Mickey Rourke airborne as 1980's professional
wrestler Randy "The Ram" Robinson in Darren Aronofsky's "The Wrestler", which
opened in New York and Los Angeles on December 17 and opened in San Francisco
and additional U.S. cities today. Mr. Rourke's performance is
Oscar-nomination worthy. (Photo: Nico Tavernise/Fox Searchlight)
THE POPCORN REEL FILM REVIEW/"The
Wrestler"
For Him, The Ring Is The Thing When The Outside World Isn't
By
Omar P.L. Moore/December
25, 2008
Mickey Rourke's extraordinary performance in Darren Aronofsky's new film "The
Wrestler" certifies him for an Oscar nomination next month. It's the best
work that Mr. Rourke -- who plays a battered and bruised professional wrestler
struggling with retirement -- has ever done. And Mr. Aronofsky has made a
film that is distinct and revolutionary as compared with his prior work.
Stripped down to its bare essentials, "The Wrestler" behaves like its title
character, in search of contentment and peace. The film is also one of the
year's best.
"The Wrestler" was shot in Super 16mm and its grainy documentary feel is the
appropriate setting for the intimacy of the story of 1980's fictional
professional wrestler Randy "The Ram" Robinson (Mr. Rourke), a New Jersey man
alone with his thoughts and his demons, but desperately seeking someone to share
them with. Randy's estranged lesbian daughter (a stark, unsparing
performance by Evan Rachel Wood) punishes him for the past. His former pro
wrestling colleagues are thriving with businesses in the Southwest. A
nightclub stripper and single mother (Marisa Tomei in another vulnerable and
urgent display of acting) who like Randy exhibits her body for adoring fans, has
a rule about not dating nightclub customers which leaves Randy on the outs.
Injuries have made any return to former wrestling glory for Randy a potential
invitation to meet his maker.
One rule to adhere to about "The Wrestler": any viewer expecting Rocky 101 for
wrestling freaks will be disappointed. Mr. Aronofsky's film is a portrait
in the unvarnished, unglamorized life of a lifer struggling with himself and
wrestling with the outside world, from which he feels isolated. Mr. Rourke,
a real-life professional boxer for four years in the '90's, conveys a nakedness
and genuine nature that not only makes his portrayal of Randy real but also
heartbreakingly poignant. Mr. Rourke's character is a roller coaster ride
of pride, pain and pursuit. Happiness hasn't eluded Randy but reality has.
Randy's passion is matched only by his futility and fearlessness. He's a
restless spirit in his post-prime years, but reckless in his private life.
You can feel the weight of the world on Randy's shoulders.
"The Wrestler" is a compelling story, readily identifiable on every level.
The wrestling looks and feels real and the film has its painfully graphic and
bloody moments for sure, but Mr. Aranofsky's film, a powerful fable written by
Robert Siegel, the former editor of the satirical political newspaper The Onion,
isn't really even about wrestling, it's about being on the outside of life and
wanting so desperately to get a look in.
Bruce Springsteen's new song "The Wrestler", from his upcoming January 2009 album
"Working On A Dream" plays during the film's closing credits, accurately
symbolizing Mr. Rourke's anti-hero protagonist. The song is as special as
the film itself. Mr. Aronofsky's film is an indelible work that will be
remembered as a signature film a generation from now.
"The Wrestler" is rated R by the Motion Picture Association of America.
The film opened today in San Francisco, exclusively at The Metreon, and other
cities across the U.S., while continuing in New York and Los
Angeles for Academy Award consideration. "The Wrestler" expands its
release on January 9 and 16.
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