cinematographer Ben Davis). Layer Cake encapsulates London's essence without "Americanising" it. London is depicted as it is - an affluent European capital. Filmed in Amsterdam as well as various studios in England, Vaughn's film commemorates London as much as it glorifies the drug trade within. It's a stylish and polished film, with 360-degree shots, aerial shots, and interesting up-angle shots. Most of the visual interest is derived from these fascinating camera angles. All the energy in the cinematography, coupled with Lisa Gerrard's captivating score, make this an engaging night of entertainment.
Layer Cake is a twisty, engrossing film noir that clearly avoids being consigned as a trivial effort from "that new Bond guy". Fans of Guy Ritchie's films will most likely be extremely happy with Vaughn's directorial debut; he bequeaths his photography with buckets of style and it's a lot of fun to watch. The intensity generated by this thoughtful thriller produces often gripping moments. From start to finish, this is a riveting flick. Never is there a notable boring moment in amongst the fast-paced occurrences and intriguing visual style. The cinematography is vaguely hampered, though, by the undeniable style over substance - the film should've been a bit more original, and (for my taste) it'd also be superior if it required less serious concentration. Nevertheless, there are far worse British films in existence. This is a smart, entertaining thriller - and far more than just a footnote in a rising star's career.
7.8/10
