Golden Arm (2020)
91 min|Comedy|30 Apr 2021
5.7Rating: 5.7 / 10 from 739 usersMetascore: N/A
A tough lady trucker trains her wimpy best friend to compete in the National Ladies Arm Wrestling Championship.

Adu panco, adalah satu jenis olahraga yang amat langka difilmkan. Apa ada yang pernah ingat Over the Top? Rasanya tidak untuk generasi milenial. Kini, tidak hanya satu olahraga ini yang diangkat, namun juga kontesnya adalah untuk perempuan. How about that? Golden Arm diarahkan oleh sineas Maureen Bharoocha dengan dibintangi Marry Holland, Betsy Sodaro, Eugene Cordero, serta beberapa atlet adu panco sungguhan.

Melanie (Holland) memiliki sebuah usaha toko roti yang terbilang sepi. Suatu ketika sobat lawasnya, Danny, yang juga pegiat adu panco, mengajaknya untuk mencari pekerjaan lepas di wilayah seberang. Di balik itu, Danny ternyata ingin mengajak Melanie untuk ikut kompetisi adu panco untuk memburu ambisi pribadinya, yakni mengalahkan Brenda, The Bone Crusher. Melanie yang teriming-iming hadiah USD 15.000 pun akhirnya menerima tawaran Danny.

Di luar jenis olah raganya, untuk genrenya, plotnya memang tidak ada yang baru lagi. Sosok Melanie yang feminim dan terlihat rapuh, menjadi sosok underdog ideal bagi protagonis utama. Dipertegas dengan format struktur tiga babak yang semua kelokan plotnya mudah diantisipasi. Formula tipikal genrenya, terfokus pada usaha sang tokoh untuk menggapai level tertinggi. Golden Arm memang bekerja seperti yang diharapkan, sementara titik lebih filmnya justru ada pada kasting dan sosok karakternya.

Jarang sekali melihat film yang didominasi para tokoh perempuan yang begitu maskulin. Melanie bagaikan seorang princess di antara para perempuan berotot di sekitarnya. Situasi kontras inilah yang dimanfaatkan betul oleh naskahnya untuk mencari celah humor di antaranya. Coba bandingkan, nama-nama alias sangar, seperti The Bone Crusher, Dominator, Killer Kate, dengan nama Breadwinner. Ha ha ha. Penampilan para kastingnya begitu natural, penuh dialog kasar yang dibawakan dengan ceplas-ceplos. Satu momen romantis Melanie dan Greg, saya pikir ini adalah salah satu dialog paling natural yang pernah saya tonton. Chemistry mereka seolah mampu membuat kita layaknya bukan menonton film tapi benar-benar mendengarkan orang berdialog.

Baca Juga  Mosul

Walau klise untuk genrenya, Golden Arm memiliki kekuatan pada pesona kastingnya dengan akting, dialog, dengan gaya humornya yang cerdas dan natural. Saya begitu yakin jika para pemainnya banyak berimprovisasi dalam dialog mereka sehingga bisa terdengar amat luwes. Setidaknya, film ini menawarkan sesuatu yang segar melalui penampilan kastingnya. Ketimbang aksinya, saya justru lebih menikmati dialognya. Satu contohnya adalah satu rangkaian dialog panjang antara Melanie dan Danny di atas truk. Saya bisa mendengarkan mereka berdialog seperti ini sepanjang durasi film.

“How did you get into a bar fight?”

“Oh My God, there’s a million way to get into a bar fight. You wanna hear my top three?”

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PENILAIAN KAMI
Overall
80 %
Artikel SebelumnyaThe Boy Behind the Door
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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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