David O'ConnellThe Wrestler
January 19th 2009 04:25
When Darren Aronofsky first burst into the consciousness of filmgoers with his bleak mathematical thriller Pi (1998), great expectations were raised – and soon realised in the form of a stunning assault on the senses with Requiem for a Dream (2000). His third film The Fountain (2006) turned into an arduous trial, a long-nurtured project that endured a difficult birth - including abandonment at one point - and then polarized audiences when finally released.
Thankfully this talented young director has now returned to his roots with a grim and painful character study which lays a man bare, stripping him down to only the dignity that keeps him alive. Working from a screenplay by Robert Siegel, it’s Aronofsky’s intention to put the life of Randy “the Ram” Robinson (Mickey Rourke) under the microscope in his waning years, living off the fetid fumes of past glories as his legend fades away to a faint dim light recognized by a select few.
The Ram is a broken-down, sorrowful, and solitary figure, struggling to maintain rent on his caravan, whose only confidante in the world is exotic dancer Cassidy (Marisa Tomei), the person he turns to when in greatest despair, only to strike the barrier she's erected against the possibility of getting too close to her 'customers'.
Wrestling is all The Ram has ever known, an alienated daughter revealed as the sole everlasting symbol of a past outside of the ring. Stephanie (Evan Rachel Wood) is approaching adulthood and initially resists this latest attempted reconciliation from her father, having despised him for his parental negligence for so long, creating scars that will seemingly never heal.
The two make inroads into some form of healing before The Ram is fatally distracted on a night when he’s supposed to be meeting with her, swiftly turning their relationship full circle again onto a precarious edge.
Mickey Rourke has been one of my favourite actors for years, as I so enthusiastically mentioned here in a long ago post on his most noteworthy past glories. Beaten down by life both on and off the screen, he’s been transformed into a phoenix that enacts the myth of rising from the ashes with this brilliant performance.
Admittedly the general narrative arc is weighed down by conventional elements – the loser who falls for the stripper, the invisible father whose child hates him: we've seen these types portrayed in dozens of films. Here though, Rourke rises above the material in giving The Ram a sense of attainable redemption flickering beyond the edges of the rowdy bars and marginalised outsiders who adore him for deeds of the past. And if Rourke's performance is informed as much by the turmoil and dislocation of his personal life then it only adds further layers of conviction to the belief that no other actor could have suffused this role with as much potency.
Just as he owned Henry Chinaski in Barfly, Rourke owns The Ram, another role he's bound to be inextricably linked with forever. Full credit must be given to Aronofsky too, for his faith and determination to see Rourke fulfill his ideal for this character. Dwelling on the sad, inevitable moments of weakness and fragility, he paints a painfully honest and raw portrait, where the tiny fragments of The Ram’s physical and mental decay prove just as insightful and endearing as the violent gestures - in the name of theatre - unleashed in the ring.
Though without literal resolutions, the final scene may seem like an ambiguous cop-out. But it isn’t really, it’s all there in the final refrain, the echoing chants of a frenzied crowd: the last moments of a wilting champion forced into admitting the truth to himself, making peace with what stares back from the mirror - before a final, poetic leap into the great unknown.
Thankfully this talented young director has now returned to his roots with a grim and painful character study which lays a man bare, stripping him down to only the dignity that keeps him alive. Working from a screenplay by Robert Siegel, it’s Aronofsky’s intention to put the life of Randy “the Ram” Robinson (Mickey Rourke) under the microscope in his waning years, living off the fetid fumes of past glories as his legend fades away to a faint dim light recognized by a select few.
The Ram is a broken-down, sorrowful, and solitary figure, struggling to maintain rent on his caravan, whose only confidante in the world is exotic dancer Cassidy (Marisa Tomei), the person he turns to when in greatest despair, only to strike the barrier she's erected against the possibility of getting too close to her 'customers'.
Wrestling is all The Ram has ever known, an alienated daughter revealed as the sole everlasting symbol of a past outside of the ring. Stephanie (Evan Rachel Wood) is approaching adulthood and initially resists this latest attempted reconciliation from her father, having despised him for his parental negligence for so long, creating scars that will seemingly never heal.
