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Few directors have made such a comprehensive change of pace in their careers as Darren Aronofsky does in making The Wrestler. Barring possessing a two-word title starting with "The", it could not be any more different from The Fountain, Aronofsky's last film, an abstract and unique science-fiction oddity which was loved and loathed in equal measure. In contrast to that film's deliberate artificiality and languid composure, The Wrestler is a gritty, warts-and-all (fictional) biopic of Randy "The Ram" Robinson, a household name in the 1980s who is now well past his prime, with a battle-scarred body and a non-existent bank balance. Using a mostly handheld camera style, the film follows Randy through his depressing life, living in a trailer park (but barely keeping up with the rent) and travelling to various sports halls and theatres to ply his trade, only to receive a pittance for his efforts.
The story itself is not particularly original - switch sports from wrestling to boxing and the premise sounds similar to Rocky Balboa - but the magic is in the execution here. Aronofsky gets off to a good start by casting Rourke, but others also stand out in the smaller roles. Marisa Tomei bravely takes on the role of a stripper who is Randy's only real friend, turning what could have been a walking cliché into an immensely likeable and well-rounded character. Evan Rachel Wood as Randy's estranged daughter shares a touching chemistry with her on-screen dad, which makes the failures of his character all the more affecting. The Wrestler is basically a film about the slow, inevitable demise of its central figure, but it's not purely a downer. There's an emotional warmth here and even a gentle sense of humour that sets it apart from the likes of the masterfully filmed but cold Raging Bull. Screenwriter Robert Siegel must also deserve some of the credit for writing a script that deftly avoids all the possible pitfalls.
There have been numerous films that have delved into the boxing ring, but this is the first time the much-ridiculed "sport" of pro wrestling has been given such respectful and heartfelt treatment. (Despite that, it seems unlikely that Vince McMahon will be a fan, because it does not present an entirely flattering image of the industry.) Many have said that Mickey Rourke was born to play this part but that doesn't diminish the sheer quality of his performance at all. This is hard-hitting stuff, both physically and emotionally. The bouts - all performed by Rourke himself, which makes it all the more impressive - are expertly choreographed and filmed, really conveying how a supposedly "fake" sport can take such an immense toll on the bodies of its participants. It will certainly open the eyes of those who don't follow professional wrestling, while long-time fans will feel vindicated. The results may be predetermined, but the pain - and skill - is real.
The summary
The Wrestler not only offers a superb insight into a sport so often maligned and rarely taken seriously, it's also simply a great film.
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