Luc Besson, a prominent figure in action cinema during the 1990s with hits like Leon and Nikita, transitioned into producing in the early 21st century. One of his most successful ventures was The Transporter, a film that catapulted Jason Statham into the realm of action stardom. This high-octane movie established Statham as a leading man and solidified his action hero persona.
In The Transporter movie, Frank Martin, portrayed by Statham, is a former military operative turned highly skilled driver for hire in the scenic South of France. He operates under a strict code of conduct, defined by three unbreakable rules: always stick to the agreement, never ask for names, and never open the package. However, during one particular job, Frank’s curiosity gets the better of him, and he opens a package to discover a kidnapped Chinese woman, Lai (Shu Qi). This decision puts him in direct conflict with American gangster Bettencourt (Matt Schulze), who subsequently seeks Frank’s demise. To survive and resolve the situation, Frank is forced to collaborate with Lai and a local police detective, Inspector Tarconi (François Berléand), to dismantle Bettencourt’s criminal operation.
The Transporter movie takes a straightforward, almost B-movie narrative and injects it with a dynamic, MTV-inspired visual style. The film’s major draw is undoubtedly its action sequences, masterfully directed by Corey Yuen. Yuen infuses a playful energy into the movie, blending martial arts, intense gunfights, a memorable axe fight, and the iconic oil fight scene. The film employs stylish cinematic techniques, such as dramatic shots of guns in mid-air and downward angles focusing on ejected machine gun magazines. While there are instances of dated CGI, they are infrequent, and the action’s impact primarily stems from practical effects and impressive stunt work. However, the rapid editing in some action scenes, particularly the fight on the bus, occasionally becomes overwhelming, making it difficult to fully appreciate the choreography. In contrast, the highway chase sequence stands out for its clarity and well-executed blend of combat and vehicular action.
The Transporter marked Statham’s first leading role outside of Guy Ritchie’s films, proving his capability to carry a movie. His physical presence and martial arts background were evident, and he began to showcase his signature dry wit. Despite adopting a somewhat inconsistent American accent, Statham’s inherent charisma and menacing gaze effectively conveyed Frank’s character. He also shared strong on-screen chemistry with Shu Qi, who brought charm to the role of Lai. Their interactions were surprisingly convincing within the film’s stylized world.
One notable weakness of The Transporter movie is the underdeveloped villain. Matt Schulze’s portrayal of Bettencourt leans more towards a partying, superficial persona than a truly menacing and ruthless crime boss. This performance choice diminishes the sense of threat and makes the antagonist less compelling. Furthermore, the introduction of a formidable character named Leon, who initially overpowers Frank, suggests a potential showdown that frustratingly never materializes, leaving a sense of unfulfilled narrative promise.
Stanley Clarke’s score for The Transporter adopts a modern, techno-infused sound, which largely complements the film’s contemporary style, particularly enhancing the energy of the climactic action sequences. The score, combined with the French Riviera setting, evokes a slight resemblance to The Bourne Identity. However, The Bourne Identity distinguishes itself as a more intellectually engaging thriller.
Overall, The Transporter movie is a relentlessly paced action film that rarely pauses for breath. It delivers a series of well-crafted action set pieces and effectively launched Jason Statham’s action film career. Ultimately, The Transporter is best enjoyed by devoted fans of Statham and enthusiasts of high-octane, undemanding action cinema.
