THE IRON CLAW (2024): THE REQUIEM FOR A DREAM OF WRESTLING DRAMAS

I almost always have a witty comment to summarise my thoughts on the film I’ve just watched. But after witnessing what I think might just be the most


devastating and epic drama of the year (judging by UK releases), I’m not sure I can muster the energy. Had this emotional body slammer of two and half hours come out last year, it could have perhaps rivalled Oppenheimer for the top three. I am pleased to say that this semi-historical account of one the wrestling world’s most infamous families is my first A+ grade given to a newly released picture in years. Regardless of issue, for there were a few, this is an experience rich with prestigious direction with a clear love for the topic and a family of beautiful performances.


Because the latter element is so juicy, we have to discuss that first. Let’s begin with Zach Efron… WHAT THE HELL?!!! Where did this come from?!!!!! I was always aware of Efron slow ascension above the High School Musical type casting, but I never could have predicted he could shed his skin this radically. Even when he tackled roles like Ted Bundy, I still felt Efron’s pretty boy energy behind the thinly layered mask. In this, he sells his soul to the devil to play the troubled Kevin Von Erich and ounce of dedication, not just his physique, is on display. By god, as we descend through the film’s most emotional maelstrom, Efron’s eyes are vacant of emotions and you are looking at a man shattered into pieces. His hoarse voice and rigid body language reminded me a lot of Heath Ledger from Brokeback Mountain; a performance that Daniel Day Lewis described “as real and as moving as anything I have ever seen”. That is exactly how I describe Efron in this film and it is truly Oscar worthy by every definition! 


But “real and moving as anything I’ve seen” can be said for almost every element. It’s a biopic that certainly takes liberties with the historical context, but the adaptation is one of true love, not someone who just made something along the same basic formula. For an over two hour runtime, director and screenwriter Sean Durkin grabs you into an iron claw of his own and the grip refuses to release you - the pace is fabulously consistent. Within minutes, you understand every character, their motives and positions, even some you would find detestable, they are nevertheless human and multi layered. Then the tragedies start to occur. I’m not a wrestling fan nor expert, so knowledge of the story was lost on me. I suppose that helped toward the emotional storm Durkin was aiming for because his aforementioned claw forced me into my seat, even as I pleaded in my head to make these poor boy’s trauma and turmoil end. It is a cruel experience but those are its undeniable strengths as a drama. It’s not quite the same effect as Requiem For A Dream as at least the ending offered solace, but it’s close. In fact, the ending hosted two moments that almost had me in tears, something again is a testament the brilliant vision of Durkin and the ensemble.


Jeremy Allen White roared his way through the industry in The Bear and his promise as a big name holds through his excellent portrayal of the essential prodigal son, Kerry. Harry Dickinson was not someone I took note of before but, amidst Efron and Allen White especially, a glimmer of nuance and depth shines through. A performance that will hopefully gain recognition is Stanley Simons as the youngest. And Holt McCallany, a very underrated character actor, brings to life someone you can hate with every fibre but he carefully balances on the tightrope of ambitious yet domineering patriarch and never falls into being a caricature. 


What I also love are the characteristics that we’ve come to expect from A24 at this point. Not just the passionate direction, unique writing or unexpected and against type performances, but also the camera work, unbroken shots that let audiences soak in multiple ongoings at once, and the lush cinematography that transports into the era it was set. I will controversially state that this is probably better than Oppenheimer because, whilst that also reworked what we expect from biopics, this really made me feel the hardship of these real people as if I were a close friend of there’s. Once again, I state: “as real and as moving as anything I’ve ever seen”… 

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