Combat and Hollywood: Part One

One at a time please (the enigma of group combat)

True, there are rare occasions where carnage ensues in a grand melee. But there is an unspoken rule of film etiquette that all ‘barnies’ are settled with decorum and civility. In essence, this is an extension of Lazy Writing.

Picture the scene. No, don’t bother. Pictures misrepresent the emotional and tumultuous aspect of a brawler’s mind. As Atticus Finch said, you’ve got to wear someone’s shoes to get a feeling for who they are. So, step into the shoes of the antagonist, one of twelve. They’ve encircled the hero. Let’s call him (or her, or them) Jackson Hammerstrike, the meanest PI in Sewer City. Jackson’s a legend. All the crime bosses know of their antics. (Strangely, none had thought to assassinate them with a sniper rifle, or a car bomb, or poison). Anyway, Jackson’s the centre dot of a clockface and every hour mark is a leering psycho waiting to rip out some guts. You know the ensemble. There’s the big bald guy, built like a Bentley, IQ of an Oxo cube. There’s almost definitely a token oriental. There shouldn’t be. That guy from Kyoto should be a maniac on Nintendo, not knives. Give us a break Hollywood. There’s maybe a chick. One of two moulds. Horrifically stereotyped; manly and butch, or super-sexy and oozing duvet appeal. And you know at some point hers and Jackson’s eyes will meet in a pointless moment of ‘will they, won’t they?’ – NO! They won’t. He’s going to kill her; Jackson’s a problem drinker and unadulterated mass-murderer. But it’s fine, It’s Hollywood.

John Wick gets a free ride; don’t diss Keanu – They killed his dog, man! (John Wick, Summit Entertainment, 2014)

I’ll fast forward. It’s necessary to point out the absolute nonsense of the scene. In the next five minutes of (admittedly comical) fight choreography, someone will throw something at the hero. Hell, it might stick. A hefty pole will be wielded. Again, it will likely make a comedy ‘boing’ sound as it hits Jackson. But Jackson won’t stay down. Ding, ding, round two. Point is, none of these actions will happen until an obscene amount of fist-waving and foot-flailing has taken place. You know the sounds. Go get a steak from the freezer. Defrost it, half way. Start punching it. That’s a good noise right there. That’s knuckles humping face meat. Of course, you won’t hear Jackson scream as the metacarpals shatter under the relentless grind of baddie beating.

Ouchies (courtesy Handandwristinstitute.com)

Now, all these seasoned serial killers and professional hard-guys know the score. Jackson’s tough as a squirrel’s nuts. So, they’ve got their guy surrounded. All they need to do is advance, close the space, and BLAM! Jackson’s heroics end under a barrage of nastiness not seen since Westlife covered Manilow’s Mandy. So, they win, right? No, they don’t. Why? Because Hollywood dictates one simple mantra: Bad guys queue.        

Squirrel Nuts. Don’t be offended. Nature is beautiful, or not.

And so follows a scene of predictable, meat-slapping nonsense. Strangely, it will also mimic the abstract progression of a PC game. You know, the weakest fighter attacks first. Their mode of attack is universal: an overhand slice with a kitchen knife or a tyre iron. Jackson either catches the weapon and knocks opponent #1 out, or, sidesteps and sends them into a convenient pile of clattering objects. The scenario will dictate whether it’s an improbable display of canned beans, or a pile of scrap metal. Either way, it will be noisy.  And silly. You need some comedy to lighten up death.

We can give Hollywood plaudits for one thing. Whether Jackson is a man or a woman, their top will be ripped off. Cue rippling abs and either (A) well-defined pecs, usually clean shaven, or (B) a sports-bra Jackson bought at fifteen, now positively oozing flesh. Let’s face it, you wouldn’t date either of these narcissistic maniacs. You would? Weirdo.

Bet your bottom dollar, this shirt’s coming off. (The Transporter, Canal+, 2002)

Cue the final battle. It is Donkey Kong. This guy is the same, or a bigger version of Bentley-Oxo (let’s call them BO). Jackson throws a punch. BO grins. I imagine it’s because after so much punching, Jackson’s hand is a jelly mould of pain. Any bone they once had has turned to dust, floating in a puffy fist-sack of blood and apathy. BO grabs Jackson and throws them across the room. Choose your target: another pile of cans, or more scrap metal. Our hero recovers (do they have to?) and thus begins the five-minute boss-battle. That guy from Kyoto would kick ass here. This is console heaven, a Tekken-esque fight of supreme silliness. Toward the end, both combatants are weary. To bring in science, this is probably a lactic acid build up. After five minutes of fighting, a heart-pounding activity, the system can’t keep up with demand. Lactic builds up, limbs feel heavy. There’s no respite. Adrenaline won’t work, it’s already been spent. Only rest can solve this dilemma. Rest and carbs. But Jackson doesn’t need science. He’s a figment of some nerdy dream. He starts to slug faster and faster. Hitting BO enough times in the face to make pumpkin soup. But it’s not enough to knock him out. This is end of level bad guy. Hollywood requires stupidity. Searching for the options: a chain, a spike embedded in the ground (who risk assessed this room?), a hook on a wall—Jackson finds his mark. There’s an open electrical box that’s clearly failed its annual safety inspection. With a leaping, flying roundhouse, Jackson shows Atticus Finch what shoes are for. His size tens plough into BO’s braindead face, sending him into a lightshow that goes on long enough to imply the fuses are redundant and the place had no RCB’s installed.  

Jackson wins. Quips something cool. Hollywood rubs its hands. The main casualty (apart from your brain) is the owner of the place where the fight happened. Several dead bodies and enough health and safety breaches to bring down Jupiter. Yeah. Maybe I’ll write a real-life version of that fight. That’d be cool… and short. Chop chop, Jackson—times up.

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