Nicholas Cage? Bruce Willis? Wrong. Never would have worked. No one else could have played Randy "The Ram" Robinson with the compassion and energy he brings to the role--it's painful to see the fading professional wrestler coming to terms with both his mortality and the emptiness of his life outside the ring, and this is largely due to Rourke's excellent acting. Twenty years after the defining match of his career, Randy is still a fan favorite and loving his work--until he suffers a heart attack. The film follows the gentle giant as he tries to adjust to living without wrestling, reconnect with his estranged daughter (Evan Rachel Wood), and kindle a bond with a friend who works in a strip club (Marisa Tomei).
This isn't just a film about professional wrestling, but Aronofsky gets that part right. He does a beautiful job showing the sport with realism without mocking it: he highlights the humor, but never makes fun of it. He doesn't just deconstruct the mythical image of wrestlers' performances, but he also destroys their apparent rage towards each other. It's clear that these guys are friends--they care about and respect each other. These other wrestlers in the film are all played by professionals, and they do a great job with the acting. The film respects them and their world, and demands the same from the audience.
The other supporting characters are strong as well. Tomei and Wood's characters could easily have fallen into clichés, but they give Randy some of his best moments on screen. Tomei's storyline, especially, serves as a nice parallel and contrast to Randy's. Wood's could use a little more juice, but her story arc does the same. Both are effective.
Another notable aspect of the film is its music. The character of Randy is a big '80s rock fan, and for the film, they got the rights to use Guns N' Roses' "Sweet Child o' Mine." A special thanks at the end of the film went out to Axl Rose. On the softer side, Bruce Springsteen wrote "The Wrestler" for the credits, and its sweet melancholy serves as the perfect coda for the film.
Overall, 'The Wrestler' is great. It's a rich, round film that smoothly weaves together pathos and comedy and soul. It's funny and dramatic, tear-jerking and tough. Definitely a must-see this winter.
This isn't just a film about professional wrestling, but Aronofsky gets that part right. He does a beautiful job showing the sport with realism without mocking it: he highlights the humor, but never makes fun of it. He doesn't just deconstruct the mythical image of wrestlers' performances, but he also destroys their apparent rage towards each other. It's clear that these guys are friends--they care about and respect each other. These other wrestlers in the film are all played by professionals, and they do a great job with the acting. The film respects them and their world, and demands the same from the audience.
The other supporting characters are strong as well. Tomei and Wood's characters could easily have fallen into clichés, but they give Randy some of his best moments on screen. Tomei's storyline, especially, serves as a nice parallel and contrast to Randy's. Wood's could use a little more juice, but her story arc does the same. Both are effective.
Another notable aspect of the film is its music. The character of Randy is a big '80s rock fan, and for the film, they got the rights to use Guns N' Roses' "Sweet Child o' Mine." A special thanks at the end of the film went out to Axl Rose. On the softer side, Bruce Springsteen wrote "The Wrestler" for the credits, and its sweet melancholy serves as the perfect coda for the film.
Overall, 'The Wrestler' is great. It's a rich, round film that smoothly weaves together pathos and comedy and soul. It's funny and dramatic, tear-jerking and tough. Definitely a must-see this winter.