The Wrestler | Darren Aronofsky, 2008
As a concept, Darren Aronofsky’s latest outing The Wrestler is the closest this oft-misjudged director has ever been to conventional cinema, and it works for him. It’s an intelligent move. Not only will the film reassure all those fans of his that were alienated after The Fountain, it will also undoubtedly win western audiences over in the theaters. For what is more American than wrestling after all? The story itself is in fact decidedly unconventional; following an aged, down-and-out grappler named Randy “The Ram” Robinson (played by a perfect fit in Mickey Rourke) whose loneliness and sudden ill-health provoke an attempt to contact his estranged daughter. We are introduced to Randy on fight night, as he wins over a particularly rowdy crowd to retain his position as champion. We feel the thrill of adrenaline as The Ram delivers his signature move. Then we experience his subsequent comedown after finding himself locked out of his trailer park home for not paying the rent. As his puffer-jacketed form shuffles to sleep in the back of a minivan plastered with peeling posters we realise that life hasn’t been so kind to the burly Randy. Through all this Aronofsky employs the kind of hyperrealism that was used so effectively in Requiem for a Dream. It is the perfect complement to a sport that is usually seen to involve so much colour and theatrics, yet here is exposed warts and all by some sharp direction.
With The Wrestler Aronofsky creates a Hollywood hero story in new and unflattering clothing. Despite straying once or twice into cliché territory he manages to leave this melodrama in the locker room, for the most part. Randy is certainly a gladiator in the traditional sense, a hired performer whose job it is to satisfy the bloodthirsty appetite of a baying mob. And Rourke hands in a titanic performance to fill these boots until the laces are strained tight. His shaking hands and rasping breath. A face scarred by cosmetic surgery and skin dried to a crisp orange by all those years of enforced tanning. He is really a sight to see. These attributes simply add to the already knife-edge realism to create a character whose rigorously maintained appearance is exactly what makes him so hideous on the outside. Randy is certainly a likeable character though, despite his drug-addled state and consequent violent outbursts there is a kindness in him that wins over. One flaw I would point out in The Wrestler is its curious tangential segments involving Randy’s daughter Stephanie (Evan Rachel Wood). While these appear critical to the plot they don’t actually advance it whatsoever, nor do they serve to develop the main character. At least not in the way Randy’s relationship with retiring stripper Cassidy (Marisa Tomei) does. It’s safe to say though that Aronofsky is back in the ring, delivering a redemptive and resounding blow to his critics. A blow made even more poetic by his Venetian exploits over the past few years.
Our Rating:
LOVE The Wrestler. Not a dull moment to be found outside of the less than favorable “deli scene.” I personally didn’t mind it; it was rather well done in my opinion, I’ve just noticed the harsh opinions of others. Very nice write-up once again.
By: afilmodyssey on July 26, 2009
at 5:50 am
Really? I thought that the scene in the deli was one that critics had singled out for praise. It certainly wasn’t badly done, but then it wasn’t a particular highlight either. Still, it was a genuine scene that lesser actors may not have been able to pull off. Rourke’s performance was one of my favourites from last year, eclipsed only by the likes of Penn and Williams… oh, and Streep.
By: jedimoonshyne on July 28, 2009
at 12:57 pm
Agree every bit with the review,watched it for Mickey Rourke’s performance and was bowled over by everything else too.
By: Vinayak on July 26, 2009
at 2:30 pm