What is revealed is a modern underworld where the rules have changed. There are no "codes", or "families", and respect lasts as long as a line. Not knowing who he can trust, he has to use all of his "savvy", "telling", and skills which make him one of the best, to escape his own.
The ultimate last job, a love interest called Tammy Sienna Miller , and an international drug ring threaten to draw him back into the "cake mix". But, time is running out and the penalty will endure a lifetime. An unnamed British cocaine dealer treats his work as a business, and neither believes he is or acts like a gangster. He respects those with whom he works, and in return, they respect him.
In treating his work as a business, he has amassed a small fortune of laundered money, and despite his relatively young age, he plans on retiring soon. His supplier, Jimmy Price Kenneth Cranham , asks him for a small favor outside his normal work: find Charlie Ryder Nathalie Lunghi , the drug addicted daughter of a well-known colleague named Eddie Temple Sir Michael Gambon , she, who has escaped from a rehab center.
Despite not being his business, he can't refuse Jimmy's request. As a fitting finale to the erratic violence that figures most of the film, the ending is layered. Troop, takes the drugs, and settles the debts. In another scene, we get to see the magnanimous scale of operations of the Serbs, where ecstasy tabs are being made in a Fordist production line.
On the other hand, XXXX longs to escape the drug business, and in the final moment, he endows his teammates — Morty, Gene, Clarkie, and Terry — with the responsibility of running the business and takes his leave. The plethora of lost lives in the course of the story has made XXXX realize the value of life, and he looks forward to living his life away from the bloody business of the drug trade.
He reunites with his new girlfriend, Tammy, outside the club. But his own payback is due, and in a final scene, a volatile but apologetic Sidney kills him. The suggestion is that greed breeds hatred, and hatred breeds violence, and in the hierarchy of a layered cake, it is the cherry on top that gets plucked first. In the final moments, Dragan is given a package by the protagonist.
Dragan was initially hoping to retrieve both the drugs and Duke for his superiors, but he leaves content with the package. His character does not shine across as that 'demented' as that in The Football Factory. Sienna Miller was underused also, which was a shame. Although there are some problems with the story, Matthew Vaughn has made a respectable movie.
This being his debut, he has nothing to be ashamed of. As long as he works on the clarity of the plot more, he will have no problems securing full audiences. Layer Cake gives a good reputation to British films instead of the some rubbish released over the last few years.
I enjoyed the ending, it was good, I'm not going to say anything about it! FAQ 5. Why is the film called Layer Cake? What is the song that plays when? Do we ever learn xxxx's real name? Details Edit. Release date June 3, United States. United Kingdom. English Romanian. L4yer Cake.
Sony Pictures Classics Marv Films. Box office Edit. Technical specs Edit. Runtime 1 hour 45 minutes. Dolby Digital DTS. Related news. Contribute to this page Suggest an edit or add missing content. Top Gap. What is the Hindi language plot outline for Layer Cake ? This is why many police officers and customs officials, the high-ranking ones, would gladly see recreational drugs legalised, taxed and the quality properly regulated.
They are working against themselves, against their own interests, by contributing to the scarcity of the product. There is a section in Layer Cake when our protagonist delivers, in the sedate setting of Regents Park Rose Garden, a polemic about the deregulation, or decriminalisation, of recreational drugs. He suggests that the money being earned would be an incentive for certain self-righteous individuals to creep down from their moral high ground.
His prognosis is beginning to play out. Everything today has to be monetised, profit margins exploited then maximised. And a very lucrative source of income. His opening remarks in the first chapter about cocaine being an after-dinner treat for the chattering classes of Islington or Clapham could read like a justification or a gentle device to uphold his denial.
Looking back, I guess I colluded with the character to a degree. I always imagined his product went up the cute button noses of giggling models in the nightclub VIP, rather than getting magicked into rocks of crack and smoked on pipes in crackhouses. Today, drug use is incredibly widespread. And like with everything else we buy, eat, consume, use and discard, we are looking, positively or negatively, at its environmental impact and its carbon footprint.
Sulphuric acid, lime and petrol find their way, through soil or rivers, into the ecosystem. Increasingly consumers are joining the dots.
It sits on the back of the throat — like a stiff line of good coke. It appeared that cocaine, in the early 20th century, was more embedded in the zeitgeist than even I imagined. I also wondered how different the reaction would have been if the cool, dapper protagonist and his firm were juggling huge amounts of smack.
Without stating the obvious , writing Layer Cake completely changed my life. I was always one of those dudes who was telling people, drunk or sober, that one day I was going to write a book. The best training, perhaps the only training, for writing is to read voraciously. I believe that writing, or storytelling, is a vocation and a God-given talent.
People sometimes tell me they want to be a writer. A joke is often a very short, very precise story. A joke has a beginning, a middle and, most importantly, an end.
You create a world that only exists for as long as it is required. The joke has a point, has direction. A good joke can be remarkably illuminating. The punchline is closure. But as we know, in real life, motivations are very seldom straightforward. We do things or say things either on instinct or habit. In fiction there must be a degree of closure, but in real life events and consequences just tumble on and on — there is no closure or explanation.
In fiction these are essential, to a greater or lesser degree. Especially in crime fiction. There was no real writing scene that I had come out of. The first week about 40 people turned up to the class. People were standing, sitting on the floor and perching on windowsills. I thought the college had shockingly oversold the class but, it turned out, they knew what they were doing.
The following week the class dwindled to 30 would-be writers. Some writers found it very difficult to come every week with something new to present but I was on a roll. I was writing short stories — one a week. I really hit a nice groove and found my voice as a writer. I learnt quick. The dealer drags the young dude out of the bar, puts him in his car and takes him for a drive, accompanied by a heavyweight black gentleman called Mister Mortimer, and gives him a philosophical pep-talk.
Somewhere in that pep-talk, and short story, I found the attitude, the voice and the worldview of the central character of Layer Cake. As that character was talking to the young hothead, he explained his basic outlook. Me and Terry both liked his philosophical perspective. The character was ambitious, dry and witty rather than outrageously, clownishly funny , pragmatic and motivated, but most of all he was intelligent.
He was observing and absorbing his surroundings, had a life — both inner and outer — beyond his role as a drug dealer. He was autodidactic, self-taught and inquisitive. Always try and give yourself the most intelligent character as possible because otherwise it limits what you can conceivably channel through them. Paradoxically, you end up knowing a great deal about this guy but never his name.
For the same reasons I only gave brief clues to his physical appearance. What I find interesting is how female readers find him fascinating and sexy without having any real clue what he looks like. Maybe that character is a super-alter ego I have invented and projected onto the page. The fact that he obviously loves women, prefers their company to men, is a massive advantage, but also his Achilles heel.
But he totally loses his bearings, abandons his survival instincts and rationality, in a split-second, around a certain kind of woman. I would have had a major propensity to get high on my own supply, end up owing more than I earn. Why write crime?
If you fail or make a mistake or misjudgement, you have to deal with the consequences — or negotiate yourself out of it — cut a deal. Or adaptation of the smartest. That Jimmy Price would give him his blessing, allow him to leave, wave goodbye and goof off to live in Ibiza or Miami, without adequate compensation.
I started writing Layer Cake out of sequence, not really knowing where it would lead — writing characters and throwing them into situations to see how they behaved together. Some of the characters were composites, some based on real people, some simply a product of my fertile imagination — others from who-knows-where. I wrote relentlessly, without editing, scribbling into yellow legal pads as a first draft and then later, as a more measured second draft, onto a — in retrospect — ancient computer that took up a whole corner of a room, like a baby grand Mac Air notebooks were the stuff of science fiction when Layer Cake was written.
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