The Karate Kid
Starring: Jaden Smith, Jackie Chan, Han Wenwen, Taraji P. Henson Director: Harald Zwart Category: IIA (English and Putonghua)
On the surface, there's so much one can disapprove of in Harald Zwart's remake of The Karate Kid. The producers kept the title, even though it's not about the Japanese martial art. The awful dialogue foisted on Jackie Chan's character, who's either muttering in broken English or spewing philosophical nuggets such as 'kung fu lives in everything we do'. The politically correct representation of China as a 'magical new land' with great weather, stunning architecture (from the Great Wall to the Bird's Nest stadium) and - according to the film's starry-eyed American ?migr?, played by Taraji P. Henson - the best ice cream in the world.
And that's not to mention the ludicrous story itself, which basically scraps the already miniscule amount of realism in the 1984 original. Zwart's film hinges on whether viewers are convinced that a meek American boy can transform into a fighter able to beat battle-hardened, academy-trained thugs with sharply executed, gravity-defying stunts. It's a premise as incredible as the kung fu nirvana he visits, a holy mountain where master fighters resembling Taoist monks meditate over flowing water and conduct cliff-hanging duels with cobras next to a shrine called Dragon's Well - scenes more in place in Kung Fu Panda.
The one saving grace of this film is Jaden Smith (below right). The 11-year-old son of Will is an endearing presence amid the sanitised storyline and cultural caricatures. He delivers a performance that aptly reveals the nuances of his character, Dre Parker: the disgruntlement he feels at having to leave his friends in Detroit to live in Beijing, where his mother has found a job; his helplessness when confronted by the local bullies; and his infantile attempts to befriend and woo his violin-playing classmate Meiying (Han Wenwen).
Smith Jnr has, in fact, proved to be more adept at handling a dramatic role than his father was during his younger days. Of course, it's down to his well-written character (his parents are producers of this film, after all) - but he never resorts to impertinent one-liners or clownish acts. It's an earthliness that endears - quite a remarkable feat itself, given that every viewer knows, beyond the cinematic text, he is the scion of one of the most influential individuals in Hollywood, and someone seemingly destined to be one himself.
The film works as a family piece about a young boy's rite of passage, as Dre discovers the importance of diligence and self-worth through the mentorship of fighter-turned-caretaker Han (Chan). Those who expect more of this film, however, will be disappointed: the filmmakers reveal themselves as having limited insight into Chinese society, culture and martial arts.
Han initially teaches Dre that 'the best battles are those one avoids', prioritising defence over overt aggression; in the end, however, Dre is meeting his nemeses nearly step by step, reaching a closure which toys unflinchingly with revenge. It only shows that relocating The Karate Kid to China is more a marketing ploy than a desire to add another layer of meaning to the original story.
The Karate Kid opens today
