Thoughts on fight sequences that are more than just… fight sequences.
I sat glumly through the new Captain America movie. It was too long, and it took itself too seriously. There’s probably something to the theory that no post-9/11 superhero film can afford to be, you know, light and fun and nothing but escapist entertainment, but then, the peak of the Cold War, with the ever-present spectre of nuclear annihilation, yielded the preposterously diverting James Bond films – so I don’t know. And it isn’t just the seriousness in themes, with these new films. There’s also the seriousness in tone. The first meeting between Iron Man and Spider-Man feels like a chamber scene out of Chekhov. It all feels like they’re straining for something that’s not there, some sort of mythic grandeur. But there are too many characters, and you need a film as long as the Mahabharata to do justice to all of them, to make grand myths out of each one of them.
But at least the action scenes deliver, and the best one comes towards the end – it’s a fight between Captain America, Iron Man and Bucky Barnes. This is the only time the film comes anywhere close to myth, and it’s because these aren’t empty action moves, like in the Bond films. We’re not just asked to thrill to the way the characters duck and swerve and defy gravity. We are invested in their past (history), in their future (destiny). We want revenge for Iron Man, whose mother Bucky Barnes killed. But we know Barnes was brainwashed, so we don’t want to see him die for actions beyond his control. And we worry, more than anything, that the longstanding friendship between Captain America and Iron Man will come to an end (it’s always heartbreaking to watch great friendships rupture on screen). When the Captain makes his choice, bringing his mighty shield down on the glowing core of Iron Man’s armour, it’s as though he’s driving a stake through the heart.
So I’m talking about action as not just an excuse to admire the action choreographer’s work – though, as the Bond films keep reminding us, that’s its own kind of fun. But fun is all it is. We admire it at a superficial level. But we dive deep into Captain America’s stake-through-the-heart action scene, because this is action as an extension of character. The recent Tamil/Telugu film 24 has a great instance of such a scene. The protagonist, trapped in the villain’s den, isn’t itching for a fight. He wants to hide, escape. But when his childhood friend is tortured, he’s forced to do something. The action is an extension of his feelings for this friend, plus his frustration about his own stupidity at finding himself in this situation in the first place. The action says: “I care so much about you that I will risk my life and try and save you… but aaarggh, I’m such a fool.” You may or may not like the action choreography, but that is execution – this is about intent, the reason for the action sequence.
Of course, you could argue that there’s a reason behind all action scenes – say, Bond wanting to stay alive or prevent getting caught or a Tamil-film hero fighting off a few dozen henchmen. But these aren’t emotional reasons. Take Trishul. No one today can take its action sequences seriously, for the choreography is practically primitive. But the intent behind each one of them – there are four in all – is enough to make them important, valid in the context of the screenplay. The first two action scenes aren’t just about Vijay (the Amitabh Bachchan character) beating up a couple of bad guys. It’s about a penniless man with a sinister dream using the only things he owns to achieve that dream: his brains, his fists. It’s all part of a plan. The physical fight is simply a subset of his psychological war with the father who abandoned his mother.
The final action scene is a more conventional heroes-versus-villains stretch, but, again, there’s something more. The action sets up the mythical stage on which the father can atone for his sins by taking the bullet meant for his son. (It wouldn’t do to have him die in a hospital bed, after a tearful confession.) In the hands of really good screenwriters, action scenes take on these other dimensions. Take Aboorva Sagotharargal/Appu Raja. A minor action scene paves the way for the reunion of mother and son. A more conventional writer would have staged this meeting in a temple, say, or the mother might have seen the son on the road while she was taking a bus, but with the action element, the tone of the emotion changes. On top of the son trying to escape (his emotion is “I have to save my skin”), we have the mother’s emotions, a quicksilver transformation from “Please help, this man may kill me” to “Ohmygod, he looks just like his father.”
The third fight in Trishul is between step-brothers Shekhar and Vijay. The immediately apparent reasons for the fight are that (1) Vijay is trying to bring Shekhar’s father down, (2) Vijay tried to cause friction between Shekhar and his girlfriend, and now (3) Vijay is helping Shekhar’s sister get married (against their father’s wishes). All of this causes the innately civil Shekhar to explode, and this is the underlying emotional dimension in this action sequence, that this suave, sophisticated, golf player has been forced to “come down” to Vijay’s level. The ultimate fight-between-brothers, of course, is in Agni Natchatiram. It could have happened at any point, during any of the numerous encounters between the step-brothers who just cannot stand each other. But Mani Ratnam makes us wait. And wait. And wait. And well into the second half, the action scene occurs. The underlying emotion here isn’t about who wins. It’s that they need to get all this poison out of their systems. It’s action as psychotherapy. At the end of the fight, they just fall, exhausted. Nobody wins. But now, they can finally be brothers.
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Isaac Benedict
May 14, 2016
Damn! I saw “Lights, camera” and for a moment I was elated, thinking Lights, Camera, Conversation was back. 😦
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venkatesh
May 14, 2016
How can you write about action sequences and not mention Zanjeer , Amitabh Bachchan , closing the garage door, fighting and then drenching his hair under a tap at the end. Mythical fight scenes with context dont come any better.
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ramitbajaj01
May 14, 2016
Sir, you thought this movie was way too serious? I thought seriousness was only a garb, a pretence. Underneath, it was a very funny, light movie. Just like the X-men movies. Infact, much lighter than X-men movies.
It was a paisa-vasool, timepass, re-watchable movie for me.
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Satwick
May 14, 2016
I always wondered “Why do action scenes in SS Rajamouli’s films stand out?” , I think now I have the answer. SS Rajamouli is doing this from his very first film. Though they are really well choreographed, the audience are always emotionally connected with the intent of the characters which made them stand out. I personally believe you would have got more examples to mention in the article if you look into SS Rajamouli’s films.
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MANK
May 14, 2016
Venkatesh, you mean Dewaar right?. yes that was a truly mythic fight scene and amazingly thats the only fight scene in the film.. that fight sequence has been copied many number of times over the years – like in Run and Pokkiri
In Zanjeer too, the first fight between Bachchan and Pran is mythic. that is vijay going to Sherkhan’s territory to beat him up and assert his authority. of course the police station sequence that build up to the fight scene is truly iconic.
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MANK
May 14, 2016
And speaking of AS, i would say some of the Kamal films have the best built up and choreographed fight scenes . this fight in the lift in Vettri vizha is a favorite of mine.the intricate hand to hand combat is choreographed brilliantly – every punch kick and block. in a closed space- just the way the tension is built up through close ups, the editing and once the fight starts, it all seems just technically perfect how kamal overpowers the assassin
And so is the stick fight in Thevar magan. starting out rather playfully, then getting a little dirty and then it becomes like a choreographed dance routine before seguing into the actual sandhu pottu song &dance sequence. i dunno whether there is a any other fight sequence so seamlessly transforms in to a song &dance sequence.the fight sequence perform another task as well,of bringing out the hidden layers in the lead characters that Kamal plays in the films.so it isn’t just a brilliant stand alone action set piece, but it is simultaneously moving both the plot and character forward, which is again a Kamal specialty.
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Rohit
May 14, 2016
If Bahubali was the definitive masala movie experience for me in 2015, then the honor for this year goes to this magnificent beast of a movie. Yes, it is overlong and slightly lumbering through the first hour. But no other movie for me, has come quite close to delivering those lip smacking moments of satisfaction that one gets from turning the pages of a well thumbed comic book on a lazy Sunday afternoon, a handful of cookies and milkshake by your side.
At the risk of sounding like one of those spoilt rich kids who munch on gourmet pizzas and double deckered burgers rather than the homegrown Desi ghee wala samosa, Rangan is it possible that age is a deciding factor for a person slash critic while viewing these kind of movies. Because while I can stomach a person actually finding the movie to be too pretentious for his/her tastes, I fail to see how one can have a lukewarm response to this kind of movie. Unless one has Crossed the threshold age from which everything stops being fun???
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Srinivas R
May 15, 2016
My favorite action scene with a sense of myth is the pre-interval fight in Baasha. The dark past of the character is hinted at through out the first half. He is such a simpleton now that he would rather get voluntarily beaten up than get into any conflicts. So when the action block happens, it is a protective brother finally shedding his mask. A gangster rediscovering his violence and a mythical hero being reborn. The icing on the cake is line that defines the phrase ” punch dialogue “
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Srinivas R
May 15, 2016
MANK, in Vetri Vizha, there is fight scene inside a lift that’s brilliant. There is a pause before the actual fight, just as if two strangers being indifferent to each other and it comes alive, one of my favorite action scenes
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Yoganand Netrakanti
May 15, 2016
Why doesn’t the article fails or missess to discuss about Telugu films.The reunion of mother and son is excellenty picturised and well emoted by Chiranjeevi and Sarada in Telugu film ‘Adavi Donga’ loosely inspired by ‘Tarzan’ and ‘Jungle Book’. The hero( Chiranjeevi) is abaonded by his mother (Sarada) when he was a baby.Yes, Urvashi Sarada. There he grows up in the forest and brought up by the wild animals. There is a particular scene where the dumb, moron, unlettered and savage son (temporarily) fails to recognise and understand the lady is his mother. He cannot understand the language and his relationship with her. The heroine mediates by pointing out the elephant and baby-elephant to the hero to bring in the relationship between the son and the mother. This reunion is the turning point for the further development of the stopry. The hero becomes an educated, civilized and polish and learns how to speak and even recite slokas in Sanskrit under the tutelage of his mother.The mother who provokes him to take revenge on their adversaries. Later like any other commercial heroes, the hero sings duets with the hero and goes on to romance with her and fighting sequences with the villain
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Honest Raj (formerly 'V'enkatesh)
May 15, 2016
The fight scene between Prabhu and Karthik in AN is truly fantastic!
Over to Kamal, my all time favourite is the ‘blade’ fight in Nammavar.
MANK: When you say ‘overpower’, I think nothing beats this one from Tik Tik Tik (in the dark room starting at 3:46):
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An Jo
May 15, 2016
There CANNOT be an article on the most meaningful fight scenes in Indian cinema and NOT have DEEWAR.
The scene is a classic amalgamation of ‘angry young man’ persona within and outside of this film. The build-up starts with just a ‘slap’ at the hafta line and DOESN’t end after Vijay just washes off the grime beneath a water-tap. It extends, to the next scene where the mother asks what the hell was the need to fight? To which he replies, ‘ What did you want me to do? Run away too?” Classic – the fight scene was Vijay’s character simply exploding with the inner injustices carrying and exorcising those demons he’s been carrying around since the MERA BAAP CHOR HAI imprint. Peter and his men were, simply, the via-ducts…
One of the key scenes – a ‘fight’ scene – in the movie is the one where Vijay takes on single-handedly (below) – the extortionist and his bunch of goons in a stock-room. Amitabh sitting on a chair brusquely waiting and then telling the goons, ‘Peter, you guys are searching me all over and I am right here, waiting for you,’ is one of the most defining moments of Indian cinema; if not more, for sure akin to De Niro’s ‘You talking to me’ scene or Hoffman’s, ‘Hey I am walkin’ here, I am walkin’ here!’ In that one scene, Amitabh conveys a text-book gamut of masculinity, of a survivor, of an outlier, of a ruffian-by-force that has yet to be bettered by ANY actor on the Indian screen. [And of course, a sharp precursor to this iconic scene is the one where Amitabh sits right beneath a portrait of Gandhi sipping tea from a saucer-plate and tells his compatriot Rahim Chacha, ’Tomorrow another coolie will refuse to pay the 2 rupee extortion fee’, conveying an ever-elongating distance between Gandhi’s principles and the resultant of ‘unrest’ in the Indian proletariat of the time, the ‘70s.]
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P
May 16, 2016
I really liked the movie. And I liked the dialogue (Captain America’s own dialogue) recited back to him by Peggy Carter’s niece about planting yourself like a tree next to the river of truth and saying “No, you move” 🙂
PERFECT. EPIC. MELODRAMA 🙂 ❤
I actually cried at the ending where he sends the letter to Iron Man.
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MANK
May 17, 2016
Honest Raj , oh yeah tik tik tik for sure. also in AN, the climactic hospital fight is so superb and so technically brilliant – especially the shot of karthik throwing down the bottle from above and prabhu catching it from under – & sheer edge of the seat stuff.
And speaking of action as an extension of character and plot, the recent malayalam film maheshinte parathikaram is a perfect eg. the film exists between 2 fight scenes. in the first, fahadh’s mahesh gets beaten up in the streets- which leads to him swearing never to wear chappals until he has defeated his attacker- and then the final fight between the 2 in the climax . .the film is all about his character transformation between the 2 fights the fact that his rival is his girlfriend’s brother adds an extra edge to the fight. the fight scenes aren’t the usual dishum dishum f tilmi fights, but the original stuff , real down & dirty
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Rohit Sathish Nair
May 17, 2016
MANK: What about Kireedam? That fight scene changes the whole movie
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Murugan
May 17, 2016
fights means guna fights, mahanadhi fight, virumandi bull fight n many more, tevar magan climax, hey ram, nayakan fight, mmkr toilet fight…
U can name hundreds more…
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MANK
May 17, 2016
Rohit, oh yes kireedam is the film that instantly came to my mind when i was watching maheshinte prathikram. even though the tone of the 2 films are very different, the similarity between the structure of the films, the character transformation of the protagonist between the first fight – in to which he is unwillingly dragged in to – and the climactic fight – which he instigates- felt very striking to me.Another film with similar structure is Devasuram, the fight between Lal and Napolean – by which lal is handicapped – and the character transformation that follows where he becomes a good guy from being bad- and the final fight in the temple where lal handicaps napolean- this time to lead a peaceful life – also follows a similar arc.
