Director: Darren Aronofsky
Year: 2008 Country: U.S. Gender: Drama / Sport Rating: 9.5/10
Cast: Mickey Rourke, Marisa Tomei, Evan Rachel Wood, Judah Friedlander and Ajay Naidu
Randy "The Ram" Robinson (Mickey Rourke) is a retired professional wrestler wrestling. Having been a star in the eighties, he tries to continue his career in the independent circuit, fighting in squares of third category. His life came into conflict when she realizes that the brutal blows he has received throughout his career he began to take its toll (a heart) is in this situation that Randy decides to put some order in his life; attempts to get to the daughter he left, Stephanie (Evan Rachel Wood), while trying to overcome his loneliness with love for Cassidy (Marisa Tomei), a Streaper also marked for life. We all wonder what happens when the stage lights off when leaving fans to cheer their idols, when everyone returns to their homes and the magic of the show still. Then back to reality, we left the catharsis that eludes us in our daily lives and the stars shed their costumes and ornaments, making people of flesh and blood, with its joys and sorrows, as any of us. And many are the stars off, buried under the weight of age or physical and psychological consequences of decades of commitment to a human pack that always asks for more. In the midst of a harvest in Hollywood which airs too many interesting proposals, "Cinderella Man" tries to convince because they go through what is not. Aronofsky is set to the simplicity of the story, leaving aside the visual tricks and rapid assembly characteristic of almost all his films to adopt a forthright, at times almost documentary, which enhances the human truth of his characters and enhances the authenticity painting environments.
"The Wrestler" by Darren Aronofsky is shown in a very simple, something that draws attention given the director's previous films, in which his films needed a greater involvement by the viewer to surrender, or not, to a certain density cinematic language. In "The Wrestler" completely changed the tide in particular as regards the approach to his characters. Aronofsky stick your camera (always shaky, as the central character) to the nape of Rourke, and follows him everywhere he goes, by striking sequence shots so insignificant. Thus, we are witnesses of Randy's life, whether his battles with little groups, their work in a butcher shop, dabbling to see his favorite dancer, the overtures to his daughter and others. The director of "Requiem for a Dream " (2000) uses the coarse-grained picture camera in hand to collect realistically the cold, squalor and confusion of the fighter that is in the twilight of his career and is starting to realize they are alone in the world. Their work may represent the world of illusion and falsehood, where everything is for sale, but also where it is hidden because personal life blows hurt more than it did in the ring, because it is very difficult to change course when no there is someone to wait. It is a life trapped in the loneliness and family breakdown, but inside is dignity and a spark of humanity, need to love and have someone tell you things ... It is however, a spark threatened by the sleaze and excess, surrounded by the deafening screaming neon lights from hearing and seeing what happens inside. Therefore, the dark (in black level is very illustrative and appropriate climax) is always at the end of that tunnel, dimly lit by the fighter enters the ring (excellent parallelism in the sequence of the aisles, with a good job sound).
But "Cinderella Man" would not be as good as if not also for the work of interpreters, especially Mickey Rourke. Aronofsky always knew that Rourke was the perfect actor for the role, and had to impose its approach to the producers, who wanted to Nicolas Cage to play the movie (God, I come only imagine cold sweats). Formerly one of the best players in the 80 is just perfect in her role and to connect with the viewer getting to the heart of it with unusual ease. The sincerity of their interpretation connects directly to the more obvious parallels with the actor's personal life. Both in reality and in fiction, Rourke was a star of the 80 that fell into oblivion by destroying his own life path. Beside him, an awesome (in all aspects) Marisa Tomei, giving life to a mature stripper, friend Randy, a survivor who is close to his personal decline because of his age. The actress proves to have learned over time, and its interpretation given is far from the days of "My Cousin Vinny" (1992). The third wheel, giving life to the daughter of Randy is Evan Rachel Wood, who also falls short of its peers, offering a sensitive character in their simplicity, conveying the same painful truth that flows from his personal disappointment with regard to father. I think "The Wrestler" is above all a fable about life, about the divine and human is present in all of us. This harrowing tale, far from providing a moral, plunges us into melancholy producing a being who feels abandoned and helpless and that despite the opportunities you get in the way, is simply "unable" to perceive the signs of his fate and understandable instinct and innocence acts, hurting, loving and leaving .
