The Intersection of Spectacle and Storytelling in Redline (2009)

Fig. 1 - Takeshi Koike's anime Redline (2009).

Although the action genre may seem like nothing more than pure spectacle, there are very specific methods employed by action films to elicit these reactions and assumptions from the audience. Redline (2009), directed by Takeshi Koike, is a Japanese anime film that uses these techniques expertly. Action-packed in every sense of the word, Redline follows the story of Sweet JP, a racer with dreams of winning the infamous Redline race. However, he must overcome the mafia, authoritarian governments, and other deadly racers to achieve his goals. This blog will explore the use of sound design and narrative reversals in Redline and how such formal strategies are used to build tension and raise the stakes by crafting a particular sense of spectacle while simultaneously engaging the question of narrative depth.

Sound design is integral to Redline, with both music and sound effects utilised in order to create multiple high-tension moments throughout the film (Fig. 1). Tension is largely created through dissonance and music in the high range (Buhler, 101-102), notable in the two racing sequences that start and end the film. In both sequences, long stretches of high-pitched, mechanical whirring on the soundtrack build up the tension and are immediately followed by fast-paced Future Jazz and Techno as cars race past the screen and seemingly release the tension all at once while simulating mini adrenaline rushes through the animated form. Additionally, musical dissonance is created during the second race, in particular, as various characters’ theme songs fight for centre stage. The use of music raises the stakes for our main character, JP, as it shows that the other racers are real threats and are determined to win, meaning JP will have to race much harder (and faster) if he wants a shot in the first place.

Fig. 2 - Redline's race sequences.

The constant tempo shifts present during the film’s first race create a sense of suspense and immerse the viewer deeper into the high-octane action. Sound effects (engines revving, tires screeching, explosions) further work to keep the audience engaged in the race (Fig. 2). Despite the high-intensity music, the opening race sequence also uses quiet moments and silence to conversely emphasize certain actions. During moments when the racers require a lot of focus, we often hear the music fade into the background, leaving us with only dialogue and situational ‘diegetic’ sound effects. In the final moments of the race, as JP’s engine explodes, the music abruptly stops, and we are again met with almost silence as we see the intensity of the previous action diminish. The music in this scene mimics the abrupt stop to JP’s path to the finish line. This final moment juxtaposes the previous high-energy music and adds an increased shock-factor to the plot twist.

Regardless of high-impact action sequences, the reversals presented in Redline show a commitment to implicating formal strategies of spectacle more concretely into the narrative. In his discussion of film narrative, Will Hong argues that “reversal occurs when the trajectory of a character’s path on the way toward his goal changes direction” (Hong 2022, 21). In Redline we see this happen multiple times within the first few scenes of the film. We first get introduced to the main character trying to win the race, only to find out it is a fixed race, and he is meant to lose. Despite this, we see him trying to win the race anyway as he barrels towards the finish line, only for his victory to be taken away from him at the last minute. As a bomb detonates in his engine, he is sent crashing through the air, causing him to lose the race and injure himself. The spectator is then faced with another reversal in his hospital room. Reporters surround JP and tell him that, due to the location of the final race, two racers have dropped out, qualifying him to race despite his loss. By contrast in the final race of the film, it is the very same bomb detonating in his engine that allows JP to fly past the finish line at the last minute when all hopes of winning the race seemed to be lost. Reversals such as these are crucial to building narrative complexity as they keep the audience from predicting what will happen next and keep them on edge (Hong, 21).

In terms of narrative stakes, they have never been higher. For JP, winning the race is much more significant than just earning an achievement. Winning means he will finally pay back his partner for all the sacrifices he made so JP could race, he will help the girl he loves to achieve her lifelong dream of winning the Redline race by crossing the finish line with her, and he will finally escape the clutches of the mafia that force him to fix races and survive the attacks of the Roboworld soldiers that are actively trying to stop the race. These stakes are important because “if nothing is at stake, there can be no desirable or undesirable outcome” (Smuts 2008, 82). The physical action may catch the audience’s attention, but the narrative stakes keep them engaged.

Although there are many other ways the film Redline gets your heart racing, the use of sound design and narrative reversals stand out due to their lucidity. We are met with an action movie that balances a blend of turbocharged action and intricate storytelling. From the roar of engines to skidding across the finish line, Redline creates a gripping cinematic thrill ride.

**Article published: January 17th 2025**

References

Buhler, James, and Mark Durrand, eds. Music in Action Film : Sounds like Action! London: Routledge, 2020. 

Hong, Will. 2022. Crafting the Scene : Lessons in Storytelling from the Masters of Cinema. Abingdon, Oxon: Routledge.

Leung, Tin Cheuk and Qi, Shi. 2023. Globalization and the rise of action movies in Hollywood. Journal of Cultural Economics, 47, no. 1: 31–69.

Smuts, Aaron. 2008. “The Desire-Frustration Theory of Suspense.” The Journal of Aesthetics and Art Criticism 66, no. 3: 281–290.

Biography

Anika Tasnim is a graduating student at the University of Texas at Dallas, Harry W. Bass Jr. School of Arts, Humanities, and Technology. She is a generalist with a focus on applied research and design. Earlier versions of this text were developed with the help of Dr. Christine Veras and peers from the Animation Studies course.