El luchador

"The Wrestler" is a beautiful movie, but it wouldn't be half as good if Mickey Rourke hadn't given the main character a face and a heart. There's virtually no other Hollywood actor that could have embodied Randy "The Ram" Robinson as perfectly as Rourke, and it's shocking to think how the movie could have turned out had someone else, say Bruce Willis or - as originally planned - Nicolas Cage played the part. With Rourke it's not so much an actor memorizing lines and delivering them convincingly, it's like watching a guy having gone through hell and now showing his scars. Rourke's performance even lets one overlook some rather clichéd elements in the story (the exotic dancer with a golden heart, the neglected daughter, a dance in a romantic dilapidated ballroom). It's all good, because one look at Randy's face reminds us of all the hits and punches he must have taken in the past, and it all becomes real again.

So, Rourke obviously makes the movie, but that's not the only remarkable thing. Besides a very good performance by the beautiful Marisa Tomei, "The Wrestler" is also worth mentioning because it marks the first time Darren Aronofsky has made a straight forward drama that's not heavy headed or laden with too much symbolism. After the highly pretentious "The Fountain" such a movie was more than due. "The Wrestler" proves that Aronofsky is not only capable of stylistic extravaganza, but can also handle the art of "plain" storytelling.

The fine title song by Bruce Springsteen must not be forgotten, either. After "Streets Of Philadelphia" and "Dead Man Walking" this is his third soundtrack contribution that captures the feel of a movie beautifully. Props to Aronofsky for putting an emphasis on that song by letting it play over a black screen for a couple of seconds before the closing credits start to roll.

In the end, "The Wrestler" is such a huge success because Aronofsky made the right choice by insisting on Rourke to play the main role, and because Rourke more than lived up to the director's expectations. Sean Penn may have been very good in "Milk", but the character of The Wrestler is a thousand times more interesting and memorable, and considering that fact that Rourke will forever be remembered for this great performance, he would really have deserved the Oscar.

Wow, what a sordid but fascinating film. I can why Mickey Rourke won so many awards for his performance, too. The same goes for the film.

The film was shocking to me: For instance, it was a shock seeing Rourke -"Randy The Ram" - with the long, flowing blond hair and rippling muscles. Hey, it's not that former boxer was ever in bad shape, but he never had muscles like this either. The man must have pumped a lot of iron to get ready for this role as an aging wrestler.

Another shock was seeing Maria Tomei, of "My Cousin Vinny" fame, naked - and in that state in more than one scene. She didn't leave much to the imagination as "Cassidy." A third shock was seeing some of the early wrestling scenes. Yeah, pro wrestling is rough stuff and it's bloody and it's fake, etc., but the scenes in here are pretty brutal, more than I've ever seen on TV. The one extended match with the "staples" was pretty gruesome.

Evan Rachel Wood is convincing as Randy's daughter "Stephanie." This 21-year-old is no stranger to acting, having been doing it since she was four! The scenes with her and her dad are memorable.

When the shock of the above scenes of sex and violence (and language) fade away, underneath it all is a very tender, sad tale of a lonely man who invested too much in his career and, after coming close to mortality, realizes the important of family and simply being loved by anyone. That's what sticks with you long after the film ends. Loneliness can be a killer.

"Randy" tries to mend fences and post a few himself - in his final quest not to wind up as an island in this world of humanity - with both successful and unsuccessful results. Sometimes you can never change what you are, and sometimes you can. Both of those are demonstrated here in this oddly-edgy-but sentimental film.

Mickey Rourke returns to the big screen in Darren Aronofsky's brilliant character study, The Wrestler. Mickey Rourke gained about 35 pounds of muscle to play Randy 'The Ram' Robinson and looks the part of an old beaten down wrestler. Aronofsky creates a cold atmosphere that leaves the audience feeling as old and depressed as Rourke's character. The Wrestler doesn't have the look or feel of any previous Aronofsky film, it is mainly hand-held and has a gritty look to it that gives it a documentary feel. This film sucked me in. I really felt for the main character. I felt his pain and anger throughout the film. I felt his desperation. When a film has you reflecting the emotions expressed on the screen then it has accomplished something. I also appreciated that the story focused on two professions that are frowned upon in society, that being professional wrestling and stripping. Both professions are linked in the film and has the audience realize how similar they are. We also see the hardship of carrying out such a profession. I really enjoyed this film and had the pleasure of meeting the director after the showing. I was most impressed with him and can't wait till this film gets released.

I caught an advanced screening of The Wrestler starring Mickey Rourke last night in Hollywood, CA. Following the screening was a Q&A session with Mickey Rourke, Darren Aronofsky, Marisa Tomei, Evan Rachel Wood, and film composer Clint Mansell.

Mickey Rourke delivers one of the most honest and heart breaking performances I've seen from an actor. Very rarely do you see an actor come back with such a role. He is truly extraordinary in The Wrestler. There are times in this film when I wonder just how much of this is Mickey in character as "The Ram" or Mickey reacting as Mickey to a situation similar to what he went through in his "lost years". The parallels are astounding. There is a scene when Randy "The Ram" is in the ring and he points to the audience "It is not over until you tell me it's over". Is it Mickey or Randy talking there? As a newly revived Mickey Rourke fan, I can tell you this audience member says it's just beginning Mickey!

