There is no denying that Darren Aronofsky's "The Wrestler features two tremendous performances by Mickey Rourke and Marisa Tomei. But there's also no denying that former The Onion editor Robert Siegel's screenplay is rather conventional, plot-wise. And that does hamper this film.
Which is perhaps why Academy Award voters decided not to nominate "The Wrestler" for Best Picture or Siegel's screenplay. If you look at the other original screenplay nominees - Courtney Hunt for "Frozen River," Mike Leigh for "Happy-Go-Lucky," Martin McDonagh for "In Bruges," Dustin Lance Black for "Milk" and Andrew Stanton and Jim Reardon for "Wall-E" - conventional or formulaic they certainly are not.
This is not to say that I didn't enjoy "The Wrestler." It is great to see Rourke back and acting to his fullest potential. Not only is this a juicy, meaty role - though some might argue he really isn't acting but simply being himself - but it is such a far cry that some of the crappy movies he came to be known for.
Perhaps it is because Rourke finds such a personal connection to Randy "The Ram" Robinson in "The Wrestler" that he is able to truly tap into the character's deepest fears and insecurities. Rourke is completely convincing as the once-famous, now washed-up wrestler peddling his talents at dingy venues and trying to eke out a living at mediocre autograph sessions. There's genuine angst in Rourke's performance and it is one that certainly propels the film forward.
Tomei, too, turns in a stunning performance as Cassidy, a stripper more by circumstance than by choice. It is a bravura turn by this one romantic-comedy lead. She has matured brilliantly as an actress and there really isn't a false note in her performance.
But then there's Siegel's screenplay. I realize there are tons of people who absolutely adore this film and my reaction to the movie isn't by any means meant to demean their adoration.
"The Wrestler" starts out well and, for the first 30 minutes or so, kept me wondering where it was heading. It had a few genuinely nice surprises. But then comes the scene in the dressing room after a match. When that happened, I immediately knew how a conventional writer would unwind the plot. I hoped this film wouldn't, but it did. Everything I expected would happen happened. The twists, the turns, the character revelations - nothing that came after surprised me and that was a huge disappointment.
I would have expected something novel from Aronofsky, but he clings to Siegel's formulaic script and provides us with nothing that we couldn't have anticipated. I kept waiting for something to change my mind, but nothing did.
So what we're left to marvel at are Rourke's and Tomei's remarkably honest and, at times, brutally so, performances. And what I was left wondering was how much better, more trenchant, this film could have been with a more original screenplay.
Which is perhaps why Academy Award voters decided not to nominate "The Wrestler" for Best Picture or Siegel's screenplay. If you look at the other original screenplay nominees - Courtney Hunt for "Frozen River," Mike Leigh for "Happy-Go-Lucky," Martin McDonagh for "In Bruges," Dustin Lance Black for "Milk" and Andrew Stanton and Jim Reardon for "Wall-E" - conventional or formulaic they certainly are not.
This is not to say that I didn't enjoy "The Wrestler." It is great to see Rourke back and acting to his fullest potential. Not only is this a juicy, meaty role - though some might argue he really isn't acting but simply being himself - but it is such a far cry that some of the crappy movies he came to be known for.
Perhaps it is because Rourke finds such a personal connection to Randy "The Ram" Robinson in "The Wrestler" that he is able to truly tap into the character's deepest fears and insecurities. Rourke is completely convincing as the once-famous, now washed-up wrestler peddling his talents at dingy venues and trying to eke out a living at mediocre autograph sessions. There's genuine angst in Rourke's performance and it is one that certainly propels the film forward.
Tomei, too, turns in a stunning performance as Cassidy, a stripper more by circumstance than by choice. It is a bravura turn by this one romantic-comedy lead. She has matured brilliantly as an actress and there really isn't a false note in her performance.
But then there's Siegel's screenplay. I realize there are tons of people who absolutely adore this film and my reaction to the movie isn't by any means meant to demean their adoration.
"The Wrestler" starts out well and, for the first 30 minutes or so, kept me wondering where it was heading. It had a few genuinely nice surprises. But then comes the scene in the dressing room after a match. When that happened, I immediately knew how a conventional writer would unwind the plot. I hoped this film wouldn't, but it did. Everything I expected would happen happened. The twists, the turns, the character revelations - nothing that came after surprised me and that was a huge disappointment.
I would have expected something novel from Aronofsky, but he clings to Siegel's formulaic script and provides us with nothing that we couldn't have anticipated. I kept waiting for something to change my mind, but nothing did.
So what we're left to marvel at are Rourke's and Tomei's remarkably honest and, at times, brutally so, performances. And what I was left wondering was how much better, more trenchant, this film could have been with a more original screenplay.