A popular sports drama trope is the villain practising for the big fight/game in a futuristic, high-tech environment while the hero practices in ‘the real world’ aka the woods. It sells the idea that old-school methods are the best and the trope has been made popular by films like Rocky 4. Gran Turismo offers a refreshing subversion of this trope, with a real-life story to back it up. The film revolves around a video gamer who gets a shot at applying his gaming skills in real world racing. Ostracised by the racing community—which won’t recognise video gamers as real racers—Jann Mardenborough (Archie Madekwe) must prove them all wrong.
Director: Neill Blomkamp
Cast: Archie Madekwe, David Harbour, Djimon Hounsou, Orlando Bloom
However, this is where the film runs out of freshness. From then on, every beat, every idea for character motivation, every reaction, is a dull echo of sports-drama films we have seen many times over. We have a protagonist whose talents go unappreciated, a marketing genius who sees untapped potential in the game, a world-weary coach who used to be the best athlete but is a shadow of his former self now, and a handful of bullies for the protagonist to humble and surpass. However, the film does deserve appreciation for not sticking to stereotypes in its depiction of video-gamers, who are often shown as out-of-shape social outcasts with crippling anxiety. However, professional racers and pit stop crew calling them ‘noobs’ and behaving like high-school bullies could have been dealt with better. The dialogues are a letdown, and the good performances, including Djimon Hounsou’s emphatic portrayal of an emotional father, David Harbour’s disgruntled mentor and Archie Madekwe’s sheer range, rise beyond the weaknesses in writing.
The best I could say about the visuals is that they have the precision and elegance of a corporate video, the type you would likely see playing on a loop in the waiting lounge of a Nissan or Sony headquarters. For a while, it seems all right, but it’s hard not to be disappointed by a brilliant real-life story getting reduced to an elaborate advertisement. The racing sequences try to rouse excitement, but some editing choices—like the random insertion of drone shots every now and then—don’t help.
Despite Archie Madekwe’s best efforts, the protagonist’s arc in the film is made up of largely external struggles. The internal struggle isn’t fleshed beyond having to ‘prove my father and everybody else wrong’. The fulcrum on which the entire story is mounted upon is Jann Mardenborough’s conviction to prove that he is as good as the ‘real’ racers. However, we never quite get a hold on the why of his ambition. Ultimately, the film might find a bit of soul in telling this incredible true story, but its heart largely remains is that of a board room executive.
Gran Turismo, for all its faults and (what seems to be) corporate meddling, is nevertheless a true story that needs to be told. It is a story that shows us that a changing world, one where simulations supersede reality, still has conviction, passion, and the will to challenge death itself.
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