The Wrestler

Very rarely an artistic come back is so pointed, so truthful and/or so honest. Mickey Rourke is extraordinary here and I can assure you, he'll break your heart. "It's not over until you (pointing at the audience) tell me its over" Who was saying that? Mickey Rourke himself or his character? Both, I think both. I felt a chill run down my spine, the kind of chill you feel when confronted by an unvarnished truth. Darren Aronofsky is definitely someone to watch and to follow. His characters face limit situations and he finds torturous paths for them to travel. What makes the whole thing endurable is the unmistakable signs of self awareness. In "The Wrestler" the painful meeting between Ram and his daughter (played by Evan Rachel Wood) have the overwhelming weight of the truth without a hint of sentimentality. As we are approaching Oscar season I imagine already a fight to the finish between Sean Penn for "Milk" and Mickey Rourke for "The Wrestler" They both deserve the highest accolade. What a year!

It's no coincidence that Mickey Rourke is responsible for the comeback performance of the year if not the decade. Rourke's life and tumultuous past parallel Randy "The Ram" Robinson's own life so eerily close it becomes clear that no one else could have ever played this role. Darren Aronofsky's fourth feature is not only his most intimate but also his most accomplished to date. Aronofsky offers his most simplistic film both visually and narratively and ends up creating a film that has more depth and layers to it than any of his previous films.

Everything about Randy's life is in a state of decay. He retains a body that is on the verge of collapse, he hasn't seen his only daughter in years, financially he is exhausted, and the only thing that brings him solace in life is the same thing that threatens to end it. The most effective aspect of Randy's character is that no matter what mistakes he might have made in the past his sense of regret is so strong and genuine that it is impossible not to forgive him. As beaten down and alone as Randy might be he never looses his fighting spirit or sense of hope, no matter how little it may be. Regardless what hardship Randy is confronted with he never retreats and is admirably courageous even if being courageous might not be the smartest settlement.

For the general public who tend to find professional wrestling laughable and are quick to judge as a form of entertainment rather than a sport will find a deadly adversary in Aronofsky. The Wrestler shows that while outcomes of matches may be fixed the physical tolls these men take on their body are often more extreme and long lasting than most other "respectable" sports. The fact that Randy gives so much of himself and is ridiculed from everywhere to the trailer park he lives in to the job he keeps while not in the ring, makes us even more empathetic to the struggle Randy goes through to try and make it back on top. Overall The Wrestler is a constantly engaging and compelling character study with some of the finest acting, writing, directing I have seen in recent years. Oh and I forgot, the last shot will leave you speechless.

The Wrestler is a drama centered around an aging professional wrestler past his prime. It's so much more than that. You don't have to be a fan of wrestling to enjoy this film. The wrestling part of it can be put aside as a back story. Randy "The Ram" could be in any other profession, doing any other thing and could be in the same situation. That's what's so great about it. He's just a lonely guy, whose life seems to have passed him by. A middle aged man who doesn't have much going for him. Sure, he's a wrestler, but he needs wrestling more than wrestling needs him. He needs it to feel important, to feel like a somebody. He really has nothing to show for himself, no wife, just a daughter he hasn't been there for his whole life. Missed opportunities. He's sad and alone and we really do feel for him.

A closer bond seems to be forming between him and his stripper friend, played by Marisa Tomei, who seems to be in a similar situation as he is. The middle aged stripper who seems to have a real connection with "The Ram" is shown in another misunderstood profession. We all may not be as different as we may think. Health problems compromise his wrestling career as he tries to deal with the real world and rebuild his relationship with his abandoned daughter. The scenes with Evan Rachel Wood (his daughter) are touching. Beautifully done. Rourke's character portrayal of the Ram is one of the best in a long time. He's not just acting, he transforms into the character on screen. It's amazing to watch. All the credit he's getting is truly deserved.

The film is Directed by Darren Aronofsky, who also directed Requiem for a Dream. He does a beautiful job showing the sport with realism. The film respects the wrestlers and their world, and expects the same from the audience. This film is done in a style that's so real, so honest, so amazing, in easily one of the best films of the year. All around great performances and great direction. Definitely worth checking out sometime.

If the phrase "the little movie that could" applies to any movie this year then it most certainly does to "The Wrestler". It is one of the best movies I've seen last year, and more than that it is even more special due to the brilliant and amazing performance of its cast.

The return of Mickey Rourke was overdue, a gifted and talented actor, who in my opinion was wrongly shunned and marginalized because of his past attitude and behaviour which marked him as a "bad boy". Hollywood surely likes to sometimes punish its own, especially those individuals who don't repent and crawl on their knees asking for "cinematic forgiveness" from their peers. What happened to Mickey Rourke was pure hypocrisy on the part of an industry that has no problem tolerating much, much worse behaviour on the part of less talented individuals; an industry that from time to time seeks to attain some kind of superficial saving grace marked by a phony mea culpa and a symbolic sacrificial lamb, in this case Mickey Rourke. I ask, how is what he did any different than the behaviour of let's say Lindsay Lohan, whom many critics where at one point anointing her as the next Jody Foster or Merryl Streep?!?!? Talk about self-imposed blindness! When I last saw Rourke in "Sin City", I was, albeit briefly but forcefully reminded, of how good of an actor he really is. So imagine my pleasure and anticipation when "The Wrestler" came out! At heart this is a story of redemption, but here comes the kick, it is actually an attempt and ultimate failure at redemption, at least in the sense that redemption is understood in today's society. This is a profoundly sad movie, but that fact does not take away one bit from the movie, rather it makes it more believable and even more powerful.

