Gavin O’Connor’s (Miracle Pride and Glory) stirring new drama Warrior is an underdog tale set in the nascent sport of Mixed Martial Arts fighting. In its relatively short life MMA has yet to inspire much quality cinema of note. It now has its Rocky.
Warrior’s twist on the traditional underdog formula is to provide us with dual protagonists: the fightin’ Conlon brothers Brendan (Joel Edgerton) and Tommy (Tom Hardy). Neither have spoken to each other since the dissolution of the parents’ marriage fourteen years earlier. Both of late have fallen on hard times. Tommy is an Iraq war veteran who has turned to pills and booze since returning from abroad; Brendan is a high school science teacher and devoted family man victimized by the financial crisis. Circumstances compel them both to seek salvation in the fight game.
Conveniently enough the opportunity of a lifetime arrives in the form of Sparta a brand-new winner-take-all MMA tournament that awards its champion a cool $5 million – more than enough for Brendan to save his house from foreclosure or for Tommy to make good on his pledge to provide for the family of a friend killed in Iraq. By this point we know for certain that fate has determined Brendan and Tommy will meet in the final and we know for certain how utterly ridiculous this scenario is. And yet we accept it because by this point Warrior already has us in its corner.
The origins of the brothers’ enmity are ultimately traced to their father Paddy (Nick Nolte) a monstrous alcoholic whose abusiveness led their mother and Tommy to flee fourteen years prior. Brendan stayed behind and Tommy never forgave him for it. When we see Paddy he’s broken-down husk of a man God-fearing and 1000 days sober his face creased with shame and regret. Neither son can stand the sight of their old man but Tommy in need of someone to train him for the tournament reluctantly enlists his father’s help. Paddy eyeing a last chance at redemption enthusiastically complies.
Cue the training montage. A fighter rising from obscurity to the upper echelons in his sport within a matter of weeks is hard to swallow; when two fighters do it it’s a borderline insult to the sport. MMA aficionados might blanch at watching Tommy and Brendan gain one unlikely win after another; more likely they’ll be too absorbed by the action to care. It helps that Hardy and Edgerton both look the part and are both skilled enough at their craft to lend the film’s many brutal fight scenes a distinct realism. It helps even more that the story and the actors' stellar performances have us firmly aligned with their goals.
O’Conner a veteran of the genre deploys the underdog tropes at his disposal freely but assiduously crafting a tale that is unabashedly far-fetched but grounded in characters who are intensely appealing and who feel authentic. The storytelling is clumsy at times – that Nolte’s character listens to a book-on-tape of Moby Dick throughout the film feels particularly heavy-handed – but Warrior wisely steers clear of bombastic speeches or cloying sentiment.
Warrior’s climactic final fight in which the estranged brothers at last meet in the ring is both gut- and heart-wrenching. When the film’s suitably happy ending does eventually arrive the film gives way ever-so-briefly to hokeyness. But after what these kids have gone through you can forgive them for getting a little emotional.
WHAT IT’S ABOUT?
Set against the background of 1920s Spain where repression and political upheaval enveloped a nation on the verge of civil war Little Ashes focuses on the emergence of three young artists Salvador Dali Luis Bunuel and Federico Garcia Lorca. When Dali arrives fresh-faced at the University at the age of 18 Bunuel and Lorca welcome him into their decadent group and the trio become fast friends. Their budding friendship is soon threatened however when Dali and Lorca develop a special bond in which their sexual and artistic explorations collide with personal ambition love of country and their own passion for each other.
WHO’S IN IT?
In a performance shot before Twilight made him an international star that women swoon over Robert Pattinson may surprise fans with his spot-on portrayal of the sexually confused over-the-top artist Salvador Dali. With his signature handlebar mustache and a serviceable Spanish accent Pattinson captures the essence of the young Dali convincing in his depiction of the artistic tirades bisexual encounters and egotistical conceit that informed the great painter’s early years. As the object of Dali’s early affections newcomer Javier Beltran is intriguing as the fatalistic and seductive playwright and poet Federico Garcia Lorca while Matthew McNulty is quite fine as Bunuel who himself would go on to become one of Spain’s - and the world’s - most important film directors. As Magdalena and Gala the women who try to tame these artists Marina Gatell and Arly Jover are beautiful and effective even though their roles are really sideshows to the film’s true focus and intentions.
Despite the low budget Madrid in the '20s is nicely suggested and meticulously recreated. Director Paul Morrison has a nice feel for the period and a good eye for casting these tricky roles.
The film tries to bite off more than it can chew covering too much of the era and coming off as a mere overview of these times and key relationships. The idea of seeing the artists as young men is good but not enough time is taken to really show what they are made of. The artistic fire and sexual freedom that must have been prevalent then is glossed over and not totally convincing. This probably would have worked better as a TV mini-series.
BUT SHOULD TWILIGHT FANS LINE UP?
As his first film post-Twilight it won’t matter. Robert Pattinson may be de-fanged here but this independent art-house item won’t be around long enough to become a blip on his new fandom’s radar.
NETFLIX OR MULTIPLEX?
This small flick probably won’t find its way to the local mall. Considering the hard “R” nature of the material Pattinson’s adoring young flock will probably have to wait to see it on DVD anyway.