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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.

As someone who's a fan and who has actually worked behind the scenes in pro wrestling, I can tell you that Randy "The Ram" Robinson's story is a very respectful and realistic portrayal of the toll pro wrestling takes on its stars' lives. Certainly not everyone in the biz ends up as destitute and lonely as Randy was - some do, definitely - but those who end up well-off in every sense of the word (like Hulk Hogan, John Cena, Stone Cold Steve Austin, and The Rock, for instance) are VERY, VERY rare. Most end up somewhere in between.

Interestingly, as precarious as Randy's health became, however, if he were in his mid-50's (as was Mickey Rourke at the time), he still had a longer pro wrestling career than many others who abused their body likewise. Randy still was made up of some very tough stuff and in fact beat the odds with his career length.

When asked "is pro wrestling fake?", I always answer, "only where it needs to be" - i.e., the story lines and SOME of the action. No one deliberately sets out to end another one's career, but like any other contact sport such as pro football, the athleticism and subsequent pain & injury are all TOO real. There's no "off season" in pro wrestling, and certainly no astronomically high salaries as other pro athletes make - not by a long shot. But in pro wrestling you'll find the best athletes in the world.

Bottom line: It's a brutal business and an extremely hard way to make a living - period. That's why the men and women who stick with it and suffer all they do is for one reason only - because they love it. May God bless them all. :)

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.

"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.

The Wrestler is a drama centered around an aging professional wrestler past his prime. It's so much more than that. You don't have to be a fan of wrestling to enjoy this film. The wrestling part of it can be put aside as a back story. Randy "The Ram" could be in any other profession, doing any other thing and could be in the same situation. That's what's so great about it. He's just a lonely guy, whose life seems to have passed him by. A middle aged man who doesn't have much going for him. Sure, he's a wrestler, but he needs wrestling more than wrestling needs him. He needs it to feel important, to feel like a somebody. He really has nothing to show for himself, no wife, just a daughter he hasn't been there for his whole life. Missed opportunities. He's sad and alone and we really do feel for him.

A closer bond seems to be forming between him and his stripper friend, played by Marisa Tomei, who seems to be in a similar situation as he is. The middle aged stripper who seems to have a real connection with "The Ram" is shown in another misunderstood profession. We all may not be as different as we may think. Health problems compromise his wrestling career as he tries to deal with the real world and rebuild his relationship with his abandoned daughter. The scenes with Evan Rachel Wood (his daughter) are touching. Beautifully done. Rourke's character portrayal of the Ram is one of the best in a long time. He's not just acting, he transforms into the character on screen. It's amazing to watch. All the credit he's getting is truly deserved.

The film is Directed by Darren Aronofsky, who also directed Requiem for a Dream. He does a beautiful job showing the sport with realism. The film respects the wrestlers and their world, and expects the same from the audience. This film is done in a style that's so real, so honest, so amazing, in easily one of the best films of the year. All around great performances and great direction. Definitely worth checking out sometime.