“The Wrestler” offers Mickey Rourke the chance to model his well-defined body, notwithstanding the fact that he has surpassed the 50-year mark. In addition, the film directed by Darren Aronofsky endows the actor with an all-embracing work of art in which he can highlight an outstanding physical performance doubled by silent spectacular feelings hidden under the deafening embellishments of a sports canvas.

Unlike other movies helmed by Darren Aronofsky, “The Wrestler” follows a sole focal point that aims at examining the life of a former performer.

The director reveals the sort of closeness with this particular area under discussion that viewers would have thought unachievable for him, as his earlier portrayals approached more lifelike story photographs rather than cinematic pieces that studied interior conflicts. No longer preoccupied with creating meticulous structures, Darren Aronofsky manages to find the way to the spirit of his character and penetrates the territory of drama.

Mickey Rourke’s Randy “The Ram” Robinson holds the genuine quintessence of the peculiar, as he portrays a wistful act in the most unsophisticated sense. Having attained prominence in the ‘80s, the wrestler clutches on to the long-lost era’s lifestyle. With sun-bleached flaxen curls and a scarred visage, he frequently gives the impression of a comic book superhero.

Following his retirement, Randy takes a job at a deli, tries to form a romantic relationship with a stripper, played by Marisa Tomei, and goes all-out to reconcile with his estranged daughter (Evan Rachel Wood). Nevertheless, he feels tempted to fight against his old wrestling arch-rival, in spite of the fact that the battle may claim his life.