Redbelt (David Mamet, 2008)

[Galen Young]

David Mamet has become as comfortable an old shoe as Woody Allen -- same con story, different dress. Had the weirdest sense of deja vu though -- Mamet tells the very same tale as the Wachowski's in Speed Racer --

Spoiler

Principled guy refuses to sellout to corporate greed, but then he does so after all because he's in a helluva jam. Then, after he finds out the game is fixed -- he fights (literally) his way to the top -- without 'cheating' -- because, gosh darn it, he's got principles. And the 'truly' good guys always win, right?

I suppose you can say the ending is as hokey as that of Speed Racer -- both movies are 'Hollywood product' after all, what else would you expect? (that, and maybe Mamet's coming out as a 'brain-dead Republican'?) (plus, I'm trying to think of one Mamet-directed film where justice does not prevail at the end?)

Still enjoyed it though. Can't comment about the fighting as I know nothing about it -- never felt the story was about the fighting per se, anyway. ("There's always an escape...", etc.) The cast was terrific, Ricky Jay gets all the best lines. The only thing I didn't buy was --

Spoiler

The Emily Mortimer character shooting off the gun.

[Cronenfly]

In a similar vein, I reacted to it most directly as a retelling of The Spanish Prisoner, each movie with its own "process" to be swindled from their respective naive protagonists with (yes) justice winning out in the end. Even down to the unexpected Tim Allen casting in the Steve Martin role, the two movies are very similar. However, I feel that The Spanish Prisoner was far more elegant, concise, and effective (and even so I still have some issues with that movie), rendering Mamet's reusing the same formula here (poorly, in my opinion, and padded with too many subplots/windowdressing to disguise the recycling) that much more galling.

I can live with the ending's hokiness, but I felt that the execution was pretty lacking, with its too-easy throwback to the first scene and overall rushed feel. Hollywood ending or not, the handling of the conclusion was bungled, in my opinion.

[Highway 61]

(that, and maybe Mamet's coming out as a 'brain-dead Republican'?) (plus, I'm trying to think of one Mamet-directed film where justice does not prevail at the end?)

Though some of the bag guys eat it, corruption wins big time in Spartan.

[Galen Young]

The Spanish Prisoner was far more elegant, concise, and effective...

I'd agree that The Spanish Prisoner is a more cohesive, organic whole than Redbelt, but then it always felt to me a redress of House of Games -- the deceptive appearances and unexpected liaisons, with more of a joking manner piled on top. ("Nobody looks at a Japanese tourist.")

Though some of the bag guys eat it, corruption wins big time in Spartan.

What corruption "wins" are you referring to? The media spin on the girl's return home at the end? Or Kilmer's character inferring that he can't go home? I suppose so, but in the main story, Kilmer gets the girl home safe and alive -- his mission accomplished, justice served. Interestingly, in the 2002 draft of the script, Mamet ends it with the student-agent dying in Kilmer's arms on the tarmac.

[Len]

(plus, I'm trying to think of one Mamet-directed film where justice does not prevail at the end?)

House Of Games (unless your sense of justice is really twisted).

[Highway 61]

What corruption "wins" are you referring to? The media spin on the girl's return home at the end? Or Kilmer's character inferring that he can't go home? I suppose so, but in the main story, Kilmer gets the girl home safe and alive -- his mission accomplished, justice served. Interestingly, in the 2002 draft of the script, Mamet ends it with the student-agent dying in Kilmer's arms on the tarmac.

Indeed I'm talking about the media spin. As I see it, justice is hardly served since the girl goes right back to her victimizers who continue exploiting her, which is all too often how real life cases of abused and neglected children pan out.

[Antoine Doinel]

Saw this tonight and thought of it as a "greatest hits" package for Mamet enthusiasts. All the familiar themes and machinations are in play, and for the most part, I loved it. Of course, the much talked about ending only struck me in that it's Mamet at his most sentimental. I think he's becoming a softie in his old age, but Mamet really prevents the film from being great by allowing the film to end the way it does, particularly with absolutely zero motivation from the secondary characters involved. That said, the scene with Mortimer and Ejiofor during their first class is also one of the most genuinely moving scenes he's ever written, without altering his usual writing styles.

It will be interesting to see how Redbelt fits with the overall arc of his works and if it will be an indication of a new, duller fanged Mamet.

[Grand Illusion]

That said, the scene with Mortimer and Ejiofor during their first class is also one of the most genuinely moving scenes he's ever written, without altering his usual writing styles.

Although I didn't like the film, overall, this was an excellent, excellent scene.

[Antoine Doinel]

That said, the scene with Mortimer and Ejiofor during their first class is also one of the most genuinely moving scenes he's ever written, without altering his usual writing styles.

Although I didn't like the film, overall, this was an excellent, excellent scene.

On the whole, I found the Mortimer/Ejiofor scenes to be the best in the film. I usually don't notice this, and it probably speaks to Mamet's stage history, but those scenes were so well blocked and timed it blew my away. Particularly how Mamet placed the actors, especially Mortimer, to heighten her aversion to touch and her sensitivity to invasion of her personal space. Fascinating stuff.

