Review: Redbelt

Redbelt

OPENING DATE: 05/09/2008

STUDIO: Sony Pictures Classics

TRAILER: Trailer

ACCOMPLICES: Official Site

The Charge

There’s always a way out. You just have to find it.

Opening Statement

Although we never mentioned Redbelt by name in our Summer Movie Preview, Judge Ryan Keefer brought it to the table by asking how David Mamet got to make a movie about mixed martial arts. Chief Justice Michael Stailey responded by saying that Mamet had actually studied it for many years. As soon as I heard that, I was immediately hooked with the idea of seeing Redbelt, which is just coming in under the radar of the early summer blockbusters. Even though the film revolves around the sport of Brazilian jujitsu, it’s more of a controlled, character-driven drama about greed and treachery in a hostile and corrupt world. Being Mamet’s most unorthodox film to date, is it enough to satisfy his fans as well as the action crowd?

Facts of the Case

Mike Terry (Chiwetel Ejiofor, American Gangster) is the owner of a jujitsu dojo in Southern California. As dedicated as he is to honor, he refuses to enter competitions because of their financial exploitation of the craft. In the first of many instances of fate, attorney Laura Black (Emily Mortimer, Match Point), comes into Mike’s dojo and accidentally blasts the front pane window to pieces. Thus begins a domino effect in which Mike finds his head above water dealing with a variety of shadowy, sometimes secretive, characters.

There’s Chet Frank (Tim Allen, Wild Hogs), an alcholic movie star who’s grateful of Mike sticking up for him in a bar brawl. He gives Mike a gold watch as a gift then, later, asks him to be a creative consultant on his latest film. Chet’s manager (Mamet regular Joe Mantegna, House of Games), is interested in Mike’s teachings for other purposes. Also, Mike’s wife Sondra (Alice Braga, I Am Legend), is getting seriously worried about their dwindling finances.

It must be stipulated that this is not the type of film where you want to see the preview beforehand. Mamet’s endless amount of surprises will more than likely catch you off guard, and it’s best to experience them without prior teasing. Oh, and as for the significance of the film’s title, I will leave it for you to discover.

The Evidence

If anyone knows how to write twisty drama, it’s David Mamet. Although his film credits have been checkered over the years, ranging from the brilliant House of Games to the mildly amusing State and Main, he knows how to elimate excess and commit himself to rock-solid, three-act narratives. Redbelt is no exception, as it features an idealistic lead character, someone we can identify with and respect, and then complicate his life with so many unforseen events, that we end up rooting for him right up until the climax. Mamet’s dialogue is always something to savor, especially in how he introduces Mike Terry with personal philosophies, such as “If you can control yourself, you can control your opponent,” or “I don’t train people to fight, I train people to prevail.” I wouldn’t be surprised if much of this sensei talk was inspired by Mamet’s own jujitsu masters.

Probably the film’s best accomplishment is that you don’t have to appreciate, or even understand, Brazilian jujitsu to dig the movie. In an early scene, Mike briefly explains the concept of the craft to Chet and, over the course of the film, we see a number of moves employed in fight scenes, all delicately choreographed by Rico Chiapparelli and John Machado. Mamet wisely directs these scenes with minimal quick-cutting and camera angles. And while the setting of the climatic sequence is rather expected, it never acquits itself with a familiar rah-rah, cheesily cheering moment of glory; remember, Mamet wrote the screenplay, not Sylvester Stallone.

Mamet’s ensemble cast is quite large this time around. Many of the principals are not familar faces, save for Tim Allen, who is surprisingly effective in his very first non-comedic role. Mortimer is superb (as always), as the attorney who’s responsible for setting everything into motion, and the always-magnetic Mantegna is ideally cast. Braga is quite good, even though she disappears for pretty much the second half of the film. Other Mamet regulars in small roles include Ricky Jay, David Paymer and Rebecca Pidgeon, the latter of whom is not only Mamet’s wife, but also responsible for many of the film’s songs. Look sharp also for former WCW champion Mike Goldberg as an announcer and Jennifer Grey (Dirty Dancing) as Mantegna’s girlfriend.

However, the heart of Redbelt is Chiwetel Ejiofor, in a literally star-making performance. A native of England, Ejiofor made his film debut in Steven Spielberg’s Amistad, and continued to be a character actor in more than 20 films. Naturally, Ejiofor went through some intensive jujitsu training to prepare himself for the numerous fight scenes, though you wouldn’t think that by watching him onscreen. He possesses a rare type of subtle intensity, using his eyes and facial expressions to speak volumes about who he is inside and out. Frank Capra would have loved him.

The Rebuttal Witnesses

I said before that this is Mamet’s most unorthodox movie. Even though it’s far from your standard, brainless action fare, the key scenes of physical combat might be too spread out for those looking for a lot of violent jugular. Rabid action fans may not get into the movie as much as Mamet fans because the puzzle of a plot may be too much for them to take in. Admittedly, it can be problematic for anyone to remain on track if they miss important dialogue.

I noticed a couple of people leave the theater halfway through, possibly because they were getting too impatient with the plot turns, some of which were downright improbable. Of course, I won’t divulge into specifics, though I will say that chance and circumstance play major roles in Mamet’s script. Redbelt does get better and better as it goes along, in tune with much of Mamet’s work, though this is another example of where his style will not attract all tastes.

Closing Statement

Redbelt is very good, if not great, Mamet. Nevertheless, whether you are a die-hard fan or a newcomer to Mamet’s work, you should find much to relish here. Recommended alone for Chiwetel Ejiofor, who I’m firmly convinced will be a force to be reckoned with in future films.

The Verdict
8/10

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