"The Wrestler" is an accurate reflection of the duality of a man who is a hero to his fans and a whole anti-hero in his personal life, someone who faces physical struggle with determination and courage, but it is a coward at heart, so there could be another final destination. And although this character does not enjoy the film with the way that one might wish, for despite its cumulative list of errors, one thinks and feels empathy for this man, transcends the barrier satisfaction from fiction to know who plays him, if he has and uses the most powerful forces that golden opportunity. The sordid passages of Randy's life are portrayed with a raw image and away from styling. The printed realism to the situations that sink slowly, deliberately contrasts powerfully with the grotesque events that we attend to the canvas, where the farce comes to include as instruments a fighter with stapler or a fan who proudly gives her prosthetic leg towards show. With this dichotomy, "The Wrestler" is capable to produce feelings and combine well the enormous complexity of its protagonist, old deity, desperately trying to cling to any professional or emotional grip that will provide. Thus, the collapse and the passage of time are spelled out in an old-fashioned game that is star (and reveals the lost innocence of his playmate), in a phone list and crossed out her daughter his own body as defined in its own words as a pile of rotting flesh. Bukowski-style, "Cinderella Man" is simply heartbreaking film, complex, fragile, adorable and deeply reflective. Is to make a film that presents the misery human, which still have their real meaning in the history of this troubled fighter.
The aim attached to shoulder "The Ram" and its emergence into a colossal stage show that praises cutrez a physicist and a haggard life, leave no doubt of the intentions of Aronofsky, the man who shows no underlines, for example, Clint Eastwood, and highlighting changes of revealing scenes alone, like the signing session for fans or routine work behind the counter of the carnage. Compassionate but realistic, "The Wrestler" is saved from hell and lead to canonize the story with useless tears and closing, subtle and powerful, as a souvenir bruise mark without bad milk. Investigator on human misery, the soul outstripped declining inspector, relentless psychologist of his characters ... movie after movie, Darren Aronofsky is ratified as one of the most qualified filmmakers to enter the pain and loneliness of human beings, too well trained to provide dramatic nudity hurt and uncomfortable, which has a devastating impact, and ultimately makes each of his works an essential and unpredictable small wonder. Few filmmakers achieve this size dramatically, and fewer achieved without the return by the same constant or gender. And Aronofsky, is far from the pigeonhole of a repetition of themes of fleeing like the plague. Significantly, the film won the Venice Film Festival in 2008 and had two 2008 Oscar nominations, for Best Supporting Actress and Best Actor, which in my humble opinion was unjustly taken away from Mickey Rourke.
The soundtrack also is a marvel, full of themes of the eighties as it could be otherwise, symbolizing the success of past splendor and because, at times, is the music itself which serves Randy as a safety valve that this bleak in which they live. And the main theme, "The Wrestler " by Bruce Springsteen is beautiful and gives an end to such a masterful film, also gives harmony to the rest of the tape. Many charged that the plot was very predictable, but predictability in this case is a further advantage that grips the public's feelings, unable to prevent the knowledge and security of an impending tragedy leaves your mind at any time, keeping tension as effective as shock over a plot, not at all heavy or excessive, despite the terrible day to day living the protagonist, present in each and every one of the sequences (almost every shot) of this seamless film that succeeds in its field risking the figure of the appellant as a loser is so topical in cinema, but Rourke and Tomei are able to under the incessant rain of topics offer an unforgettable characters recital, full of nuances, on the unshakable dignity of the losers. Once again the wise hand of Aronofsky reconstructs the ritual of the loss until turning dirt into gold and Rourke merely magnify his tortured body to transform it into pure fantasy. Rarely fiction and what is not come together in such an extreme and visceral agony. And, even shaken, we can only surrender and praise as devastating proposal.
"A splendid film, a penetrating portrait of failure"
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