Randy The Ram Robinson (Mickey Rourke) in full flight
The two make inroads into some form of healing before The Ram is fatally distracted on a night when he’s supposed to be meeting with her, swiftly turning their relationship full circle again onto a precarious edge.
Mickey Rourke has been one of my favourite actors for years, as I so enthusiastically mentioned here in a long ago post on his most noteworthy past glories. Beaten down by life both on and off the screen, he’s been transformed into a phoenix that enacts the myth of rising from the ashes with this brilliant performance.
Marisa Tomei as Cassidy
Admittedly the general narrative arc is weighed down by conventional elements – the loser who falls for the stripper, the invisible father whose child hates him: we've seen these types portrayed in dozens of films. Here though, Rourke rises above the material in giving The Ram a sense of attainable redemption flickering beyond the edges of the rowdy bars and marginalised outsiders who adore him for deeds of the past. And if Rourke's performance is informed as much by the turmoil and dislocation of his personal life then it only adds further layers of conviction to the belief that no other actor could have suffused this role with as much potency.
A rare idyllic moment: The Ram with daughter Stephanie (Evan Rachel Wood)
Just as he owned Henry Chinaski in Barfly, Rourke owns The Ram, another role he's bound to be inextricably linked with forever. Full credit must be given to Aronofsky too, for his faith and determination to see Rourke fulfill his ideal for this character. Dwelling on the sad, inevitable moments of weakness and fragility, he paints a painfully honest and raw portrait, where the tiny fragments of The Ram’s physical and mental decay prove just as insightful and endearing as the violent gestures - in the name of theatre - unleashed in the ring.
Though without literal resolutions, the final scene may seem like an ambiguous cop-out. But it isn’t really, it’s all there in the final refrain, the echoing chants of a frenzied crowd: the last moments of a wilting champion forced into admitting the truth to himself, making peace with what stares back from the mirror - before a final, poetic leap into the great unknown.
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Comment by Anonymous
But what flawed it for me was that the 2 females were too predictable and prop-like. I like Marisa Tomei but her performance was very wooden in parts. Maybe it was her limited dialogue. There didn't seem to be a real chemistry between them, And having her follow him to that final bout was just too much of a set-up. Her crying looked so pretend.
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
You're right about Cassidy following him to the stadium as well, it rings a little too much of Hollywood contrivance - it's exactly how we expect her to act because we're so conditioned to it in a million other films.
It's still a strong work though, and without question Mickey carries it all the way and over the line on his back too.
Comment by Teresa Ralton
MRS SMITH
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SISTERS IN CRIME
I liked it when he went from a hairdresser and tanning salon to home bleaching and spray on tan. Mickey Rourke definitely carried it off. He was able to convey that he knew he looked like a loser to a lot of people but he accepted his lot. You could just imagine that he would have drank himself to death if he'd done in more hours at the supermarket with that manager. Again, he was a bit of a cliche but, because Mickey Rourke was so good, just letting the manager's obnoxious behaviour slide, I could ignore it.
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Thanks for the comment, and I must admit the scenes in the Deli section were hilarious and amongst my favourite, especially the little old lady asking for more, then less, then more, then less!!!...................... ...I thought he was going to snap right then for sure!!
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Comment by Janet Collins
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Then with all the trouble he got into he seemed to disappear completely. It certainly sounds like it's well worth a look.
Good review.
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Thanks Jason! Nice review as well mate, hopefully this film gets the word-of-mouth it deserves and finds a massive audience. Marisa Tomei didn't show great range here - other than when flaunting herself on stage for her loyal admirers!!
Cib, I think Mickey's old boxing scars and botched plastic surgery have finally paid off..................perhaps he'll win the coveted Oscar he should have received for Barfly!!!
Hey Janet, you've probably had your expectations raised now by all the positive reviews here, but I hope you still get a lot out of it when you see it. It's the outstanding lead performance that sustains it more than the originality of the story.
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic