David Mamet was America’s best dramatist and moviemaker when he was a shmuck liberal, and remains such now that he has become a shmuck conservative. His best movie is “Redbelt,” his last. (His second best was “The Spartan,” which he made just before “Redbelt,” but this is much better.)
Every time I watch “Redbelt” I see stuff in it that maybe even Mamet didn’t notice. Here is a list.
1. Most precious moment: “Don’t stand there.” (I’m sure Mamet intended this, I just wanted to note it.)
2. The main character, a martial arts instructor, never objects to the essential unfairness of the blackball technique for handicapping a contestant. We all feel this unfairness intensely. But of course we all miss the point that the unfairness penalizes the unhandicapped contestant. Why?
3. After discovering that the blackball technique has been compromised, he leaves the contest in protest. As he is exiting the arena, he encounters his female attorney in a stark scene of concrete support (Temple) columns. Actually, she has been shadowed in one of the columns, actually has been the column. When she steps forward, she is no longer a lawyer, but a goddess.
4. She slaps his face. Why? Because he is not dead. He thinks he is protesting against the “contest” framework, but actually he has accepted it, for winning and losing are the terms of all contests. (Her slap asks, “For this I had to become mortal?”)
5. The Greek tragic heroes died because of their hubris. Mamet has created the first such hero who wins because of his hubris.