By Molly Tursi
Staff Writer
On Sept. 1, “The Smashing Machine” stoked the anticipation of global audiences following its world premiere at the Venice International Film Festival. The film was released to U.S. theaters on Oct. 3, just one month after winning the Silver Lion directing accolade in Venice.
Distributed by entertainment company A24, “The Smashing Machine” is a biographical sports drama written and directed by A24 veteran Benny Safdie. Known for his collaborative work with elder brother Josh Safdie, “The Smashing Machine” signifies the beginning of Benny’s solo career, as well as a swift departure from the brothers’ crime thriller streak defined by the films “Good Time” and “Uncut Gems.”
While offering Safdie a variety in genre, “The Smashing Machine” remarkably proves the range of actor and former WWE wrestler Dwayne ‘The Rock’ Johnson, whose filmography largely consists of action comedies.
Based on the HBO documentary of the same title, “The Smashing Machine” explicates the interpersonal life of MMA pioneer Mark Kerr, ravaged by his debilitating addiction to painkillers.
Spanning from 1997 to 2000, the film acutely delves into the relationship between Kerr and his girlfriend Dawn Staples. Played by Johnson and Emily Blunt, the couple’s tense dynamics are portrayed from a voyeuristic vantage point.
By use of shaky cam, frame within a frame and personal camera angles, Safdie subtly imitates a documentary style while also maintaining drama only fiction can orchestrate.
“The Smashing Machine” is fraught with tension and bitter authenticity, with Johnson and Blunt as the emotional agents. Safdie’s solo debut is leveraged by the grit of the story, convincing audiences to understand the strife of the characters on an intimate level.
In contrast to the archetypal sports biography, “The Smashing Machine” is neither heroic nor inspiring. In lieu of a grand win, a cloying pursuit of love, or unfaltering athleticism, there is isolation, self-loathing, a splintered relationship, and unremitting failure. Kerr’s story deflects the prize of professional sport and ruptures the alliance between an athlete and his triumph.
In the hope of a faithful portrayal of Kerr’s life, the former MMA pioneer worked closely with Safdie and Johnson on the film. As Kerr remarked to Entertainment Weekly regarding the cataclysmic fight between him and Staples, “The contrast between what happened, and the documentary, and how that scene went down, it was as close to watching a home movie. It's like being a voyeur, watching my life, and almost feeling like I need to turn away. ‘I shouldn't be watching this.’”
Despite the film's underwhelming opening weekend, raking in a meager $5.9 million at the box office according to Deadline, “The Smashing Machine” is an elevation in the careers of Safdie and Johnson, and an intriguing win for MMA fans seeking a provocative depiction of the underbelly of the sport.
Revealed exclusively by Deadline, Safdie and Johnson will reconvene as director and actor on a different note with “Lizard Music,” an adaptation of Daniel Pinkwater’s science fiction novel of the same name. Production of the film is still underway as the filmmaker remains in search of his market.
