One student in particular, a truck driver for an Indonesian telecom company named Iko Uwais, seemed to perfectly embody the idea that Evans was hatching. But then he starts doing Silat and he completely transforms. What sets Iko apart is that he has a very solid understanding of what he looks like when he performs Silat. The director approached Uwais, and explained that he was set to return to Wales, but he promised to return so they would make martial arts films together.
The film took its name from a centuries old Indonesian rite-of-passage. There he becomes embroiled in a conflict between an innocent girl and the human trafficers that would sell her into slavery. Merantau played to critical acclaim at film festivals around the globe — immediately building an interest in both Pencak Silat and a cinematic reteaming of Evans and Uwais.
Evans had long been a fan of such thrillers as Die Hard and Assault on Precinct 13 — films that used a single building for unyielding cinematic geography while creating feature-length tension. Evans and his partners at Merantau Films were quickly able to secure full funding for his stripped down vision, organizing the Indonesian production, promotion and distribution of the film — while partnering with XYZ Films as Executive Producers, allowing them to handle all International sales through their genre division, Celluloid Nightmares.
We wanted to explore how different martial arts disciplines could clash against each other, like a game of chess, and see how each could overcome the strengths and weaknesses of their opponents. His message congratulated Evans on the success of Merantau and the impact it would have on action films from that point forward. I was so surprised and excited when I got a reply. Judo and Silat are two very different martial arts disciplines so it made for a fascinating duel with two masters going head to head in a fight to the death.
The character, as written, is a psychotic killing machine — whose intense physicality makes him the most dangerous character in the film.
We tried to make it as exciting and dangerous as possible. All the throws, kicks and punches are based on real moves. No gimmicks, no tricks. We spent a great deal of time together, working to get it just right.
Uwais began his studies of Pencak Wilat when he was 5 years old and he continued to practice until he became a professional athelete. In , he reached 3rd place in Competition among Pencak Silat schools in Jakarta. He traveled to the United Kingdom, Russia, and Aljerbaizan in as one of the members of the professional team to introduce Pencak Silat.
In and , he traveled to Cambodia and France with the team. Later this year, Merantau Films will go into production on Berandal, which will delve further into the background of the character. He found his passion in Pencak Silat and other martial arts, becoming a professional martial arts instructor. Ruhian is also known as an instructor of an inner breathing technique designed to condition of the body to withstand any impact.
During his term as an instructor he traveled regularly to teach in different cities and abroad. In , Ruhian was hired as one of the choreographers for Merantau as a specialist in both Silat Harimau and Silat Minang. While casting the role of Eric, Gareth was unable to find an actor who would handle both the acting and fighting required for the role.
Ruhian auditioned and won the co-starring role. As a rookie member of an elite Special Forces team, Rama Iko Uwais is instructed to hang back during a covert mission involving the extraction of a brutal crime lord from a rundown fifteen-story apartment block. But when a spotter blows their cover, boss Tama Ray Sahetaphy offers lifelong sanctuary to every killer, rapist and thief in the building in exchange for their heads.
Written and directed by Gareth Huw Evans, who reteams with Uwais, star and fight choreographer of the cult sensation Merantau. Fully subtitled. Scottsdale Quarter Theatre N. Iang Darmawan Gofar as Gofar. Eka 'Piranha' Rahmadia Dagu as Dagu. Verdi Solaiman Budi as Budi. Iman Aji Eko as Eko. Yusuf Opilus Alee as Alee. More like this. Watch options. Storyline Edit. In Jakarta, Indonesia, Lieutenant Wahyu organizes the invasion of an apartment building that is the safe house of the powerful and cruel drug lord Tama and his gang.
The SWAT team breaks in the building but one lookout sees and warns the gangsters and the police force is trapped on the seventh floor. They learn that Lt. Wahyu has not informed his superiors about the operation. Now the police officers have to fight with limited ammunition against the armed and dangerous gangsters. Rated R for strong brutal bloody violence throughout, and language. Did you know Edit. Trivia All the guns used in the film are Airsoft replicas and not functioning firearms.
All the shots of the guns actions cycling, muzzle flashes and casings ejecting were added digitally. Goofs During the execution scene, when the all the rounds in the revolver are supposed to be spent it is placed on the shoulder of the final victim. At this point it's possible to see into two of the chambers, where the tips of unspent ammunition are visible.
Quotes Mad Dog : Pulling a trigger is like ordering a takeout. The international release features a new score by Mike Shinoda and Joseph Trapanese. This version was given a limited re-release in Indonesia on May 16, User reviews Review. Top review.
Just when you thought the book couldn't be rewritten. NOTE: Early, gushing reviews from TIFF Midnight Madness presentations should not generally be trusted, as many fest-goers are unable to separate the film from the experience, and formal critical consensus often sends most Midnight films into obscurity. Thankfully, THE RAID earns its stripes and deserves its praise, and stands firmly above the typically overeager reactions heaped on many other films screened in the Midnight program this year and in years past.
Star Iko Uwais is the real deal: wiry, lightning-fast and evidently the leader of a team of experts that truly takes martial arts choreography into new territory with this film and, to a lesser extent, MERENTAU before it. If there's a downside to his inevitable celebrity because of this film, it's that Indonesian cinema in general will fare no better than Thai cinema has in the wake of Tony Jaa.
Like Jaa, anything Uwais makes from this film on -- especially if he keeps teaming with writer-director Gareth Evans, as he should for at least a couple more pictures -- will gain instant and welcome interest from the west, while the rest of Indonesian cinema such as it is!
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