Why would the gypsies go through the trouble of explaining why a man died in their campsite when they can bury the pair of them and just move camp? It's not like they got social security numbers, is it? Tommy - the tit - is praying.
And if he isn't, he fucking should be. Mickey : I'll tell ya what. I'll do it for a caravan. Turkish : For what? Pikeys : For a caravan. Tommy : It was us who wanted a caravan. Tommy : Anyway, what's wrong with this one? Mickey : It's not for me. It's for me ma. Turkish : Your what? Pikeys : His ma. Turkish : You show me how to control a wild fucking gypsy and I'll show you how to control an unhinged, pig-feeding gangster.
Turkish : Well, do you want to do it? Mickey : That depends. Turkish : On what? Mickey : On you buying this caravan. Not the rouge one, the rose. Turkish : It's not the same caravan. Mickey : It's not the same fight. Turkish : It's twice the fucking size of the last one. Mickey : Turkish, the fight is twice the size. And me ma still needs a caravan. I like to look after me ma. It's a fair deal. Take it. Turkish : Mickey, you're lucky we aren't worm food after your last performance.
Buying a tart's mobile palace is a little fucking rich. Turkish : I wasn't calling your mum a tart. I just meant Mickey : Ah, save your breath for cooling your porridge. Now, look Mickey : She wants the Hector-2 roof lights, uh Mickey : Right.
And she's terrible partial to the periwinkle blue, boys. Have I made myself clear, boys? Turkish : Yeah, that's perfectly clear, Mickey. Turkish : Did you understand a single word of what he just said? Errol : Fuckface, who's speaking to you? He asked him, didn't he?
Turkish : Fuckface I like that one Errol. I'll have to remember that one next time I'm climbing off yer mum. Turkish : Have you ever crossed the road, and looked the wrong way? A car's nearly on you? So what do you do? Something very silly. You freeze. Your life doesn't flash before you, 'cause you're too fuckin' scared to think - you just freeze and pull a stupid face.
But the pikey didn't. Because he had plans of running the car over. Tommy : Who took the jam outta your doughnut? Turkish : You took the fucking jam outta my doughnut, Tommy. You did. Turkish : I'm sorry, Mickey.
Mickey : Did ya do it? Then why are ya sorry? Turkish : It's an unlicensed boxing match. It's not a tickling competition. These lads are out to hurt each other. Turkish : For ever action, there is a reaction. And a Pikey reaction Turkish : We've lost Gorgeous George. Brick Top : Shhh. You're going to have to repeat that. Brick Top : Well, where'd you lose him?
He ain't a set of fucking car keys, is he? And it ain't as if he's incon-fucking-spicuous now, is it? Turkish : I fail to recognize the correlation between losing ten grand, hospitalizing Gorgeous, and a good deal.
Tommy : The human body hasn't got used to dairy products yet. Placards introduce the characters in rapid-fire succession, Avi's cross-Atlantic trips are truncated into the staccato style of Darren Aronofsky " Requiem for a Dream " , a pivotal car accident is shown from multiple perspectives, Franky Four Finger's weakness for gambling is elaborated with some quick cut-scenes and the strains of " Viva Las Vegas ", and so on-- watching a Guy Ritchie film is akin to Oliver Stone's 'multimedia' approach to filmmaking, only with a sense of purpose.
Unfortunately, the biggest challenge of "Snatch" is that story-wise, it's more of the same. Whereas quirky characters in absurd situations might have been fresh in "Lock, Stock, and Two Smoking Barrels", it's old hat in "Snatch", particularly since the plot follows essentially the same structure in this latest film Ritchie probably developed a methodology for writing these sorts of films.
The various story threads in "Snatch" also don't come together as tightly as they did in "Lock, Stock, and Two Smoking Barrels", and there is a definite lull in the proceedings as the film enters the third act and the story just about runs out of steam.
But viewed in light of the comic gems and eye candy found throughout "Snatch", it is a pardonable offense. Like Ritchie's effort, "Snatch" mines much of the same ' Coen-Brothers -meets-Quentin-Tarantino' territory, where incredibly stupid underworld lowlifes, bizarre circumstances, and coincidence combine to create all sorts of mischief and mayhem. This latest offering may feature a more recognizable name cast and more intelligible dialogue at least where it's supposed to be intelligible , but it's essentially "Lock, Stock, and Two Smoking Barrels" all over again, only with a script that could have used some tightening up.
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