Redbelt

(2008)

Directed by

David Mamet

Review by Todd Plucknett

David Mamet’s new film Redbelt is a brilliant and perfectly entertaining film that places a Mixed Martial Arts story in his usual crime drama setting. Even when you think it is going to divulge into cliché, it manages to thrill and remain intelligent. It is a special little film.

Mike Terry (Chiwetel Ejiofor) is a jujitsu master who owns his own training studio, barely scraping by on his minimal salary with his Brazilian wife Sondra (Alice Braga). His favorite trainee is cop Joe (Max Martini), who he thinks could eventually earn a black belt and begin to train others. By chance, lawyer Laura (Emil Mortimer) runs into Mike’s parked car, wanders into the studio, and accidentally shoots Joe, shattering the window in the studio’s front. Not wanting to exploit the woman or studio that he loves, Joe turns his back to the issue. Having to pay for the window is something that Mike definitely could not afford. That night, he goes to a bar and rescues a film producer named Chet Frank (Tim Allen). Mike and Sondra befriend him and his wife, eventually leading to a proposal for Mike to use his program in an upcoming film in exchange for a Co-Producer credit. Nothing works out for Mike. There is always the possibility for him to fight for money, but he considers that degrading and disrespectful to his philosophy on fighting. Laura ends up training in the studio. She wonders about what the colors of the belts mean. She asks, “Who gets a red belt?” Mike replies, “There is only one.”

The film is classic Mamet, but with an entirely new premise. The jujitsu scenes are eloquently shot, and it is so respectful and knowledgeable about the history and meaning behind it. Mamet’s dialogue is always the bright spot in his films. The words seem so real and relevant. People say and react in a way that is not exaggerated or phony. It is expressive and authentic, something that proves why Mamet is one of the greatest screenwriters working today. He also directs the film with such reverence and proficiency. The movie works on all levels.

Ejiofor is excellent in his leading role. He is such an interesting actor. Like in the underrated Talk to Me, he plays a role without exaggeration. He has mastered subtly in a way that few current actors have. Nothing he does seems forced. It is all genuine. Braga is fine. She actually really reminded by of Cote de Pablo (that is a good thing, by the way). Martini is effective in most scenes. Allen gives one of his finest performances, playing completely against type. He should try to branch out to drama more often. Mamet regulars Joe Mantegna, Ricky Jay, and David Paymer all have their good supporting roles. The acting here is just really strong from all the performers.

As is the case in several Mamet pictures, nothing is really what it seems. People aren’t who you really think they are. One of the most commendable assets of this film is the ability to surprise. With the title, you don’t need to stretch your mind to figure out where this film is going. How it gets there is the real beauty of it. Just when you think you know where the film is going, it doesn’t. Just when you think you know a character and their motives, you don’t. So many times, the film feels like it is going to fall into the Rocky or Karate Kid cliché, but then it takes logical turns, but for some reason, those turns are never anticipated by the audience. Characters react realistically, which is not the case in most other films that try to succeed in this genre. The final scenes may cause some people roll their eyes because they feel that they have seen that before. For me, I don’t really feel like that. The film earns its right to end in that way. Its character development sets it apart from other films of the genre, and that makes the final scenes not corny or a copout. It is an inspirational and justified conclusion.

The film is a real pleasure to watch, and it is always exciting and stimulating. It is a film in a genre that would appear to be dead, but Mamet brings it to life again. While it is not quite on the level of Mamet’s masterpieces like Homicide and his screenplay Glengarry Glen Ross, it is still a great film by a phenomenal filmmaker.

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