With a former WWE wrestler as the star, “The Smashing Machine” posits a more domestic and intimate take on the typical boxing (or in this case, UFC) movie genre. Besides the storytelling, its actors’ performances and cinematography undoubtedly emphasize both the reality and the romantic aesthetic of the film.
Starring Dwayne ‘The Rock’ Johnson and Emily Blunt, the film is a biography surrounding the MMA career of former wrestler Mark Kerr. During this documented part of his career, the movie also shares focus with the outside factors present during this time, such as his struggle with substance abuse, relationship issues and fight losses.
Usually, if I were to think of Dwayne Johnson, I would only think of his role in “The Game Plan” (2007), and it will be hard for my perception of him to change. On the topic of zero change in audience perception, one consistent critique I see about his acting is how he plays the same character in all of his roles, no matter how different the films are; for example, “Jumanji” or “Journey 2 the Mysterious Island.”
In the undertaking of this more serious role, Johnson is held to a higher standard; he can no longer rely on the static, charismatic, muscular guy stereotype. He has to go even further and add actual emotional depth to the character he portrays. The character in question is meant to face failure with heartbreak, yet he is still determined to reach success in his hopelessness.
As far as his physical appearance in the film goes, he is unrecognizable. Kazu Hiro’s work on the prosthetic makeup holds a place as one of the best parts of the movie. Hiro has also done prosthetic work on actor Bradley Cooper for “Maestro” and actress Charlize Theron for “Bombshell.”
Past Johnson’s physical appearance in the fight flick, he does strive to give a performance that tugs at the audience’s heartstrings. In some ways, he succeeds in this medium, such as his ability to act tenderly with whoever he is sharing the screen with or conveying his anger by smashing a door.
However, he does not excel in the crying aspect of the emotional spectrum. In Johnson’s two crying scenes, he is covering his face and seemingly still hiding that emotional part of his performance. When he does move his hands for a second, his tears do not prove to be convincing enough for a raw performance. The naturalness of the scenes is lackluster.
Despite his portrayal lacking in certain areas, it is clear that Johnson wishes to be taken more seriously, instead of just starring in billionaire blockbuster movies. It is up to the audience to determine if Johnson’s rationale is about actually treating acting as a work of art or just looking for the best role that will get him an Oscar.
The cinematography is one of the most romantic parts by far. With the motion picture being filmed mostly on 16-millimeter film and sometimes on VHS cameras, it truly transports the audience to the setting of the late 90s. It offers a comforting feeling in its fuzzy visuals and warm lighting.
On the subject of lighting, there is a shot where, as Kerr leaves the UFC arena, the colorful lights in the stadium-like room glare perfectly off the camera. The colorful glares simulate a dreamy sequence, despite the emotional turmoil Kerr is in as he is leaving. From his perspective, it highlights his overstimulation in the failure he just suffered.
Routinely, I tread carefully with the sports drama genre of film, but this movie proved to be unique in an unexpected way. What truly takes the cake for me is how there is humanity within its plot and scene direction.
Fighter drama movies include the intense fight scenes, the intense training scenes and even the intense angry breakdown scenes. While this movie does have those, it still goes beyond this mechanical, stereotypical framework. It is soft-spoken, as well as it has a hint of domesticity and naturalness in the character interactions.
Scenes filled with this sort of compassion include ones like where Kerr’s girlfriend, Dawn Staples, is making him a smoothie or Kerr is buying pottery in a local store in Japan. Despite the somewhat irrelevancy to main plot points, they are significant because of how they shape the movie into this tender product depicting humanity at its core.
“The Smashing Machine” is directed by Benny Safdie, and while I have not seen any of his other work besides his acting performance in “Oppenheimer,” his directing style reminds me a lot of Celine Song’s, my favorite director.
“Past Lives” and “Materialists” director Song captures the low hum of reality, the soft glow of a kitchen light or even the tender tension of two characters. She does this through slow zoom-ins and outs, as well as soft-spoken direction of her characters. I found these aesthetics when I was watching Safdie’s film, and I am surprised that he could elicit that same feeling.
Maybe I will finally watch “Uncut Gems” (2019), which is directed by brothers Benny and Josh Safdie.
