The Wrestler Review

Riding off the wave of the incredibly underrated The Fountain, Darren Aronofsky stepped inside the ring for his following feature, The Wrestler. Anchored by a stunning performance from Mickey Rourke, the swansong tale of an ageing, beloved, “face” wrestler is an immense work of drama and a stunning character piece that shows Mickey Rourke’s leading man, Randy “the Ram” Robinson, losing his fight against time. 

Suffering a heart attack following an intense bout at a small hall pro-wrestling show, The Wrestler hopes to show the by-product and result of years of abuse to the body. Ram becomes a man lost at sea, stepping away from the in-ring element of the wrestling game, he finds no satisfaction as either a touring personality or a deli counter worker and attempts to find satisfaction elsewhere. Attempts to reconcile his relationship with his daughter Stephanie (Evan Rachel Wood) and seeking a relationship with Cassidy (Marisa Tomei), a stripper with a particular affinity for the protagonist. Ego, pride and honour. Whatever the driving force may be, Ram ultimately finds himself back between the ropes for a final time. An anniversary rematch.

Expressing admiration for the likes of Akira Kurosawa and Federico Fellini, The Wrestler is a film which Aronofsky’s inspirations would be proud of making. Distinctly a piece of human cinema, the 2008 effort is proud of its influences, employing a number of conventions which resemble fixtures of Italian neo-realist cinema all while centring on a Kurosawa-esque heroic champion figure. The Wrestler is all the better for it, possessing this timeless feel. It is more than just an homage to the halcyon days of cinema, for all intents and purposes this is a title from that age – a showcase of an unmistakable authorial signature.

One of the more impressive and often overlooked elements of Aronofsky’s direction is his handling of actors and The Wrestler, much like Requiem for a Dream and Black Swan, is a home for stunning performances. Stylistically and thematically on-brand for its director, his authority does not overbear or diminish the work of other key contributors, it’s merely outlines the picture. In this case, it’s Marisa Tomei and Mickey Rourke in particular who are the rich details of the foreground.

Both the aforementioned stars were nominated for performance awards across a number of leading awards shows, with Rourke winning a BAFTA for his leading efforts. But Tomei’s turn is truly in a league of its own. Starring as Cassidy, described as a “long-in-the-tooth stripper” in the film’s synopsis, the character is one which has a number of parallels with Ram. Effectively his ideal self as well as a love interest, it is fair to say Tomei successfully mirrors the performance delivered by the leading man. Equally as poignant and nuanced as Rourke’s delivery, Tomei has a strong case for being a show stealer. Often the comic relief and lighter element of The Wrestler, Tomei’s charged turn in the closing sequence is nothing short of breathtaking. The finale itself is one of the most crushing events put to film. A diverse collection of cast members, this truly is the gold standard of supporting performances.

The 2000s marked a steady resurgence for Rourke’s acting career and star power. If Sin City was the one to put him back on the table in the big leagues then Aronofsky’s film was the reminder – that many needed – of his leading man capabilities. Something of a fusion of his enigmatic presence in Francis Ford Coppola’s Rumble Fish and the stunning humanistic turn that’s at the centre of Angel Heart, his portrayal of Randy the Ram is breathtaking. One of the most nuanced characters to have been committed to film, Rourke is blessed with the intangibles that other contenders for the role lacked. His unwavering boyish charm allows him to convincingly play the role of a fan favourite while his presence and generally underrated acting chops make for a crushing depiction of masculinity in a state of isolation and vulnerability, making it comfortably one of the finest works in the filmography of Rourke.

Another immaculate aspect of The Wrestler is its soundtrack. A time-capsule of the finest offerings from the rock scene of the 1980s in compliment to an encompassing original score from Clint Mansell and Slash. It does immense amounts of thematic labour, the “classic” status belonging to the majority of its musical selections, with a clashing of the past with modernity. Like Ram himself, it’s out of its time and in waters that are both unfamiliar and unwelcoming. Closed by Bruce Springsteen’s poignant eponymous ballad, The Wrestler, it’s one last emotional gut-punch; allowing for the audience to reflect on the masterful drama that’s just been told across the prior 109-minutes while being treated to one last serving of classic rock brilliance.

The current holder of the best sports film championship belt, The Wrestler is nothing short of incredible and is a standout feature from the 2000s. A sincere and at times unflinching exploration of masculinity, the ageing process and the intersection of those two notions, the film remains Aronofsky’s finest to date and holds in it, two towering, powerhouse performances from Tomei and Rourke.