Movies

The Shocking Scene That Proves ‘Havoc’ Isn’t Just Another Bloodbath

BBG News

In the latter portion of Gareth Evans’ hard-hitting movie, “Havoc,” which lives up to its brutal billing, a tender conversation about fatigue and sorrow unfolds between two surprised parents.

Among the characters is Lawrence Beaumont, a politician with a questionable integrity (played by Forest Whitaker), who yearns to mend fences with his distant son, Charlie (Justin Cornwell). On the other side of the spectrum is a powerful Triad matriarch, unofficially known as “big sister,” portrayed by Yeo Yann Yann. In the storyline, she’s deeply involved in planning retribution for her son, Tsui (Jeremy Ang Jones), who tragically died during a botched drug deal. However, those responsible believed the incident unfolded exactly as intended.

In this scene, she and Beaumont unexpectedly share their deepest desires for their children, both past and present. Havoc, in response, momentarily pauses, creating a hushed atmosphere amidst the chaos and gunfire. This film portrays emotions as obstacles at best and dangers at worst, but it’s the quiet moments that amplify the intensity of the loud ones.

Latching onto characters

Just like the intense and dynamic fight scenes he is recognized for, particularly in his 2011 third feature film “The Raid“, which was met with immediate acclaim at that year’s Toronto International Film Festival; this action movie can be seen as a chamber drama adaptation, where an Indonesian police unit finds themselves cornered inside an apartment building under attack from both gang members and residents. The number of shocking injuries sustained by characters in “The Raid” is so high that it could overwhelm a football stadium. However, the film’s emotional depth keeps audiences engaged.

In a chat with TIME, Evans shares that regardless of the grandiose setting and circumstances in his writing, there’s always a focus on identifying relatable aspects within the story or character dynamics. In his projects following The Raid, such as its sequel, The Raid 2, his first Netflix collaboration, Apostle from 2018, and the 2020 Sky Atlantic series Gangs of London, Evans seeks opportunities to express his personal apprehensions.

Normally, his worries revolve around being a parent. For example, The Raid 2, which is a two and a half hour crime and punishment saga, essentially tells the story of one man’s quest for his father’s approval; whether this mirrors Evans’ personal life or not, this theme seamlessly transitions into Havoc. Over a decade has since passed, and now Evans is a parent himself – a change in life that he explores directly through the themes of Havoc. “It was always about delving into the fear of raising children correctly,” he says, “and the doubt that comes with questioning every small decision.” Parents often lose sleep wondering which path their children will choose as they grow up, and whether they’ve guided them towards a good one (let alone taught them the wisdom to follow it). This is a natural concern that arises from his own parenthood in Evans’ work, but the anxiety he explores is something many parents can relate to.

Parenting with pain

To clarify, Evans isn’t a prominent figure in China’s criminal underworld, a corrupt mayoral candidate, or a dishonest police officer, much like the troubled protagonist of Havoc, played by Tom Hardy (Walker). This character, plagued by guilt due to his hidden past misdeeds, is a determined detective. Beaumont recruits Evans for a mission: to locate Charlie, who has been falsely accused of Tsui’s murder and now finds himself on his mother’s wanted list.

In Walker’s character, we see the recurring theme of the “concerned parent” emerging. He yearns to spend more quality time with his daughter due to their separation, but his ex is hesitant because of his risky occupation and questionable moral compass. To make matters worse, he often leaves gift-buying until the last minute. As Christmas approaches, we see him rushing to buy a present at a convenience store – clearly, not everyone manages perfection, particularly those in corrupt professions like Walker.

The emotional struggles experienced by Walker, Tsui’s mother, and Beaumont are deeply rooted in the narrative and events of the movie Havoc. They serve as the film’s emotional core, each grappling with their own remorse; it is their actions that have pushed their children away. Beaumont yearns to bridge this gap, while “big sister” is tormented by the bitter truth that Tsui’s demise means she can never mend it. The question arises, “When does it become too late?” “When do you surrender?” Evans ponders. “Who possesses the strength to keep battling for that connection?

In the world of action cinema, the deal is seemingly straightforward: present well-coordinated fights, whether they’re hand-to-hand, gunfights, or other combat styles, and audiences will be satisfied. However, action devoid of thought – as seen in movies like The 355 and A Working Man – offers little more than mindless chaos, akin to sugary candy that causes toothaches instead of just rotting them. In the case of Havoc, by giving “big sister” and Beaumont distinct personalities and motives, the story avoids slipping into nihilism (and this focus on character development is crucial across all of Evans’ films). According to Evans, “Everyone has shades of gray. Everyone is fallible.” He always aimed to find small moments that remind us, “There’s humanity there, there’s still something to hold onto,” otherwise it’s just enduring pain.

