VIEW THIS PAGE Everyone knows professional wrestling is fake. Everyone knows the same about movies. In both cases the eager spectators simultaneously admire the artifice and pretend it isn’t there, allowing themselves to believe that those people down in the ring or up on the screen are truly inflicting pain on one another.
The Wrestler, Darren Aronofsky’s fourth feature (and winner of the top prize at the Venice Film Festival last year), cannily exploits this parallel and at the same time shows that, in both movies and wrestling, the line between reality and play-acting may be less clear than we assume. Shooting his battered hero mainly in trudging, hand-held tracking shots, Aronofsky, whose earlier movies include the brain-teasing Pi and the swooning, fantastical, unwatchable Fountain, here makes a convincing show of brute realism.
The supermarkets, trailer parks, VFW halls and run-down amphitheaters of New Jersey are convincingly drab, and the grain of the celluloid carries a sour and salty aura of weariness and defeat. But the story that emerges is disarmingly sweet, indeed at times downright saccharine — a familiar parable of squandered second chances. It’s a bit phony, perhaps, but to refuse to embrace the movie’s deep hokiness would be to cheat yourself of some of the profound pleasure it offers.
Randy (the Ram) Robinson, played with sly, hulking grace by Mickey Rourke, is anything but a phony, in spite of the fact that nothing about him is quite genuine. His real name, which he can’t stand to hear, is Robin Ramsinski; his muscles are puffed up with steroids, and it’s highly doubtful that his flowing mane is naturally blond. But this careful fakery is, to some extent, what certifies Randy as the real thing, an authentic, passionate, natural performer. The description fits Rourke as well.
Back in the 1980s, both the real actor and the fictional wrestler were superstars. (A monologue eulogizing that decade and cursing the one that followed has an obvious and piquant double meaning; that the speech is addressed to the character played by Marisa Tomei, whose career hit some snags of its own in the later 1990s, makes it all the more touching.)
Rourke was a tenderhearted tough guy with a crooked smile and a gentleness that came through even tough-guy poses and bad movies. Randy, meanwhile, was a giant in the world of pro wrestling, inspiring action figures and video games and plying his brutal trade in top arenas like Madison Square Garden.
Now, 20 years later, he — Randy, that is — has been relegated to a shabbier existence. He has trouble making the rent on his trailer, and his health is failing. His professionalism, however, is undiminished, and the most moving and persuasive scenes in The Wrestler show the Ram backstage with the men who are his comrades and rivals, working out the finer points of their routines with a warmth and respect completely at odds with the viciousness they display in the ring.
With a younger wrestler, Randy is warm and avuncular, praising the kid’s ability and urging him to stay in the game. Others, many of them played by active or retired
real-life wrestlers, he refers to without affectation as “Brother.”
While the fights are choreographed, the pain and the blood are frequently real. We are privy to tricks of the trade, like the tiny bit of razor blade that Randy uses to open a cut on his face in the middle of a bout. And we witness a horrifying match involving broken glass, barbed wire and a staple gun, all of it agreed upon by the combatants.
We also understand that every fight is a miniature morality play. At one point Randy and an adversary sit in chairs, trading slaps across the face. When the designated bad guy lands a blow, the crowd boos; when he’s on the receiving end, it cheers. The basic rule is laid out succinctly by an old nemesis of Randy’s: “I’m the heel, and you’re the face.”
About that face. Aronofsky takes his time showing it, trailing behind Rourke and allowing us sidelong glances for the first few minutes of the film, before disclosing the battered, lumpy yet still strangely beautiful wreck of what we remember from Diner or The Pope of Greenwich Village. Damaged, tired, ill used as he may be, Rourke is still, in the wrestling sense of the word, the face, the magnetic pole of our interest, the guy we’re rooting for.
But Randy is also, outside the ring, something of a heel. He is estranged from his daughter, Stephanie, (Evan Rachel Wood), whose anger when he tries to reconcile suggests some major mess-ups in the past. He also has a crush on a stripper known as Cassidy (Tomei), whose lap dances and friendly chitchat he interprets as signs of reciprocated interest.
The news that Tomei plays a stripper may make you roll your eyes — it may, for that matter, make them pop out of your head — but her job is more than an excuse to get exposed flesh other than Rourke’s up on the screen. Randy and Cassidy (it’s not her real name, either) are both performers, both expert at faking something the customers desperately want to believe is real. The wrestlers don’t really hate one another, and the stripper doesn’t really love you.
The fact that Randy doesn’t quite get that when it comes to Cassidy — and yet senses that they do something in common — is part of his appeal. He’s not that smart, really, but he has a genuine gift. And parts of The Wrestler, which was written by Robert D. Siegel, are dumb in their own way, or rather in the way that so many movies are. The Randy-Stephanie subplot is unpersuasive, and the last few twists of the Randy-Cassidy romance verge on the preposterous. But like its hero, the movie has a blunt, exuberant honesty, pulling off even its false moves with conviction and flair.VIEW THIS PAGE
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