Challengers

Tennis is a sport that perfectly acts as the underlying backdrop for a romantic tale. After all, its competitors begin with a score of “love.” The term signifies that players start with zero points, setting the stage for the match to commence from a neutral position. The thing is, I felt like I still had nothing at the end of this movie.

Tashi (Zendaya), Art (Mike Faist), and Patrick (Josh O’Connor) are rising stars in the professional tennis circuit. After Patrick Zweig and Art Donaldson win the US Open junior doubles title, they meet Tashi Duncan, a highly lauded young prospect. They both fall for the promising phenom. The promise of a lusty triangle emerges. Their obsession with her will continue to affect them for the next 13 years. At first, Tashi can’t decide which of the boys she’ll give her number to. If you need a pop culture reference to demystify their dynamic, she’s Olive Oyl, Art is Popeye, and Patrick is Bluto.

Tashi and Art will go on to play college tennis at Stanford University, while Patrick turns professional and begins a long-distance relationship with Tashi that makes Art jealous. The twists and turns in their amorous journey will be detailed. Their lives will be further complicated by a career-ending injury, lies, marriage, a child, and ultimately, a fateful reunion on the court.

The summary above simplifies the unique narrative structure of Challengers. It jumps from the past to the present and back again without warning. Ostensibly, this nonlinear approach adds a layer of intrigue to the account. Pay attention to the hairstyles to determine the time period. It’s not hard, but what purpose do these plot manipulations serve? Cinematic flourishes should enhance the story, not obfuscate it.

The movie was openly marketed as an erotic character study between three attractive individuals. The trailer guaranteed the sensual allure of a spicy affair. A brief full frontal scene in a locker room and some crude language ensure its R rating. However, Challengers is not an explicit film. It’s more content to suggest rather than follow through on its ideas. A guy eats a banana and smiles provocatively. Two competitive gentlemen have a terse discussion in a sauna.  A man and a woman begin to kiss. The scene cuts to them having just finished sex.  No nudity. I admire the restraint, but these are vain, self-absorbed individuals. I expected a swell of passion over the intertwined desires of what should have been fascinating people. Director Luca Guadagnino (Call Me By Your Name), working from a screenplay by Justin Kuritzkes, never delivers on that possibility.

Meanwhile, I would be remiss if I didn’t mention the soundtrack. Musicians Trent Reznor and Atticus Ross occasionally infuse the developments with a throbbing beat. The sudden, almost random appearances of these conspicuous instrumentals make a nightclub in Berlin seem restrained by comparison. Perhaps the relentless thump and pulsating rhythms are meant to suggest the hedonistic nightlife at a modern version of the Kit Kat Klub. Cabaret also featured a love triangle of sorts, but that 1966 Broadway musical (and 1972 movie) included great songs, historical context, and depth. I love techno music, but I’d be hard-pressed to name a more intrusive and overbearing score.

In the end, Challengers serves up a volley of pretty people in a bland relationship. Art and Patrick pursue Tashi while she pursues tennis. The saga fails to engage on an emotional or intellectual level. Cinematography courtesy of Sayombhu Mukdeeprom is a highlight. The atmosphere is visually evocative, so the possibility of a passionate tale loomed large. Yet the film fails to deliver the anticipated seductive punch. The disjointed narrative jumps, and a bass-heavy soundtrack don’t add to the milieu. As the credits rolled, I realized I was not served an ace but rather a disappointing game of love-love.

04-25-24