The Smashing Machine

Don’t buy that bowl, I muttered, as Dwayne Johnson cradled it in his huge hands. It’s a Japanese bowl and will obviously break at some point, and will then be repaired by someone who can’t quite pronounce ‘kintsugi’ but says it anyway, upon which Oscar voters will have their minds blown by the realization that you’re a broken man who needs putting together.

As an Indian critic pummelled into submission by the hagiographic reverence and sanitised beats of homegrown biopics over the years, a film like The Smashing Machine is always a bit of a culture shock. What do you mean the hero is not really a hero? What do you mean he’s willing to be emotionally naked, broken, vulnerable, ugly, difficult and unreasonable on screen? What do you mean he’s a victim of his own decisions and not wronged by the world? What do you mean he’s not an inspirational story with a message? Benny Safdie’s sports biopic has a mixed-martial-arts protagonist who’s a serial winner with a drug addiction problem, a mansplaining habit, a toxic relationship that weakens him, a punctured comeback arc, and, eventually, he’s barely even the protagonist. It has Dwayne “The Rock” Johnson finally playing the role he was born to play — that of a champion wrestler and near-invincible strongman — only to challenge his stardom with a painfully human(e) performance.

The Smashing Machine subverts the typical sports film formula, delivering a raw, intimate portrayal of survival, addiction, and self-acceptance. Rather than glorifying the triumph of the human spirit, the film dares to explore the darker aftermath of defeat — the self-doubt, the self-loathing, and the slow, painful unraveling of a once-great champion. Benny Safdie’s docudrama, based on the true story of MMA fighter Mark Kerr, begins scattered and subdued. The first half drifts through Kerr’s daily life with an almost aimless, indie-film energy that feels too loose, even frustrating at times.

Directed by one half of the Safdie brothers, Benny Safdie, The Smashing Machine is inspired by the true story of wrestler and mixed martial arts fighter, Mark Kerr. Although it follows a conventional biopic format, the narrative and the themes it delves into sets it apart from others. Safdie, in his debut solo directorial effort, rightfully earned the Best Director award at the Venice International Film Festival a couple of months ago. Under the direction of a different filmmaker, this narrative could have easily veered off course.