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KayKay
May 18, 2016
Interesting post. I’d like to comment specifically on this statement, B:
“It was too long, and it took itself too seriously”
This was something I wanted to address in the Batman Vs Superman thread but didn’t get around to it.
First off, let me state that IMHO, NONE of the 13 movies in the Marvel Cinematic Universe (MCU) qualify as dark and serious in the slightest. Marvel (supervised closely no doubt by Sith Lords Disney) have got this formula down to Precision Art: A perfect frothy vanilla concoction with just a pinch of vinegar to convince you that you’re sipping strong stuff. Serious scenes are perfectly interspersed with jokey ones. A confrontation leads on to a jokey one-liner. An important character placed in dire peril or seemingly perished shows up a couple of reels later with a relatively healthy pulse.
(SPOILER WARNING)
Nick Fury dies…but then, not really.
Bucky dies……but then, not really,
Rhodey falls and is seemingly dead…..but then, not really. Paralyzed? Eh…not really.
If Cap America 3 really took itself seriously, you wouldn’t get a mid film smooch between Cap and the niece of his one-time lover (!) while Sam and Bucky smirk from the car.
If Cap America 3 really took itself seriously, it would have ended directly after the climactic bout between Cap and Iron Man, with bitterness, anger and recrimination poisoning the air, NOT with a love note and a magic phone to “call if you hey, ever need me cause I’m there, bro!”
Which is why, for me. Batman Vs Superman was the true SERIOUS superhero flick of the summer. Sure, it was flawed as shit, but it truly embraced it’s nihilism and the ending really made me feel like shit. Releasing barely a week after an airport terrorist bombing, BvS was a movie that said “Know what? It’s a fucked up world we live in. THIS is the Superhero movie we deserve”
Cap America tells you “You know, airports ain’t so bad. It’s where enhanced human beings congregate for 6-way showdowns”
(TO BE CONTINUED)
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brangan
May 20, 2016
An Jo: There CANNOT be an article on the most meaningful fight scenes in Indian cinema and NOT have DEEWAR.
Yes, there CAN be one such article — you just read one 🙂 Given the limited space, I’d rather about relatively untalked-about things than that Deewar fight that 5000 people have already talked about. This isn’t a listing.
KayKay: Look forward to Part 2 of the comment. I find these films solemn and glum and yet utterly weightless. And your comment expanded on the ‘why.’
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An Jo
May 21, 2016
Yes, there CAN be one such article — you just read one:-) Given the limited space, I’d rather about relatively untalked-about things than that Deewar fight that 5000 people have already talked about. This isn’t a listing.
LOL BR. I just read one. The reason I brought in DEEWAR is that more than TRISHUL, the intent, content, and the mythical extension of a character arguably hasn’t been displayed as strong as in DEEWAR as in any other Hindi film; perhaps excluding ZANJEER. And it makes it even more fantastic that this is the ONLY ‘fight’ scene in the film. Come to think of it, ‘fighting’ or as the ignoramous Dev Anand put it, all started with Amitabh “अब अमिताभ पर्दे पे आएगा तो मुक्के तो ज़रूर मारेगा|सारी जड़ की फ़साद उसी से शुरी हुई है”| That is the extent of influence of Zanjeer or/and Deewar.
Before that, of course, you had fight scenes. But they were relegated to Biswajeet fending off 3 goons in Shimla or Rajendra Kumar jumping and dancing around a nuclear reactor..
And yes, 5000 folks might have written about Deewar. And so did many about TAXI DRIVER. But you did write a piece on it!!
BTW, there still isn’t any piece on DEEWAR by you the way you wrote a piece of re-screening of SHOLAY a few months back..
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Santa
May 21, 2016
KayKay: Agree 100%. This the problem I have with all Marvell movies thanks to which I pretty much stopped watching them after the 1st avengers. Nothing ever seems to be at stake; it’s a foregone conclusion that all of the ‘good-guys’ will save the universe and survive for another day, only to engage in ever more cartoonish fight sequences. And after a few movies, the snappy+jokey one-liners, interspersed with a generous dose of pop-culture references, start to feel stale. Essentially there is nothing new on offer – the action, the jokes, the acting, all have become utterly formulaic.
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I ain't a bloody squid
May 23, 2016
I was surprised to walk out of Batman V Superman kind of uplifted but with Civil War, not as happy despite enjoying it more. Civil War for me ended up being the darker movie, with Batman v Superman only being darker in colour.
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