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Every assassin in the world will now target Wick, with a sizeable bounty on his head. The end sees Winston apprise Wick of the situation. Despite the forewarnings, Wick proceeds to murder him, thereby breaking the most important rule of the underworld: killing on Continental grounds. Winston, a friend and the owner of the Continental, warns Wick of the consequences if he murders Santino there. After neutralizing her, Wick proceeds to the Continental bar to confront Santino.
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In an elaborate scene, Wick goes through a plethora of bodies to corner Santino in a mirror-mirage, only to come up against his mute security enforcer. After he’s stitched up, Wick looks to extract revenge on Santino and proceeds to take him out. Wick somehow manages to evade the killers, by invoking a special privilege with an underground dealer, the Bowery King. As news of Gianna’s death reaches Santino, he stabs Wick in the back, taking out an assignment of $7 million on his name, in a bid to “tie loose ends” up. Wick leaves Cassian alive as a courtesy but gets fatally injured in the process of the fight.
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That professionalism and courteous obligations are cleverly crafted into the fabric of the battle between two men of competence and equal calibre. It covers a wide network of professional, sophisticated henchmen, who kill when asked to, in the prescribed way, which is imprinted upon them by a book of rules. John Wick’ isn’t about a rogue assassin operating out of pity personal malice or nature. A fight ensues, that lasts almost twenty minutes and is the most scintillating, tense part of the entire movie. In Rome, Wick carries out the hit, only to be recognized by Cassian, Gianna’s personal bodyguard.
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Santino burns his house down with a missile launcher and finally subverts Wick into delivering Santino’s sister’s soul. Wick refuses to carry out the task, citing his retirement and idyllic life as the reason. The task assigned to him is to murder Gianna, Santino’s own sister, in a bid to take her seat at the high table. Santino enforces the “marker”, a sacred promise of blood made by a person who vows to do anything asked by the other person in debt. The studio has seemingly decided to go against the idea, continuing the series’ timeline in ‘John Wick 3’. He’d be the perfect barque to sail Wick’s story into our conscience and let us pit it against his actions in the two films. Reeves is someone who has himself led a life of solitude, marred by personal losses and loss of loved ones. But the profoundness of human nature can present itself in the most tangible of fashions if done right. How circumstances change a person have been well documented on screen. I think not only Reeves but also the fans would love to see an origin story. In comes Santino, an underground Italian boss. Seemingly, he has his place back in life his house, a loving companion in the form of his dog, and his spirit vessel, the Mustang. Well, he gets in, gets out, leaving behind broken bones and dudes not breathing. If you’re thinking of a connection with the Russian dude in the first film, you’re spot on. ‘John Wick 2′ sees the titular character locate his beloved Mustang in Abram Tarasov’s chop shop. Action, therefore, assumes a central theme in his life, and to that extent, the movies. The retirement period doesn’t last long and is possibly only a cover a cover to his innate, dark desire to kill a cover, maybe, to deal with his annoyance at not being able to avert his heart from violence. Violence has become such an integral part of Wick’s life that wielding a gun almost seems akin to holding a toothbrush. Wick, almost like Corleone, gets sucked back into the action despite his best efforts to do the contrary. The mind charts back to ‘Godfather II’, where Al Pacino’s iconic Michael Corleone declares, “Just when I thought I was out, they pull me back in!”. Both the movies have an inherent presence of overwhelming obedience of habit in Wick, which attracts him toward living a life on the run. Wick is driven by an emotional urge not of redemption, but of habit. It is the film’s ability to attach importance to the motives behind the actions that elevate it to another level. ‘John Wick 2’ comes alive with its heightened sense of urgency and breathtaking sequences, shot in the background of aesthetic and grandeur sets.