Why Speed Racer is the greatest blockbuster of… | Little White Lies

Dreaming Big

Why Speed Rac­er is the great­est block­buster of the 21st century

13 Jul 2016

Words by Ethan Vestby

Stylised illustration of a racing driver's face in a red and white helmet, with a determined expression.
Stylised illustration of a racing driver's face in a red and white helmet, with a determined expression.
The Wachowskis’ pri­cy paean to juve­nil­ia is a glo­ri­ous mul­ti-coloured fol­ly which stands in stark con­trast to its block­buster brethren.

A block­buster” only in the the­atri­cal sense, Lana and Lil­ly Wachowski’s Speed Rac­er was large­ly shunned by audi­ences upon its release in May 2008. The crit­ics weren’t much kinder: Slant Magazine’s Nick Schager called it, hyper-digi­tised Skit­tles soup”; Alon­so Duralde of MSNBC invit­ed view­ers to, imag­ine some­one pour­ing hot, melt­ed Star­burst can­dies into your corneas”; and Rolling Stone’s Peter Tra­vers put it that the Wachowskis, pro­jec­tile-vom­it their cot­ton-can­dy dreams all over the big screen.” Anoth­er com­mon crit­i­cism shared by both detrac­tors and many of the film’s fans was its 135-minute run­time; cer­tain­ly lengthy for what is gen­er­al­ly con­sid­ered a kid’s movie. AO Scott wrote in his New York Times pan that Speed Rac­er, is about a boy dri­ving a car, sure­ly a sub­ject that cries out for lin­ear­i­ty, sim­plic­i­ty, velocity.”

Sad­ly, Speed Rac­er was fault­ed for its for­mal and nar­ra­tive ambi­tions in the same sum­mer that saw the com­mer­cial and crit­i­cal dom­i­nance of two com­ic-book films – The Dark Knight and Iron Man – which set the regret­table tem­plates of the self-seri­ous and the cin­e­mat­ic uni­verse” block­busters respec­tive­ly. While most like to prop­a­gate a Christo­pher Nolan/​Marvel bina­ry amongst these kinds of films, in real­i­ty they’re cut from the same pro­sa­ic PG-13 cloth. The former’s idea of for­mal­ism is occa­sion­al high-res­o­lu­tion aer­i­al shots and pseu­do-philo­soph­i­cal mono­logu­ing, while in the latter’s case, Robert Downey Jr’s con­stant quip­ping and some inert CG robot bat­tles account for buoy­ant pop filmmaking.

But with nei­ther ten­u­ous War on Ter­ror allu­sions nor brand man­age­ment on its mind, Speed Rac­er stood in oppo­si­tion to this bur­geon­ing block­buster Tra­di­tion of Qual­i­ty. Using an intel­lec­tu­al prop­er­ty to make an anti-cor­po­rate state­ment (albeit a con­tra­dic­to­ry one, being on the Time Warn­er bankroll), the film is not so much an attempt at ele­vat­ed juve­nil­ia as it is about juvenilia.

We open on the adult Speed (Emile Hirsch) anx­ious­ly tap­ping his foot pre-race, only to quick­ly flash back to his younger self (played by Nicholas Elia) in class. From the get-go he has one thing and one thing only on his mind: rac­ing. The film whizzes in and out of flash­back sequences (the pres­ence of Raúl Ruiz reg­u­lar Melvil Poupaud as a race com­men­ta­tor pro­vokes the com­par­i­son with the Chilean director’s yen for tan­gen­tal nar­ra­tives), not so much tran­si­tion­ing as slid­ing between scenes; heads rolling from one back­ground to anoth­er, as if there’s no bar­ri­er between each new dig­i­tal landscape.

A person wearing a white racing helmet and suit, inside a red and white racing vehicle.

The Wachowskis went to unprece­dent­ed lengths to match the orig­i­nal look of the 60s car­toon, shoot­ing fore­ground, midground and back­ground sep­a­rate­ly, then dig­i­tal­ly com­posit­ing every­thing togeth­er in post-pro­duc­tion to achieve a seem­ing­ly end­less depth of field. All this ampli­fies the melo­dra­ma at the heart of the film; the death of Speed’s old­er broth­er, Rex (Scott Porter). Return­ing to that open­ing sequence, we see Speed in the mid­dle of a race dri­ving along­side Rex’s ghost as he risks break­ing his record – a thrilling set piece that estab­lish­es the film’s emo­tion­al stakes. Despite Speed being the title char­ac­ter, the film is real­ly an ensem­ble piece about his fam­i­ly unit: Mom (Susan Saran­don) and Pops Rac­er (John Good­man), Speed’s younger broth­er, Spri­tle (Paulie Litt), his pet mon­key, Chim-Chim, and girl­friend, Trix­ie (Christi­na Ricci).

Lat­er, the con­glom­er­ate Roy­al­ton Indus­tries tries to seduce Speed into singing a con­tract to join their team, even though it’s clear he won’t budge from his fam­i­ly-run inde­pen­dent Rac­er Motors. While Spri­tle and Chim-Chim ini­tial­ly seem to fac­tion as the de fac­to com­ic relief for younger view­ers, even­tu­al­ly we come to see them as an ide­o­log­i­cal pin­point. A hard cut from Royalton’s utter­ance of mon­ey” to a sug­ar-rush addled Spri­tle air-gui­tar­ing to Free­bird’ in the com­pa­ny head­quar­ters – it’s the Wachowskis’ earnest idea of anar­chy, present in the ram­bunc­tious antics of child and monkey.

Yet Royalton’s speech isn’t just about cap­i­tal. Cru­el­ly, he reveals to Speed that every great race was fixed and the heroes that adorn the posters on his bed­room wall were all part of the façade. From this point on, the film’s dra­ma expands from the weight of lega­cy to regain­ing pas­sion for one’s voca­tion in a world that con­stant­ly seeks to dilute it for cap­i­tal­ist gain. While mon­ey remains an abstract notion with­in this car­toon world, the Wachowskis, who dared to con­clude their ultra-sleek Matrix tril­o­gy on the image of a utopia, turn this child-like opti­mism into a polit­i­cal statement.

By the time the film quotes Jupiter and Beyond the Infi­nite” from 2001: A Space Odyssey as Speed cross­es the fin­ish line in the cli­mac­tic scene – explod­ing cars coa­lesc­ing into a stream of colours – there’s a feel­ing that the direc­tors are throw­ing a jubi­lant mid­dle fin­ger to their crit­ics. And while it would be tempt­ing to call the film the Blade Run­ner of its time, near­ly a decade lat­er there’s lit­tle trace of Speed Racer’s influ­ence on cin­e­ma (or rather adver­tis­ing, which served in the case of reclaim­ing Rid­ley Scott’s 1982 film mau­dit). Yet per­haps Speed Racer’s per­ceived fail­ure vin­di­cat­ed its rad­i­cal stance? Its visu­als are too sin­gu­lar­ly unique to be co-opt­ed, its mes­sage too hon­est for any­one oth­er than the Wachowskis to believe in. Its vic­to­ry wasn’t to sell more, but sim­ply the fact that it actu­al­ly got made.

What do you think is the great­est block­buster of the 21st cen­tu­ry? Have your say @LWLies

You might like