As Bruce Springsteen's song by the same title points out, there are some wrongs that can't be righted and some wounds that can't be mended, and that is the situation Mikey Rourke's character finds himself in. I don't want to discuss the movie in detail, nor give anything away from the plot or storyline, suffice to say that this is one viewing that is more than worth sitting through from beginning to end.

Rourke, Marisa Tomei (another grossly underrated actress) and Evan Rachel Wood are phenomenal and really hold their own and make the most of their on-screen time. Whatever award nominations and wins these actors are likely to get are more than deserved. Darren Aronofsky has really grown by leaps and bounds in his solid and varied career as director. I am personally glad that he decided to helm this project, the end result speaks for itself.

Ultimately there is redemption to be found in this movie, but it comes at a heavy price, to me that redemption takes the form of the triumph of the human spirit against insurmountable odds and seemingly impossible choices. These days that is a bold statement to make!

Enough has been written already about Mickey Rourke's real-life parallels with his fictional character in The Wrestler. Yes, it makes the story seem even realer, and is perhaps what attracted Rourke to the project. (Or perhaps not — perhaps, instead, it is what attracted Darren Aronofsky to the actor.) But to focus on such surface similarities seems like an undermining of his work here. Rourke may not be as out-of-his-comfort-zone as Sean Penn in Milk, the only other Oscar-worthy lead performance this year, but that is merely a testament to his fundamental understanding of his character: Randy is an understated guy with big scars, both literally and figuratively. He's been wrestling for years — now reduced to borderline tribute shows in front of dwindling crowds, scrounging up barely enough cash to buy the variety of drugs and steroids he needs to maintain his weight. He lives in a trailer park and gets locked out for not being able to keep up rent. He works part-time at a grocery store and visits strip clubs regularly, because it's the only place where he seemingly has any meaningful connections with another human being — namely the dancer Cassidy (played by Marisa Tomei), who is similarly a bit older than most peers in her "profession," yet doesn't really know any other way to live.

The Wrestler draws immediate comparison to the classics of working class cinema, including Rocky and On the Waterfront. Sylvester Stallone returned to his iconic character two years to bring resolution to the life of Rocky Balboa, the Philly boxer who got back in the ring for one final match . It was a good film and touched on similar themes — a nice guy stuck in a mean world, an estranged child– and ultimately both films present us with the dilemma these men find themselves in: too old to continue doing what they know best, and too old to learn how to do anything else.

Whereas Rocky Balboa was a trip down memory lane, it was hardly as bleak or frank as The Wrestler, which is a vastly superior film. Darren Aronofsky has established himself with this picture as one of the most important of modern American filmmakers; to acknowledge that this work is from the same man who directed The Fountain is astonishing, because they couldn't be farther apart on a sylistic level. The Wrestler is grainy, low-key and rough. It isn't polished, fantastical or elaborate. And that suits the material perfectly. The fact that Aronofsky was willing to almost entirely reinvent his approach for the benefit of the story is more than admirable. He deserves a nomination.

Tomei is wonderful in her supporting role, fleshing out her character (again, both literally and figuratively) with greater competence than most actresses would probably be able to manage, because it's a fairly obvious role — the "stripper with a heart of gold" who is the object of desire for the gruff guy with a tortured soul. Yet she manages to strike a balance in the film as one of two female roles, the other belonging to Evan Rachel Wood as Randy's emotionally severed daughter.

The Wrestler is impressive for all its smaller parts as well as the larger ones. When Randy goes to visit his daughter, the reaction is fleeting; it's not overly dramatic and revelatory, like most films of this nature often create such scenes to be. We can tell by her reaction that it's not the first time Randy has attempted to reconcile with her, as she seems unfazed by his appearance on her doorstep. It is in this fashion that the film jumps through all the mandatory hoops of its genre (think, of all things, The Royal Tenenbaums), yet still manages to seem fresh and realistic.

And then there's Rourke. As aforementioned, he deserves the Oscar nom he's likely to receive. And he should probably win. This is one of the best performances of the decade, perhaps even of all time, if we really want to get down to it. It's the best work of his career, at once the most fully developed of his characters and the most imperfect. Randy isn't airbrushed to make him seem more appealing to the audience; Aronofsky and Rourke exploit his faults and present him as a normal man, tempted by vices and haunted by his past. Yet we recognize that the drugs, the empty sex and the generally self-destructive behavior Randy partakes in is rooted in the same emotional enguish that the actor himself seems to carry with him; Aronofsky spotted this quality in Rourke, and he fought the producers for Rourke over their first choice (Nicolas Cage), and his dedication paid off — you'll be hard-pressed to find a more convincing, moving or memorable lead performance this year.

Ultimately, The Wrestler is one of the year's very best films — a character study that is at once timeless and powerful. And it's helmed by a director who has managed to bounce back from an aesthetically pleasing but shallow art-house film to produce one of the great works of American cinema in the 21st century.