Redbelt
This was a film we sat down to watch on a Sunday morning. Some might find that an odd time for movie viewing but it’s just how it happened; kids quiet, pup asleep, the opportunity presented itself. There being no mass to tempt us, why not settle in front of the box?
Fight films are not what I watch as a matter of choice, Fight Club being the sole exception in recent years. But this, written and directed by David Mamet, proved to be a powerful social drama in which the central character tries to walk a straight path, pays his way, respects the dignity of others, seeks to screw nobody and ends up being crapped on by just about everyone he comes into contact with.
A martial arts theme runs throughout but of a different order from what we were used to as teenagers through Bruce Lee films. This was Jiu-Jitsu rather than Kung Fu and apart from the final minutes the invincible superiority of the heroic character that fight films tend to produce was kept off stage. In the average Kung Fu movie the violence is what keeps it interesting. In Redbelt the real tension was reserved for the plot. It could have been something else other than fighting that provided the backcloth. With a few tweaks to the plot racing would have done the job just as well.
Brazilian Jiu-Jitsu is a martial arts sport which is fuelled by the concept that a weaker opponent can overcome their more powerful adversary through the application of leverage positioning. This fighting technique becomes the central theme of the movie as the central character is drawn into a battle not of his making and decides to make a stand despite the precariousness of his position in the face of great odds.
Mike Terry, played superbly by Chiwetel Ejio, runs a Jiu Jitsu club where he teaches the fight game skill to cops and others. Cash is short and his cheques to suppliers begin to bounce. He tries to hold the line and has no interest in fighting competitively. Piece by piece the previous stability in his world loses its cement and begins to totter, always threatening to topple over.
The series of unfortunate coincidences experienced by Mike Terry soon begin to appear not so coincidental at all as a thread of manipulation and deceit weaves its way throughout the plot. Equipped with nothing approaching the Midas touch, Terry has soon run out of options and the debts continue to mount. He faces a situation where his wife tells him she has borrowed serious money from a loan shark who in turn claims to have borrowed it from sources that make him uncomfortable. He has no room to manoeuvre and needs the loan back. With a shortage of solutions, suicide for someone seems a certainty, if not for Terry then someone close to him.
Terry is the victim of a carefully put together conspiracy to draw him into competitive fighting although it is impossible for him to see it until too late. Corruption, scams, blackmailers, dodgy lawyers, fraudsters permeate. In the end a rape victim he taught self defence to is the sole stanchion upon which he can rest his troubled mind. But her mind is equally as troubled and for a while the film conveys the feel of drowning people reaching out to each other.
The strong element of predictability in this film, in terms of where its ultimate destination lies, is more than compensated for by the suspense and twists that punctuate throughout.
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