Darren Aronofsky Creates Movie Magic With 'The Wrestler'
Darren Aronofsky directs 'The Wrestler', and serves up one of the best films in recent years against the rough and tumble backdrop of professional wrestling. The film is meticulous in its realistic portrayal of the sports entertainment subculture.
To understand the enormity of Aronofsky's cinematic achievement, its important to consider the less than glorious history of pro wrestling in American film. Perhaps the best film ever made until now with a significant pro wrestling component was 1962s Requiem for a Heavyweight. Adapted from Rod Serlings Playhouse 90 broadcast of the same name Requiem starred Anthony Quinn as an aging boxer who is at the end of his career and the end of his rope. After a final devastating knockout (to a young Muhammad Ali"still Cassius Clay at this point--who plays himself) he turns to the worked environment of pro wrestling out of necessity. The strange moral code of pro wrestling confounds Quinns character (I fought 111 fights and never took a dive") and is at the crux of the films dramatic tension.
While Requiem is certainly a great film with some excellent performances by Quinn and Jackie Gleason (one of the most underrated actors in Hollywood history) along with a whos who of prizefighting greats including Ali, Willie Pep, Jack Dempsey and Barney Ross and even an appearance by famed wrestler Haystacks Calhoun, it is at its core a boxing film. Pro wrestling is portrayed as the nadir of an over the hill pugilists decline, which has historical precedent (Joe Louis most notably) but does nothing to explain the phenomenon itself.
Pro wrestling has been featured in a lot of other movies"though never well. There have been a few documentaries of merit (Beyond the Mat), some low budget films more interesting for their classic footage than anything else (I Like To Hurt People) and countless bad movies.
In the starring role of Randy The Ram Robinson, Rourke doesnt just hit the ball out of the park: he turns in a performance that will almost certainly take its place among the greats in film history. Before seeing the film, comparisons that critics were making to Marlon Brando in On the Waterfront, Paul Newman in The Hustler, and Robert DeNiro in Raging Bull seemed somewhat hyperbolic. After watching Rourke firsthand, such lofty comparisons not only seem appropriate but obvious"his performance leaves the viewer at a loss for superlatives. For a wrestling fan, its even more impressive due to his in-ring work. With the exception of a couple of extremely high risk spots, Rourke did all of his own wrestling and took all of the bumps himself. Its unfortunate that the Oscar voters couldnt see past their disdain for the subject matter to give Rourke the Best Actor award he so obviously deserved.
Aronofsky deftly balances both the appeal and revulsion inherent in pro wrestling. He manages to convey the gritty reality of life at the lower levels of the profession but also the appeal of pro wrestling"why men like The Ram put themselves through hell to stay involved and why hardcore fans care so much. The Wrestler succeeds on both levels, which likely accounts for the effusive praise it has garnered from film geeks who wouldnt know a headlock from a padlock as well as pro wrestling enthusiasts.
Thats what makes Rourkes performance so amazing and The Wrestler such a great film"it simultaneously depicts pro wrestling at its best and worst and gets them both right. It accurately depicts the brutal downside of a sometime unforgiving profession, but also demonstrates the seductive appeal that keeps both the 'workers' and fans captivated. Aronofsky and Rourke manage to convey the lure and revulsion that is unique to pro wrestling and simultaneously extrapolate them to much larger truths about human existence. - 2361
To understand the enormity of Aronofsky's cinematic achievement, its important to consider the less than glorious history of pro wrestling in American film. Perhaps the best film ever made until now with a significant pro wrestling component was 1962s Requiem for a Heavyweight. Adapted from Rod Serlings Playhouse 90 broadcast of the same name Requiem starred Anthony Quinn as an aging boxer who is at the end of his career and the end of his rope. After a final devastating knockout (to a young Muhammad Ali"still Cassius Clay at this point--who plays himself) he turns to the worked environment of pro wrestling out of necessity. The strange moral code of pro wrestling confounds Quinns character (I fought 111 fights and never took a dive") and is at the crux of the films dramatic tension.
While Requiem is certainly a great film with some excellent performances by Quinn and Jackie Gleason (one of the most underrated actors in Hollywood history) along with a whos who of prizefighting greats including Ali, Willie Pep, Jack Dempsey and Barney Ross and even an appearance by famed wrestler Haystacks Calhoun, it is at its core a boxing film. Pro wrestling is portrayed as the nadir of an over the hill pugilists decline, which has historical precedent (Joe Louis most notably) but does nothing to explain the phenomenon itself.
Pro wrestling has been featured in a lot of other movies"though never well. There have been a few documentaries of merit (Beyond the Mat), some low budget films more interesting for their classic footage than anything else (I Like To Hurt People) and countless bad movies.
In the starring role of Randy The Ram Robinson, Rourke doesnt just hit the ball out of the park: he turns in a performance that will almost certainly take its place among the greats in film history. Before seeing the film, comparisons that critics were making to Marlon Brando in On the Waterfront, Paul Newman in The Hustler, and Robert DeNiro in Raging Bull seemed somewhat hyperbolic. After watching Rourke firsthand, such lofty comparisons not only seem appropriate but obvious"his performance leaves the viewer at a loss for superlatives. For a wrestling fan, its even more impressive due to his in-ring work. With the exception of a couple of extremely high risk spots, Rourke did all of his own wrestling and took all of the bumps himself. Its unfortunate that the Oscar voters couldnt see past their disdain for the subject matter to give Rourke the Best Actor award he so obviously deserved.
Aronofsky deftly balances both the appeal and revulsion inherent in pro wrestling. He manages to convey the gritty reality of life at the lower levels of the profession but also the appeal of pro wrestling"why men like The Ram put themselves through hell to stay involved and why hardcore fans care so much. The Wrestler succeeds on both levels, which likely accounts for the effusive praise it has garnered from film geeks who wouldnt know a headlock from a padlock as well as pro wrestling enthusiasts.
Thats what makes Rourkes performance so amazing and The Wrestler such a great film"it simultaneously depicts pro wrestling at its best and worst and gets them both right. It accurately depicts the brutal downside of a sometime unforgiving profession, but also demonstrates the seductive appeal that keeps both the 'workers' and fans captivated. Aronofsky and Rourke manage to convey the lure and revulsion that is unique to pro wrestling and simultaneously extrapolate them to much larger truths about human existence. - 2361
About the Author:
Ross Everett is a experienced freelance writer who covers travel, casino gambling and sports handicapping. He is a staff handicapper for Anatta Sports where he is responsible for providing daily free sports picks. In his spare time he enjoys fine dining, falconry and deep sea diving. He lives in Las Vegas with four dogs and a pet coyote.
posted by Marcondes Allen at 1:07 AM
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