[Grand Illusion]

On the whole, I found the Mortimer/Ejiofor scenes to be the best in the film. I usually don't notice this, and it probably speaks to Mamet's stage history, but those scenes were so well blocked and timed it blew my away. Particularly how Mamet placed the actors, especially Mortimer, to heighten her aversion to touch and her sensitivity to invasion of her personal space. Fascinating stuff.

Good observation. Mortimer always did seem isolated from every other character, especially in her framing and placement. It's counterintuitive, though, that what I expected most from this film was razor sharp dialogue, but the purely physical moments meant the most to me.

[emcflat]

Agree with just about all the points made. Tim Allen is somehow excellent, and underused, as was just about everybody due to the films myriad characters. The only time I really appreciated Elswit's photography was during the fight scenes, which were far too short for a film which Mamet himself played up in the press as a fight movie. Disappointing in that regard.

Another one of those movies (like No Country) where I smile the whole time, go home completely satisfied, and then later come to the realization that it wasn't really all that.

I like what Ebert has to say about it. As a man who has taught Mamet, I value his insights.

I do look forward to seeing it again, though.

[domino harvey]

Sony Pictures Home Entertainment has announced Redbelt which stars Chiwetel Ejiofor, Emily Mortimer, Alice Braga, and Tim Allen. The David Mamet directed film will be available to own from the 26th August, and should retail at around $27.96. The film itself will be presented in 2.40:1 anamorphic widescreen, along with an English Dolby Digital 5.1 Surround track. Extras will include commentary with David Mamet and Randy Couture, 3 featurettes (“Behind-the-Scenes of Redbelt”, “Inside Mixed Martial Arts”, “The Magic of Cyril Takayama”), a Q & A with Mamet, an Interview with Dana White (President of the UFC), and Fighter Profiles. A Blu-ray release will also be available for $38.96 with identical features.

[flyonthewall2983]

Is that a first to have Mamet do commentary for one of his own films?

[kaujot]

Is that a first to have Mamet do commentary for one of his own films?

No. Criterion's House of Games has a great commentary with Mamet and Ricky Jay.

[Galen Young]

Mamet also did a commentary track for The Winslow Boy, which may have been his first, I'm not sure.

[Matt]

Randy Couture should do more commentaries. I would like to hear what he has to say about Bresson. It has to be more interesting than what Peter Cowie has to say.

[domino harvey]

I'm very surprised to see such a lukewarm reaction to this film. To my eyes, Mamet gets more in control of the possibilities of filmmaking with each film. The editing in particular owes a great debt to the concept of Pure Cinema. This was indeed as conservative a film as they come. But so what, almost every great movie is-- Hollywood narratives were built upon that. I admired the film a great deal for the conciseness of its construction and how efficiently Mamet synthesized and utilized his material. This isn't a film about the con where we get walked through it step by step-- it removes those pleasures from the audience because it rightly assumes the audience will do the legwork anyways. The slim construction hides the lack of patronizing towards the viewer-- Mamet assumes we're in on it, and that we've brought enough to the movie to simply enjoy how he tells it. This film is A Film in a way that so few are any more.

[stereo]

I agree Domino. I absolutely loved this film. Mamet's economy of storytelling is masterful. I stayed away from it for a long time due to the B concept, but was blown away by the A delivery. I shouldn't be; I mean we should expect as much of Mamet, but for my own taste anyway, this flic really had the goods.

[denti alligator]

I was disappointed by it, especially after Spartan, which I think is his best film.

My main problem was with character development. Mamet didn't seem to know what to do with the wife. She has to turn on her husband, but why exactly? One minute she can't get the movie star's wife and her friend on the phone, the next minute she's in with them and has sold out her husband? Huh? Where's the motive for that?

There's more to say but it's late and I'm feeling down about the election...

[domino harvey]

He was willing to risk his own neck for hers (He offers to take on her debt with Paymer) but she wasn't for him-- she got the money she was owed by selling out her husband to the very people who were responsible for her predicament. Basically it was another reinforcement to the audience of his loyalty. It was no more or less elliptical than any other secondary character's turn in the film.

[stereo]

I enjoyed Spartan a lot, if not as much on my second viewing. I can also see your concerns about underdeveloped supporting characters; but I think that serves the purpose of the film -it's deliberate B (almost Karate Kid concept). The world is against him from every angle and he is pure --an existential opposition that through pacing dialogue and acting, esp. from our lead, moves the film into abstraction as a meditiation on the condition of agency and action in the world, beyond the confines of the ring or screen (since it's also a movie 'about' making movies. I don't think realism was the aim here at all, but again, just my take.

[manicsounds]

There is a Hong Kong version of the DVD coming out tomorrow, but does anyone know what the specs are? special features or language options

[kaujot]

Though a bit confused by the ending, I really loved the film. Mamet always impresses with his ability to tell a story with a lot of depth in a small amount of time.

As others have said, Ejiofer was obviously the standout. Maybe my performance of the year.

[Forrest Taft]

David Mamet has made a short film: Lost Masterpieces of Pornography. Shot by Robert Elswit, with a pretty good cast, including Kristen Bell, Ed O´Neill and Ricky Jay. Not very funny, though.

[domino harvey]

I kinda liked it, but it does seem funnier after the fact than it does while watching it. Anyone who's dipped deep into Mamet's output knows that his overlooked works often dip into zany comedics that don't quite gel, and this is somewhere in that vein. Kristen Bell in various stages of undress is, as it always will be of anything, the highlight.