Storytelling and character development through action

In this context, the conversation between Beaumont and “big sister” serves as a brief moment of respite, much like a Tylenol tablet in a movie where such mercy is seldom found. The “big sister” holds an unwavering belief that Charlie committed the crime against Tsui, and she acts accordingly without adhering to proper procedures. (Evans remembers telling Yann, “Play this as if you’re the hero of your own movie.”) Beaumont utilizes his knowledge about Walker’s past transgressions to coerce him into finding Charlie. However, Walker wishes to move past these misdeeds, and in Evans’ perspective, this, combined with his tough-guy demeanor, makes him an unsuitable character for emphasizing the parenting theme in “Havoc”.

In the third act of the film, instead of “big sister” and Beaumont’s conversation being intentionally planned by Evans, it occurred to him that these characters were ideally suited for emphasizing the theme at that specific point. Evans wanted the scene to feel natural and authentic, arising from the characters themselves, rather than being inserted for dramatic effect based on the page number. As he put it, “The set piece needs to seem organic, like it emerges naturally from the characters.

Small presentation, big impact

In the turbulent narrative of ‘Havoc’, a seemingly ordinary conversation between two characters can still be quite impactful and moving. Evans recognized this seemingly insignificant scene as an ideal chance for Yeo and Whitaker to infuse their characters with depth, which he seized. However, there’s also a strategic purpose for the characters of “big sister” and Beaumont to interact at this particular plot point: to establish events leading up to the final 30 minutes. Evans comments that this moment serves as a somber note in an otherwise action-packed film, describing it as a necessary pause amidst the thrilling ride that ‘Havoc’ offers.

In other words, when it comes to Evans’ films, they all have a mix of action and violence like a rollercoaster with casualties. However, “Havoc” is more similar to the intense urban crime drama “Gangs of London”, rather than the action-packed sequel “The Raid 2”. While “The Raid 2” was loaded with numerous action scenes, “Havoc” opted for a more restrained approach. Evans himself explained that there were many scenes cut from “Havoc” that maybe shouldn’t have been filmed. Instead of focusing on grandiose action sequences, he prioritized the development of the setting and characters in “Havoc”, resulting in a scale just as impressive as the memorable action scenes found in both “The Raid” and “The Raid 2”.

By the way, don’t let the fact that you’ll be watching “Havoc” on a smaller screen discourage you. Just like many kids of the ’80s who have a lasting affection for genre movies, Evans first encountered filmmakers such as Sam Peckinpah, Akira Kurosawa, and golden age Hong Kong martial arts cinema not in a movie theater but at home. “The initial viewing would likely have been pan and scan on a 21-inch screen if I was lucky,” he says. If you’re fortunate enough to catch “Havoc” in a theater, that’s great, but if not, don’t fret: the action is just as impactful when watched on your television.

An illustrative instance is the chaos that ensues at the Medusa nightclub, where Charlie and his girlfriend Mia (Quelin Sepulveda) find themselves surrounded by forces led by Walker, and Vincent (Timothy Olyphant), a questionable associate of Walker’s who has personal motives for targeting Charlie. “The Medusa sequence was likely the most challenging task I’ve tackled,” Evans explains, “in terms of keeping up the pace and the continuous flow of the action sequence as it moved through various levels within the tunnel, then back outside, into the streets.” Maintaining multiple viewpoints throughout the sequence proved to be the most frustrating aspect.

Overcoming COVID-19 was the most challenging aspect when filming the Medusa sequence. This project was completed during the summer of 2021 in Cardiff, necessitating that all cast and crew members undergo testing prior to filming. Despite the difficulties presented by Coronavirus, Evans makes it seem as if filming itself is a leisurely stroll. He explains that due to his exceptional stunt team led by Jude Poyer (who was the action designer & stunt coordinator on Gangs of London) and their previsualization process, much of the work has already been done by the time they reach the set. This gives him a strong foundation to expand upon, making the majority of the hard work essentially completed.

In their unique realms of Triad society and American politics, “Big Sister” and Beaumont project an image of strength and authority, hiding their vulnerabilities behind a facade for their subordinates and peers. However, in private moments like the one depicted between Yeo and Whitaker, these characters are allowed to let down their guard. Director Evans explains, “For this brief instant in time, since there’s no one else around, I can allow these characters to reveal their vulnerability.” Although the emotional intensity is short-lived, as there is still half an hour of the series ‘Havoc’ left to unfold, it leaves a lasting impression.

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2025-04-26 06:07

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