Reżyseria:
Darren AronofskyScenariusz:
Robert SiegelZdjęcia:
Maryse AlbertiObsada:
Mickey Rourke, Marisa Tomei, Evan Rachel Wood, Mark Margolis, Todd Barry, Wass Stevens, Judah Friedlander, Marcia Jean Kurtz, John D'Leo, Ajay Naidu (więcej)Opisy(1)
W późnych latach 80. Randy „The Ram” Robinson (Mickey Rourke) był gwiazdą wrestlingu. Po dwudziestu latach zarabia na życie występując przed młodymi fanami zapasów w szkolnych salach gimnastycznych i osiedlowych świetlicach na terenie New Jersey. Odrzucony przez córkę (Evan Rachel Wood) i niezdolny do zawarcia jakiegokolwiek związku, Randy żyje tylko emocjami na ringu i uwielbieniem, jakim darzą go wierni fani. Niespodziewanie jednak kłopoty ze zdrowiem zmuszają go do pożegnania ze sportem. Jak piach przez palce umyka mu sens jego dotychczasowego życia, które próbuje na nowo ułożyć – stara się nawiązać kontakt z córką i wdaje się w romans ze starzejącą się striptizerką (Marisa Tomei). Jednak pasja i emocje, jakich doświadczał stojąc w ringu wciągają Randy’ego „The Ram’a” z powrotem w świat wrestlingu. (SPI)
(więcej)Materiały wideo (2)
Recenzje (14)
The Wrestler is an unobtrusive indie work. It is simple, clear and clean, and relies on only one thing – Mickey Rourke. Darren Aronofsky is aware that everything else is just Rourke’s surroundings, so he paves the way for him without much interferences or original screenwriting ideas (we’ve seen it all before), comfortably riding on his character’s shoulders. And the whole crew sleeps in Randy’s caravan because no one would give them a normal budget for this. A nice, modest film that could have been excellent as a featurette.
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In the end, I liked The Wrestler more than Requiem for a Dream – it affected me more on an emotional level. Whilst Requiem for a Dream is a linear and aestheticized image of doom, the story of Ram Robinson contains several layers. Aronofsky withdrew into the background and opened up the maximum amount of space possible to Mickey Rourke's captivating acting, and to playing with genre expectations. Fortunately, the fear that The Wrestler would end up with the heroic pathos of the main character overcoming himself was not confirmed - quite the contrary. The devastation of the body, the inability to establish emotional relationships and to exist fully outside the space of a painful pretense called wrestling – all of these motifs are based on pure and unadulterated drama. I have nothing negative to say about this brilliantly and cleverly constructed film. Aronofsky is able to feign like a real wrestler, but there is no doubt that the blood and pain are real. Theater sometimes hurts more than reality. The Wrestler is another of the director's drastic portraits of the bottom of American society. For me, this is the most powerful film of the year so far.
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A very intense experience, as it’s usual with Aronofsky. The walking camera works wonders, making it very easy to relate to the character of the wrestler (does anyone understand this “sport”? Does it really have an audience?). The Wrestler is one of the most tiring films I’ve ever watched, but not in the sense that it’s boring, but that you’re physically exhausted after watching it. It has such an effect that it made me feel I almost experienced it first hand. Ouch! Aronofsky isn’t getting five stars out of me this time, but it was very close (there are several parts where the story loses its pace). PS: Did the style of the last scene remind anyone else of the brilliant ending of Butch Cassidy and the Sundance Kid?
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Reality, dreams, desires, and reality. Darren Aronofsky resigns from the magic of editing or groundbreaking effects and becomes a guide through the world of wrestling matches. And it is a walk without embellishment. He doesn't flinch from anything, doesn't stop for a moment – and yet he partially fails. He relies too much on Mickey Rourke's perfect performance. In his portrayal, Randy is a breathtaking character dependent on his past and struggling with ingrained habits. I admired him, but I didn't breathe for him. The camera practically never leaves him, but I still don't feel the necessary dramatic closeness and take his story as a scripted scenario with the necessary accompanying tools, with three obvious twists and a strong ending. I never expected that I would reproach the director of a film as imbued with emotion, as dramatically perfect, and for me, already immortal The Fountain for taking a cold approach.
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Darren probably couldn’t stand anymore of his wife’s constant teasing that she already has her golden baldie on their mantelpiece. And so he shot that type of movie which is to the critical community what a red cloth is to a bull. Seemingly a merely classic nostalgic and sad “sports" drama, heavily dependent on Rourke’s gala-performance, but he gave it something extra. Something depressing and true. And it’s really, and I mean really, not about wrestling at all. Thank god. I’m actually so allergic to that sport. This could just as well be about boxing, chess, acting or writing reviews for FilmBooster. It would work out the same, this is mainly about looking for your own “place in life".
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