The Wrestler

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!

Wow, what a sordid but fascinating film. I can why Mickey Rourke won so many awards for his performance, too. The same goes for the film.

The film was shocking to me: For instance, it was a shock seeing Rourke -"Randy The Ram" - with the long, flowing blond hair and rippling muscles. Hey, it's not that former boxer was ever in bad shape, but he never had muscles like this either. The man must have pumped a lot of iron to get ready for this role as an aging wrestler.

Another shock was seeing Maria Tomei, of "My Cousin Vinny" fame, naked - and in that state in more than one scene. She didn't leave much to the imagination as "Cassidy." A third shock was seeing some of the early wrestling scenes. Yeah, pro wrestling is rough stuff and it's bloody and it's fake, etc., but the scenes in here are pretty brutal, more than I've ever seen on TV. The one extended match with the "staples" was pretty gruesome.

Evan Rachel Wood is convincing as Randy's daughter "Stephanie." This 21-year-old is no stranger to acting, having been doing it since she was four! The scenes with her and her dad are memorable.

When the shock of the above scenes of sex and violence (and language) fade away, underneath it all is a very tender, sad tale of a lonely man who invested too much in his career and, after coming close to mortality, realizes the important of family and simply being loved by anyone. That's what sticks with you long after the film ends. Loneliness can be a killer.

"Randy" tries to mend fences and post a few himself - in his final quest not to wind up as an island in this world of humanity - with both successful and unsuccessful results. Sometimes you can never change what you are, and sometimes you can. Both of those are demonstrated here in this oddly-edgy-but sentimental film.

I caught an advanced screening of The Wrestler starring Mickey Rourke last night in Hollywood, CA. Following the screening was a Q&A session with Mickey Rourke, Darren Aronofsky, Marisa Tomei, Evan Rachel Wood, and film composer Clint Mansell.

Mickey Rourke delivers one of the most honest and heart breaking performances I've seen from an actor. Very rarely do you see an actor come back with such a role. He is truly extraordinary in The Wrestler. There are times in this film when I wonder just how much of this is Mickey in character as "The Ram" or Mickey reacting as Mickey to a situation similar to what he went through in his "lost years". The parallels are astounding. There is a scene when Randy "The Ram" is in the ring and he points to the audience "It is not over until you tell me it's over". Is it Mickey or Randy talking there? As a newly revived Mickey Rourke fan, I can tell you this audience member says it's just beginning Mickey!

Marissa Tomei delivers a stellar performance as an aging exotic dancer the parallel story to Mickey's character "The Ram". Evan Rachel Wood really brings it as "The Rams" angry, abandoned and emotionally exhausted daughter. The chemistry between Mickey and Evan is breath taking!

Darren Aronofsky delivers this story to us with honesty, realism and artistic skill. I think this young director will be around making fantastic films for some time to come. At least I hope he is!

You can't go wrong with this film. It is rock solid to the core!

Facts from the Q&A

Only the 3rd American Film to with the Golden Lion at the Venice Film Festival.

The film was made for $7 Million.

The filmscore is more atmospheric as the composer did not want to interfere with the documentary feel of the film.

Mickey Rourke trained for 6 months to get to the wrestling weight of 235 for the film. Weight training, wrestling training and eating 5,000 calories.

The scenes of Mickey Rourke and Evan Rachel Wood were as real as they could get. The actors put on music before the scene and just talked about their real life and Mickey's parallels to the film. When the director felt they were there he would yell action and they would work through the scene.

The scenes back stage with the wrestlers were all real as well. The crew would go to wrestling matches and film the wrestlers before/after matches. Mickey would walk in and introduce himself (in character) and the scene was improvised.

The film was about 20-30% improvisation from the actors.

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.

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.