The Wrestler (2008)

Without knowing it, I've been awaiting The Wrestler since first watching Diner almost nine years ago. Then again after seeing Barfly last year. Like millions of Mickey Rourke fans, I've looked forward with expectant eyes to what's been deemed "his resurrection." (Millie, for her part, doesn't care for Rourke . . . to guttural for her liking) But I ask you reader, how well can a film stand up to the sensational rags to riches to rags to redemption story that feels infinitely larger than the film itself? It brought down the likes of Mr. and Mrs. Smith (2005) and Proof of Life (2000), of course I have chosen paltry Hollywood fare, but even Husbands and Wives (1992) was shrouded by back story when it debuted. Well, kind reader, the answer here is: quite well. The film can stand up quite well indeed. Rourke's story is not one of racy infidelity, but talent rediscovered and screen legend reborn. And this is no Hollywood fare, but emotional, meditative realism from tried and true visionary director Darren Aronofsky.

The basics: Randy "The Ram" Robinson is a professional wrestler in the twilight of a once very successful career. In his over twenty years in the ring he's gained dozens of scars, ruined plenty of relationships, most notably with his daughter Stephanie (Evan Rachel Wood), and been forced to take on odd jobs just to keep the persona afloat. When we meet this "broken down piece of meat" his health is life threatening and his life the loneliest and bleakest it's probably ever been, save the friendship he finds in local stripper Cassidy/Pam (Marisa Tomei). Beaten and stumbling towards the final count, he readies himself for one last fight against an old foe with whom he shared a once celebrated rivalry.

remember when he looked like this?

I feel like being plain reader: The Wrestler is an excellent film. It sat on and even topped innumerable Top Ten lists for 2008 and has been hailed as one of Aronofsky's finest achievements. Severly scaled down from his last venture, The Fountain (2006) - a dream-like journey into time and space that helped the director deal with the cancer related deaths of both parents - The Wrestler presents the starkest of contrasts. For those fashionistas reading, if The Fountain is John Galliano, then The Wrestler is Jil Sander (head to the links if those names don't ring a bell, and Millie and I hope you learn a little something!). Outside of the glitter on Ram's spandex wrestling pants, this is frill-less storytelling. Despite the roar of a deafening crowd, the catcalls to a very naked Tomei, and the screams of a rejected daughter, Aronofsky's film is subdued, modest, and always, always tender.

One neat little trick to accomplish this is the decision to film most characters from behind when they're walking anywhere (though I doubt very much Aronofsky would appreciate my referring to his deliberate choice as a "neat little trick"). Quite literally, we are following this story. In fact, for the first few minutes of the film we don't even see Rourke's face though we have been shadowing his every move. We're often trailing behind and yet seeing what each character does as they do, creating an intimacy with them, as though we're a part of them, along for the ride on their journey. As two out the three characters are performers, it sure doesn't hurt to have us burst through the fourth wall with them; in reverse, it's like pulling the curtain back on Oz but also having the performance persona he had moments before being discovered.

Miss Mariss in a rare clothed scene

Mickey Rourke is fantastic. Did you hear me reader: FANTASTIC. Although he's perfect for playing any gritty, self destructive loner, Rourke is no one trick pony. "Ram" despite his many, many faults, encourages us laugh at him, with him, feel sad when he's lonely, rejoice in his triumphs, gasp when he takes a staple gun to the chest, to just feel, genuinely. There's a great scene when he's working the deli counter, flirting with the older ladies, taking life lightly, in his hair net and name tag, and I thought to myself, wow, this man is not Mickey Rourke, he is Randy Robinson, and I dare any of you who've seen it to disagree.

Interesting fact: Nicholas Cage originally signed on for the role but very graciously backed out knowing that Aronofsky's heart was with Rourke. A longtime friend of Rourke, Cage was more excited about him taking on the part than doing that himself.

If you have any opposition to seeing a gorgeous, over-40 naked Tomei then don't see this film, though I should be fair and say that her performance is also pretty good. There's not a ton for her to work with, but she gives depth and dimension to what could have been a real throw away character had Aronofsky not cast it well. Evan Rachel Wood is good. There is something about her that doesn't sit quite right with me, I think I still need to be won over, though she was impressive in Thirteen and Down in the Valley, I'm waiting for greater range. I fear she may pull a Jena Malone if we don't see something new and quick!

Be warned that this slow mover may feel a little pokey at times, and indeed I felt like it was much longer than it actually is, but it's worth it. Unlike it's protagonist, I feel it will only get better the more it's played and the older it gets. Bravo Aronofsky, bravo!

Millie's bees to knees meter (1 bee = blah, 10 bees = hoo-rah!): 8.75

Directed by: Darren Aronofsky
Written by: Robert D. Siegel
Distributed by: Fox Searchlight
Budget: $6 million
Starring: Mickey Rourke, Marisa Tomei, Evan Rachel Wood