The Wrestler – a 2008 American sports drama play directed by Darren Aronofsky and written by Robert Siegel. The film casts Mickey Rourke, Marisa Tomei, and Evan Rachel Wood. An aging wrestler strives to keep up with life as he is quite old to renew his wrestling career. He apprehends that he has to come to terms with what life has to offer at this stage and go on.
Preview of Randy Ram of The Wrestler.
He is Randy Ram Robinson, the washed-up star of the 80s professional wrestling picture, still roaring around the path to a diminishing crowd of nerdy male fans and dead-eyed blonde women ardent to party after the show. He is mutton dressed as steroid-injected lamb, pecs, and biceps and abs held with Timor Mortis, his hair an unshorn Samson shower of dyed blondness, fervently molded on the heroes of the 1980s stadium rock display.
Randy Ram makes no secret of his loathing of 90s music in general including Kurt Cobain. Rourke’s face has a wrecked leonine quality, his lips unceasingly pursed in something closer to shark pout than a trout pout. Kellett, he ain’t.
Randy Ram is, poignantly, in love with a pole-dancer named Cassidy, played by Marisa Tomei. She is herself getting too old for a business whose similarities to Ram’s are made fairly clear.
After a frightful heart attack, Ram is ordered by his doctors to discontinue wrestling or die. He chooses to use this enforced leisure to re-establish contact with his estranged daughter Stephanie.
Despite the horror and the physical punishment that Ram digests so uncomplainingly, the biggest challenge comes when the supermarket manager at his day job makes him deli counter also deal with the surly customers wearing a wussy hairnet.
Coming out to face his society is worse than any wrestling match. Yet Randy Ram ‘s strong showbiz chutzpah wins through. Metaphor is not far as Ram is charming and backtalking all the old ladies and blue-collar guys who want his prepared ham and baloney.
The Wrestler runs on what are traditional lines for a sports movie, still runs on them with exciting speed and attack. I was waiting for a cop-out ending, but it never arrived. Aronofsky gives schmaltz the forearm smash and puts the smackdown with a heavy-duty chokeslam as it were. After an unusual period, the director has rediscovered his grip.
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