"The resurrection of Mickey Rourke," that is what the critics are calling Rourke's performance as Randy "The Ram" Robinson in Darren Aronofsky's (Requiem for a Dream, The Fountain) new film, The Wrestler. Anyone who has seen Rumble Fish or Barfly can attest that Mickey Rourke is back. Rourke's portrayal of a washed up professional wrestler is so convincing and affecting that it was no surprise when he claimed the top acting prize at last week's Golden Globes.
The Wrestler is a story about 1980s wrestling star Randy Robinson or "Ram," as friends and fans affectionately call him. Present day Ram is a lonely, middle-aged man in need of glasses and a hearing aid who lives in a trailer park and frequents the local strip joint in search of a connection. Ram spends his days working at a grocery store and his nights and weekends wrestling at local American Legion halls trying to get "back on top." As the film progresses we get the feeling that the ring is the only place where Ram has ever truly felt comfortable and he has neglected all in favor of wrestling.
Aronofsky shoots most of the film on a handheld camera that gives the movie a gritty and personal feel. We, as the audience, spend a lot of time following Ram around, looking over his shoulder as he suffers through the consequences of past mistakes. Aronofsky does not simply present a formulaic character study; the wrestling scenes are intense and punishing and employed to give us the perfect balance of action.
While Aronofsky deserves credit for bringing out one of Rourke's greatest performances, much is owed to the content of Robert Siegel's script. Rourke's own life mirrors that of Randy Robinson – from his days as an amateur boxer to his downward spiral as an actor in the 90s and subsequent venture into professional boxing. It is no coincidence that Rourke profoundly connected with this character. He is certainly not the pretty-boy he was in the 80s; the wear and tear of a turbulent and sometimes violent lifestyle is evident in Rourke's face.
Aronofsky's superb direction is backed by solid performances from Marisa Tomei as the stripper "Cassidy" and Evan Rachel Wood as Ram's estranged daughter. Also, long-time collaborator Clint Mansell provides a poignant yet subtle score that complements each scene but never overpowers or tries to force emotion. The Aronofsky-Mansell team is manifested to near perfection in this film. It is impossible not to be touched by this story, and not in that corny, overblown, inspirational-film kind of way. Rourke's Ram is a deeply flawed and heartrending character that we wholeheartedly root for. This is the first film of the 2008 award season that is truly stirring.