Marissa Tomei delivers a stellar performance as an aging exotic dancer the parallel story to Mickey's character "The Ram". Evan Rachel Wood really brings it as "The Rams" angry, abandoned and emotionally exhausted daughter. The chemistry between Mickey and Evan is breath taking!

Darren Aronofsky delivers this story to us with honesty, realism and artistic skill. I think this young director will be around making fantastic films for some time to come. At least I hope he is!

You can't go wrong with this film. It is rock solid to the core!

Facts from the Q&A

Only the 3rd American Film to with the Golden Lion at the Venice Film Festival.

The film was made for $7 Million.

The filmscore is more atmospheric as the composer did not want to interfere with the documentary feel of the film.

Mickey Rourke trained for 6 months to get to the wrestling weight of 235 for the film. Weight training, wrestling training and eating 5,000 calories.

The scenes of Mickey Rourke and Evan Rachel Wood were as real as they could get. The actors put on music before the scene and just talked about their real life and Mickey's parallels to the film. When the director felt they were there he would yell action and they would work through the scene.

The scenes back stage with the wrestlers were all real as well. The crew would go to wrestling matches and film the wrestlers before/after matches. Mickey would walk in and introduce himself (in character) and the scene was improvised.

The film was about 20-30% improvisation from the actors.

Enough has been written already about Mickey Rourke's real-life parallels with his fictional character in The Wrestler. Yes, it makes the story seem even realer, and is perhaps what attracted Rourke to the project. (Or perhaps not — perhaps, instead, it is what attracted Darren Aronofsky to the actor.) But to focus on such surface similarities seems like an undermining of his work here. Rourke may not be as out-of-his-comfort-zone as Sean Penn in Milk, the only other Oscar-worthy lead performance this year, but that is merely a testament to his fundamental understanding of his character: Randy is an understated guy with big scars, both literally and figuratively. He's been wrestling for years — now reduced to borderline tribute shows in front of dwindling crowds, scrounging up barely enough cash to buy the variety of drugs and steroids he needs to maintain his weight. He lives in a trailer park and gets locked out for not being able to keep up rent. He works part-time at a grocery store and visits strip clubs regularly, because it's the only place where he seemingly has any meaningful connections with another human being — namely the dancer Cassidy (played by Marisa Tomei), who is similarly a bit older than most peers in her "profession," yet doesn't really know any other way to live.

The Wrestler draws immediate comparison to the classics of working class cinema, including Rocky and On the Waterfront. Sylvester Stallone returned to his iconic character two years to bring resolution to the life of Rocky Balboa, the Philly boxer who got back in the ring for one final match . It was a good film and touched on similar themes — a nice guy stuck in a mean world, an estranged child– and ultimately both films present us with the dilemma these men find themselves in: too old to continue doing what they know best, and too old to learn how to do anything else.

Whereas Rocky Balboa was a trip down memory lane, it was hardly as bleak or frank as The Wrestler, which is a vastly superior film. Darren Aronofsky has established himself with this picture as one of the most important of modern American filmmakers; to acknowledge that this work is from the same man who directed The Fountain is astonishing, because they couldn't be farther apart on a sylistic level. The Wrestler is grainy, low-key and rough. It isn't polished, fantastical or elaborate. And that suits the material perfectly. The fact that Aronofsky was willing to almost entirely reinvent his approach for the benefit of the story is more than admirable. He deserves a nomination.

Tomei is wonderful in her supporting role, fleshing out her character (again, both literally and figuratively) with greater competence than most actresses would probably be able to manage, because it's a fairly obvious role — the "stripper with a heart of gold" who is the object of desire for the gruff guy with a tortured soul. Yet she manages to strike a balance in the film as one of two female roles, the other belonging to Evan Rachel Wood as Randy's emotionally severed daughter.

The Wrestler is impressive for all its smaller parts as well as the larger ones. When Randy goes to visit his daughter, the reaction is fleeting; it's not overly dramatic and revelatory, like most films of this nature often create such scenes to be. We can tell by her reaction that it's not the first time Randy has attempted to reconcile with her, as she seems unfazed by his appearance on her doorstep. It is in this fashion that the film jumps through all the mandatory hoops of its genre (think, of all things, The Royal Tenenbaums), yet still manages to seem fresh and realistic.

And then there's Rourke. As aforementioned, he deserves the Oscar nom he's likely to receive. And he should probably win. This is one of the best performances of the decade, perhaps even of all time, if we really want to get down to it. It's the best work of his career, at once the most fully developed of his characters and the most imperfect. Randy isn't airbrushed to make him seem more appealing to the audience; Aronofsky and Rourke exploit his faults and present him as a normal man, tempted by vices and haunted by his past. Yet we recognize that the drugs, the empty sex and the generally self-destructive behavior Randy partakes in is rooted in the same emotional enguish that the actor himself seems to carry with him; Aronofsky spotted this quality in Rourke, and he fought the producers for Rourke over their first choice (Nicolas Cage), and his dedication paid off — you'll be hard-pressed to find a more convincing, moving or memorable lead performance this year.

Ultimately, The Wrestler is one of the year's very best films — a character study that is at once timeless and powerful. And it's helmed by a director who has managed to bounce back from an aesthetically pleasing but shallow art-house film to produce one of the great works of American cinema in the 21st century.