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Darren Aronofsky Creates Movie Magic With 'The Wrestler'
Director Darren Aronofsky brings pro wrestling to life in 'The Wrestler' and in the process creates one of the best films in recent memory. The pro wrestling backdrop makes his virtuosity even more amazing.
Director Darren Aronofsky brings pro wrestling to life in 'The Wrestler' and in the process creates one of the best films in recent memory. The pro wrestling backdrop makes his virtuosity even more amazing.
Pro wrestling has been a popular part of American entertainment culture for nearly a century, but until now has been depicted very poorly in the movies. 1962' 'Requiem for a Heavyweight' may be the best wrestling movie ever made until now almost by default. Requiem starred Anthony Quinn as an aging boxer who is at the end of his career and running out of options. He turns to pro wrestling out of financial necessity, and this career move is intended to symbolize his hitting rock bottom.
While Requiem is a praiseworthy film bolstered by solid performances by Quinn and Jackie Gleason and features a number of prizefighting greats including Muhammad Ali, Willie Pep, Jack Dempsey and Barney Ross it is at its core a boxing film. Pro wrestling is portrayed as the lowest, most humiliating avocation for a boxer. While there are certainly those who share this critical assessment of wrestling, it does little to explain its appeal and enduring popularity.
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 a ton of bad movies of varying degrees of unwatchability. Ill admit to having a soft spot for All the Marbles due to Peter Falk and its portrayal of a bizarro-world sports universe where womens pro wrestling is a big deal, but thats the only other wrestling film worthy of specific mention.
In the starring role of Randy The Ram Robinson, Rourke turns in a performance that critics have compared to Marlon Brando in On the Waterfront, Paul Newman in The Hustler, and Robert DeNiro in Raging Bull. 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.
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. It simultaneously depicts pro wrestling at its best and worst and gets them both right. By putting in the 'due diligence' to get the pro wrestling backdrop right, the film allows the brilliance of Rourke's performance and the deeper thematic significance of his conflicts to shine through.
Director Darren Aronofsky brings pro wrestling to life in 'The Wrestler' and in the process creates one of the best films in recent memory. The pro wrestling backdrop makes his virtuosity even more amazing.
Pro wrestling has been a popular part of American entertainment culture for nearly a century, but until now has been depicted very poorly in the movies. 1962' 'Requiem for a Heavyweight' may be the best wrestling movie ever made until now almost by default. Requiem starred Anthony Quinn as an aging boxer who is at the end of his career and running out of options. He turns to pro wrestling out of financial necessity, and this career move is intended to symbolize his hitting rock bottom.
While Requiem is a praiseworthy film bolstered by solid performances by Quinn and Jackie Gleason and features a number of prizefighting greats including Muhammad Ali, Willie Pep, Jack Dempsey and Barney Ross it is at its core a boxing film. Pro wrestling is portrayed as the lowest, most humiliating avocation for a boxer. While there are certainly those who share this critical assessment of wrestling, it does little to explain its appeal and enduring popularity.
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 a ton of bad movies of varying degrees of unwatchability. Ill admit to having a soft spot for All the Marbles due to Peter Falk and its portrayal of a bizarro-world sports universe where womens pro wrestling is a big deal, but thats the only other wrestling film worthy of specific mention.
In the starring role of Randy The Ram Robinson, Rourke turns in a performance that critics have compared to Marlon Brando in On the Waterfront, Paul Newman in The Hustler, and Robert DeNiro in Raging Bull. 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.
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. It simultaneously depicts pro wrestling at its best and worst and gets them both right. By putting in the 'due diligence' to get the pro wrestling backdrop right, the film allows the brilliance of Rourke's performance and the deeper thematic significance of his conflicts to shine through.
About the Author:
Ross Everett is a experienced freelance writer who covers travel, poker and sports handicapping. He is a consulting handicapper for Anatta Sports where he is responsible for providing daily free sports picks. In his spare time he enjoys fine dining, falconry and scuba diving. He lives in Southern Nevada with four dogs and a pet coyote.