When you hear about a film based on an MMA fighter called “The Smashing Machine,” you likely envision a tale packed with intense action, a rise to glory, a dramatic fall, and perhaps an epic comeback, all underscored by heroic music and thrilling training montages. And with a global superstar like Dwayne Johnson stepping into the lead role, you’d naturally expect a crowd-pleasing spectacle of spectacular fights and an inspiring resolution.
However, “The Smashing Machine,” which draws inspiration from the 2002 documentary, “The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr,” cleverly subverts these expectations. First, Johnson completely immerses himself in the character of Mark Kerr, undergoing a profound physical and emotional transformation. He masterfully conveys the intense high Kerr experiences from risking everything in front of thousands of screaming fans.
The Smashing Machine (English)
Adding another layer of unexpected depth is the dreamlike, experimental jazz score by Nala Sinephro. While jazz might seem an unconventional choice for a high-octane fighting drama, Sinephro’s tinkling harps, moody synths, and dissonant drums create a score that is both unsettling and strangely captivating. In one memorable early scene, as Kerr searches his home for drugs, the music expertly mirrors his chaotic mental state, fading in and out with his movements.
While the actual fights within the ring are undeniably brutal, they almost feel tame compared to Kerr’s more devastating struggles: his tumultuous relationship with his girlfriend, Dawn (portrayed brilliantly by Emily Blunt), and his escalating battle with opioid addiction. The film traces Kerr’s early career as a wrestler and his pioneering role in the world of MMA. His early confidence is almost frightening, as he boasts to an interviewer that he’s never known what it’s like to lose.
After cementing his name in the Ultimate Fighting Championship, Kerr ventures to Japan to compete in the Pride Fighting Championships. Yet, as his addiction takes hold, his life spirals out of control. He suffers a significant loss in the ring and, upon returning home, becomes unresponsive after a dangerous binge.
Remarkably, his relationship with Dawn endures through a stint in rehab. However, Dawn eventually leaves him after his recovery, prompting Kerr to seek training with legendary fighter Bas Rutten (who plays himself). Returning to the ring in peak physical condition, Kerr eventually reconciles with Dawn. The stage is then set for the 2000 Pride Grand Prix, where a potential showdown with his long-time coach and friend, Mark Coleman (Ryan Bader), looms. The film concludes with a poignant glimpse into the present day, showing Kerr, no longer a celebrated icon but a man at peace, simply working at a supermarket.
Dwayne Johnson’s commitment to portraying both the formidable strength and profound vulnerability of Mark Kerr is truly remarkable, matched blow for blow by Emily Blunt’s equally powerful performance. Their final, explosive argument, captured in a single, unbroken shot, stands out as an extraordinary and utterly harrowing cinematic moment.
Benny Safdie, taking on editing, writing, and directing duties for “The Smashing Machine” — his first solo directorial effort without his brother and long-time collaborator, Josh Safdie — has crafted a thrilling film that bravely deviates from conventional movie tropes to deliver a raw and honest narrative.
While a bit more background on the extreme fighting scene might have enhanced the experience for less familiar viewers, “The Smashing Machine,” honored with the Silver Lion at the 82nd Venice International Film Festival, remains a brilliant and moving meditation on a man who absorbed every punch life threw at him, emerging bruised but ultimately unbroken.
“The Smashing Machine” is currently playing in theaters.