Modernising an aging franchise can make or break a filmmaker’s career. Takashi Yamazaki solidified an unimpeachable legacy as a leading filmmaker in Japan thanks to the success of Godzilla Minus One. On the contrary, Elizabeth Banks was left struggling for oxygen after the box-office misfire that was 2019’s Charlie’s Angels. Ultimately, it all comes down to whether a filmmaker is bold enough to take big risks and deliver an emotionally rewarding experience.
Director-writer Sidharta Tata’s latest pic, Ali Topan, is neither risky nor rewarding. The 47-year-old franchise receives a fashionably punk makeover, but at the expense of the titular hero’s soul.
Sidharta Tata’s discipline and dedication to the craft are palpable; in how he cleverly positions the camera during bloody street brawls or how he allows the actors to own their space for the quieter moments. Recruiting the smoldering Jefri Nichol as the self-professed “street urchin” who enjoys sticking his middle finger to the Man might seem like a classic case of typecasting. Nonetheless, the young actor’s commitment to the role, physically and comedically, packs enough punch to silence the skeptics.
The acting in this is a sight to behold. Following a subpar performance in 13 Bombs In Jakarta, Lutesha instead proves in Ali Topan that she has the potential to be among the finest actors of her generation. If a good actor is defined by their ability to turn a poorly written supporting character into a substantial scene-stealer, then Omara Esteghlal is definitely the talent to watch in the coming years.
Here’s the bad news, though. On one hand, Sidharta Tata deserves some credit for reconstructing the star-crossed lovers trope, redeeming the source material’s outdated and – let’s be honest here – problematic elements. On the other hand, Tata seems so preoccupied with “reconstruction” that he has forgotten to balance things up with “deconstruction”. Instead of patiently peeling away Topan’s hardened facades, Tata goes for the easy way out – opting for flashbacks, a very brief family scuffle, and Nichol’s manly tears to crack open Topan’s humanity. This trick is seductive in the audience’s eyes, but it does not allow them to understand the manic richness inside this troubled man’s psyche.
The same superficial treatment also applies to Anna Karenina. The heroine’s swagger aside, once it is time for Karenina’s emotional arc to find its resolve, Sidharta Tata chickens out. Karenina’s reunion with her estranged sister, a scene that could have been the film’s highlight, was frustratingly rushed and abrupt. Despite Karenina’s formidable education, she struggles with ignorance and naïveté concerning how the other half lives. Unfortunately, Tata does not bother to further dissect these very harrowing shortcomings.