Posts Tagged ‘Darren Aronofsky’

Long, Cold Winter: The Music of “The Wrestler”


“The only place I get hurt is out there. The world don’t give a shit about me.”

I. Well, I’m Frustrated and Outdated

The first voice you hear is a dead man’s scream. It’s one of those full-throated primal belts, like Roger Daltrey’s in “Won’t Get Fooled Again.” Here it’s Kevin DuBrow, his scalded screech busting the floodgates for “Bang Your Head (Metal Health),” the second single from Quiet Riot’s landmark Metal Health (1983), the first slab of fuzz ’n’ meedley to ever reach #1 on the Billboard Albums chart.

The band was at its mainstream zenith then. Randy “The Ram” Robinson (Mickey Rourke) was probably just getting started, years of toil finally paying off as professional wrestling graduated from the sweathouse din of high school gyms to respectable arenas in metropolitan cities. It came with a price, of course. Regional territories were swallowed by ambitious, growing monoliths. But that wouldn’t matter for a while, not even to the Ram. Luckily, he was in his prime, synchronous with the era. He was the ’80s.

Someday that would come back to haunt him, but someday was just a harmless, nebulous future. For now we’re in his past. Wisely, director Darren Aronofsky (on a Robert D. Siegel script) never shows us this past except as a collage of scattered magazines and handbills against the ghostly chatter of ringside patter and a raucous anthem that rocked a long-gone summer, growled by a man who in 2007 was silenced forever.

But Ram still struts to this hoary buzzsaw, having plucked it during its popularity and transformed it into his ring-entrance music. When the riffs kick in to summon his fist-pumping form, the crowds respond as they would at a concert. They know what’s coming: a classic blast from their childhoods, riding into town with a near-suicidal need to entertain. And the outcome is always predetermined. Once their faded hero climbs the ropes and drops that old-school Ram Jam finisher — his greatest hit — it’s over, brother.

All over. (more…)

The Bigger Picture: Earnest Goes to the Movies

300_49943I recently had the pleasure of watching Darren Aronofsky’s film The Wrestler.  This was after I wrote my Oscar tirade, though the experience I had in that film has only added to my furor.  An often overlooked quality in film is the ability to be earnest, but it is so rarely accomplished.

There is a fine line to be walked between sincerity and pompousness.  Too often, filmmakers want to make you cry, rather than actually accomplishing it.  It is difficult not to be moved by a child’s tears, but once the youngster gets a taste of your sympathy he will exploit your kindness.  Hollywood often follows the “boy who cried wolf” method during the awards season, as if the only time audiences are allowed to cry is between December and February (not a bad strategy, as this is a stressful time of year).

In The Wrestler, Mickey Rourke plays a washed up pro wrestler who is still clinging to the glory of his past.  If you replace the words “pro wrestler” with “actor,” you will be describing Rourke’s own career.  This leads to an incredibly genuine performance, and I actually walked away from the theater with an appreciation for professional wrestling that I didn’t have before.

Aronofsky himself probably realized the need to make a stripped-down film after receiving criticism that his previous films were pretentious.  Pi and Requiem for a Dream are pretty good movies, but I probably wouldn’t want to watch them more than once.  There wouldn’t be a need for a second viewing anyway, as every film student I have ever met has expounded on their brilliance.  The Fountain is a film I like very much for its ambition and beauty, but I can understand why someone would criticize it.

If you watch The Wrestler with a critical eye, you can see from the very beginning that you are watching the work of a filmmaker who consciously tried to rely less on his technique and more on his instincts.  For the first time in an Aronofsky film, the direction isn’t noticed and the actors are able to shine through.  There is one scene that I would even point out as the anti-Aronofsky, in which Rourke’s character finally lets go of “The Ram” for a moment and embraces a new life working the deli counter at a grocery store.  This scene is so expertly choreographed between director and actor, and we see Rourke use his charm by giving nicknames to his customers.  The camera, however, only reveals the customer after the christening so that we may chuckle at the appropriate handle. (more…)

The Bigger Picture: Disaster Movie!

The average movie is mediocre at best. This is not meant as an insult to hardworking filmmakers. The simple fact of the matter is that few films in a given year can actually be given the label of a “good movie.”

People often look back fondly at a cultural era. In our short-term memory, this is often reduced to decades. Looking further back, cultural movements generally take up more time and are given weighty names (the Renaissance, the Enlightenment). Often someone will say “Remember the music in the ’90s? It was so much better than it is today” or “Movies were a lot better in the ’70s.” Think about it rationally, though: What possible reason could there be for the quality of art to change from one period in history to the next? It’s not as if new generations are less talented than previous ones, as much as Tom Brokaw tries to convince us otherwise. Generations are made up of individuals. Sometimes we lose sight of this much like we fail to acknowledge the tiny pixels that form our computer screens.

Let’s take a look at the conditions art needs to survive. First, there are the technological advances in artistic mediums. Oil-based paints and watercolor paints both developed at different times in history. The electric guitar spawned a revolution in music, just as programmed beats and synthesized instruments have done in more recent decades. The biggest technological change right now in film is the use of digital technologies. Even if a movie is still shot on film it will pass through a computer at some point, be it for color correction, CGI, titles, or DVD production.

The other major requirement is something that is more difficult to pinpoint. I call it cultural inspiration. These are the societal tendencies that are working both for and against the artist, and are often easier to pinpoint in hindsight. The great thing about art is that the forces working against it are easily neutralized by the work. The Vietnam War is an example of a cultural inspiration. Music underwent a fundamental change during this time, and films as well. For all the peace and love in the air, films seemed to get grittier and more cynical from this point forward. Star Wars, though an attempt at more uplifting cinema, was even inspired by the Vietnam War. George Lucas was originally scheduled to make Apocalypse Now, but when this plan fell through he began forming his space epic by following the same threads of rebellion and empires stretched too far.

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