The Wrestler

****

Every decade has at least one sports film that is timeless and original. In the 1960s, it was This Sporting Life. In the ‘70s, it was Rocky. In the ‘80s, it was Raging Bull. Darren Aronofsky’s The Wrestler fits the list as the best sports film of the decade. The film follows Randy “The Ram” Robinson, a burnt-out, broke and downtrodden wrestler who tries to relive the glory days of his success by trying to make the ultimate comeback.

In the ring, Robinson takes down the wrestlers with guts and glory as he jumps from the turnbuckle and onto the mat. Behind the ring, he’s either stocking shelves at a grocery store, befriending a middle-aged stripper, or alone in his van with only his memories and painkillers to keep him company. As he heals the wounds that would make a biblical stoning seem like a massage, Randy tries to remain upbeat and ready for anything as if the audience- at least what’s left of them- are always there for him.

Aronofsky brilliantly captures the distinction between reality and fiction with a raw and unflinching eye mixed with Robert D. Siegel’s original story of the jagged paths of glory Robinson tries to cross. Behind Siegel’s script is a stunning cast. Marisa Tomei is stunning as Pam, a sexy and fragile stripper who befriends Rourke. The fragility and isolation Tomei faces while giving a lap dance or working the pole strikes similar chords to Sandra Oh’s performance as an artistic exotic dancer in Dancing at the Blue Iguana. Evan Rachel Wood channels the emotional angst of her troubled protagonist in Thirteen in a mature fashion in her portrayal as Randy’s estranged daughter.

The word “comeback” has been casually thrown around during awards season in the past when mentioning John Travolta in Pulp Fiction, or James Coburn in Affliction. Calling Mickey Rourke’s performance as Randy “The Ram” Robinson a comeback would be an insult; it is watching a phoenix rising from the ashes of seclusion and personal defeat. Richard Harris’s tenacity and battered body from This Sporting Life mixed with the self pity and fury of De Niro in Raging Bull equals Rourke’s wrestling antihero. Seeing Rourke emotionally and physically battered and beaten to a pulp is like watching Icarus fall from grace; tragic, yet beautiful.

The Wrestler is a cinematic cocktail of Dante’s Inferno and Dylan’s “Like A Rolling Stone”; a profound tale that will leave you emotionally and physically drained as if you spent 105 minutes in the ring.