A film’s most poignant moment might be when Jason Statham bids farewell to his trusted M-14 rifle. This weapon is significant to Statham’s character, Levon Cade, who spent 22 years in the military and feels a strange familiarity with it. It’s the tool he selects before embarking on a mission against Russian criminal networks. However, the symbolism of the rifle is complex. We learn that Levon suffers from untreated PTSD and brain trauma due to his military service, which led to him losing custody of his young daughter after the death of his wife. Much like other action heroes, at first encounter, Levon appears to be trying to move on from his past, choosing instead to work peacefully as a foreman for Joe Garcia’s family construction company. The M-14 signifies the life he abandoned, and his decision to part with it could indicate a more optimistic conclusion.
Clearly, “A Working Man” isn’t about dealing with past traumas or spiritual consequences of violence, rather it’s a celebration of action-packed scenes. Jason Statham, along with director David Ayer (who co-wrote the script with Sylvester Stallone, based on Chuck Dixon’s novel “Levon’s Trade”, the first of 12 books featuring Cade), ensures that we vividly experience every bone-crushing hit, every lethal strike, every deadly shot. Similar to Ayer’s previous work in “The Beekeeper”, “A Working Man” portrays Statham as a reluctant, yet powerful figure of apocalyptic retribution, reawakening his unique abilities and navigating through the corrupt hierarchy of an alternate, isolated criminal underworld.
In “The Beekeeper,” it’s reptilian tech moguls exploiting the common folk, although the scope of the scheme grew so outrageously vast that even the U.S. President got entangled. (It’s hard to believe tech bros could collude with a president! Ridiculous!) In “A Working Man,” it’s gangs of human traffickers snatching girls from bars, but they’re also ensconced in a criminal underworld with their own peculiar customs and flashy styles. When Levon beats up two Russian thugs, we can’t help but wish he’d land a few more blows to punish them for their tacky bucket hats and hideous, matching, paisley outfits. (When one claims it’s their own fashion line, we secretly yearn for their swift downfall.) The antagonists in this film aren’t just cruel and savage; they’re also incredibly dumb and inept, which makes them more realistic and relatable to the world as we know it.
In a surprising departure from his gritty urban roots, as seen in films like “Harsh Times” and “End of Watch,” director Ayer presents “A Working Man” with a whimsical twist. Instead of relying on raw authenticity, he employs the imagery of fairy tales to infuse Levon’s actions with a mythic quality. The final act is set under an oversized moon reminiscent of Jupiter, and the climax unfolds in a grand house that resembles a temple, complete with towering torches outside. The villains, particularly the leader of a biker gang, are portrayed with fantastical elements such as a horned helmet and a motorcycle throne with flaring pipes and pistons. Another character is draped in an ominous, long black coat that seems to be made of crushed vinyl. The entire film feels like it’s set in another world, making Levon’s stoic, no-nonsense brutality stand out both narratively and visually, much like the fantastical violence in the first “John Wick.” In essence, “A Working Man” is not shy about making its violent spectacles visually captivating.
This aspect additionally delves into the essence of Statham’s character, which he has masterfully refined in recent times. His swift, crouching fighting style gives him the liveliness of an action figure, blending humor and intimidation seamlessly, allowing us to partake in the carnage guilt-free. Moreover, his icy stare merges Buster Keaton’s iconic stoicism with a timeless quality, reminiscent of those colossal statues found on Mount Nemrut or Easter Island. Statham’s intentionally blank facial expression serves as a canvas for various emotions – desire for tranquility, craving for chaos, or anything else – making him both the wittiest and most melancholic of action stars. As he says farewell to his M-14, you might find yourself laughing and tearing up at the same time.
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2025-03-28 17:54