A second, implicit point-of-reference can be found in the similiarities shared between The Wrestler and the works of Jean-Pierre and Luc Dardenne.^ Most directly, Aronofsky and cinematographer Maryse Alberti's behind-the-shoulder camera work recalls the Dardenne brothers' 2002 The Son, which needless to say procured a Christian allegory of its own. The Wrestler's highly-identificatory mise-en-scène emphathetically showcases the everyday physical effects of the title activity and years of drug use (both professionally-enhancing and not) for Randy, as well as the bodily stress of the shoot and the self-medicating again for Rourke. Like his 2000 Requium for a Dream, Aronofsky has succeeded in creating an almost unimaginably mimetic art. While in both cases the films can be difficult to watch, even if The Wrestler does not even come close to Requium... in this regard, the director's latest separates itself once again for its thoughtful self-positioning within the aforesaid cinematic traditions.
The Wrestler likewise manages to artfully externalize its protagonist's physical and emotional distress. Like 'The Ram's' time-ravaged physique, Aronofsky's locations secure the same sense of a life ending, with their mid-winter, treeless settings: chief among these is the New Jersey trailer park in which Randy lives (which happens to recall another of the Dardenne's films, 1999's Cannes-prize winner Rosetta). Of course, this late year setting does form a background for one of the film's most winning passages - namely, the deserted NJ boardwalk where Randy and his estranged daughter (Evan Rachel Wood) return to the location of many of the pair's all-too-rare shared memories. In a tightly-framed medium close-up, Randy delivers an urgent, and truly heart-breaking monologue to the daughter, whom he admits he tried to forget. At least momentarily, The Wrestler shows itself to be among the most hopeful of this year's films. This scene's opening also shows the picture's, as well as 'The Ram's wit, in his choice of belated gifts for his daughter.
Of course, Aronofsky and Siegel deny us this happy ending. Randy is much too far degraded (in every respect) to achieve permanent reconciliation and restoration. While his 'performance' at his new deli-counter job again showcases his humor and hints at redemptive possibilities - Randy demonstrates a real aptitude with his customers that Arnofosky compares to the wrestling ring (with its back-stage passageway and the filmmakers' use of non-diegetic crowd cues) - a subsequent strip-club encounter with Cassidy deflates the newly rejuvenated Randy, setting off the course of events that will bring 'The Ram' back to the ring one last time.
The film's conclusive match reunites 'The Ram' with 1980s era-opponent 'The Ayatollah' in an unmissable reference to former WWF heavy The Iron Sheik, who famously (among former wrestling aficionados, as this writer was in his childhood) lost his title to Hulk Hogan. Indeed, local color is also supplied with a title credit sequence that includes magazine covers - including industry standard Pro Wrestling Illustrated - and by the participation of real-life grapplers, who really do experience a wear-and-tear in the ring, thanks to the razor blades and chair backs that bring the 'fake' sport to life. Among the film's most harrowing set-pieces is an autograph signing where Randy's compatriots - who it should be added never fail to act warmly towards the aging champion - wait for a very small number of fans, as they sit in their wheel chairs or with their catheters drooping below their pant legs'.
While Rourke does not in reality belong to this world in the same way, his Randy 'The Ram' Robinson is a flawlessly drawn and instantiated entry into their universe. In other words, Rourke deserves all the many accolades he has received for his extraordinary performance. Tomei's still beautiful, though similarly-near retirement Cassidy holds the screen with the former, in no small measure thanks to the actress's physical performance - which is to say her topless dancing. She is every bit as convincing in this role as Rourke is as a worn 1980s legend. (The film's 1980 period detail, including a perfectly placed Guns-N-Roses standard, does much to enchance The Wrestler's authentic characterizations.) Indeed, Arnofosky and Siegel's narrative, structured on its parrallelisms - their jobs, children and so on (she is the much better preserved) - is very much their story.
While there can be no denying the centrality of Rourke's epic performance in carrying the film, The Wrestler is nonetheless more than the sum or his or even their performances (Wood too is of note). Indeed, by virtue of its smart assimilation of sources and its mimetic formal articulation of content, Aronofsky's work is among best American films of the previous year, making the film very deserving of a 'Best Picture' nomination (certainly above frontrunners Slumdog Millionaire, The Curious Case of Benjamin Button and Milk) in addition to its sure-thing acting nominations.
^ It has been brought to my attention that Todd McCarthy makes the same comparison. If I noticed this after reading McCarthy (I cannot remember now if I did) I would like to cite the Variety critic. If I did not, then there really must be something to this convergence.
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