The wrestler also has a broad back. This is accentuated by the large number of behind-the-scenes shots. It also made it impossible for the audience to see his face in many cases, only a strong shoulder swimming forward. The peculiarities of his work render his facial expressions irrelevant, sometimes even detrimental - no pain, only an upright shoulder when being hit on the runway. But he said he had an old problem with his back. This is a fragile strength.
The actor's performance space has thus been greatly expanded. Of course, the close-up of the face is also very important, for example, in several emotional scenes with his daughter and the stripper, his face is highlighted. But in other scenes, the star of the show is his bloated body. The wrestler's body, covered with old and new scars, occupies the entire frame for a moment, and curls up in a corner of the frame for a moment. This is a very cruel scene.
The lonely life of the wrestler seems to have begun long before the film begins. His daughter cried and yelled at him after he missed another appointment, vowing she would never be sad for him again. This was the final blow to him, and it also declared the failure of his search for life under the game. However, to describe him as an old-fashioned hero who came back out of the arena after being unbearable for mediocrity in reality is to look down on this character. He is more realistic and cannot be compromised, and has gone beyond the stereotype of this type of character. Both the director and the actors have contributed a lot.
The seemingly non-existent love between him and the dancer is also handled in a novel way due to the delicate relationship between "display" and "wrapping". The alienated wrestling and stripper occupations featured in the film have one obvious thing in common—the public display of the flesh. A wrestler in a displayed position on the show, looking for a stripper after the show. The few times they revealed their hearts to each other were after the dancers got dressed-because only then, their status was equal-the display of the body led to the wrapping of the heart. But there was one very special occasion. At the end of the film, the wrestler returned to the show and showed his body in front of the dancer for the first time. It used to be in the opposite direction. The dancer looked at this sturdy man who was surrounded by everyone like a monkey. , remembering how different he was from the dull and introverted customer who usually came to her, she couldn't bear to see it, and left the scene sadly.
Or to put it the other way round, the suppressed mind in real life has become the biggest potential driving force for him to continue this profession; and this crazy profession has deepened the estrangement between him and reality. The visualization of this relationship is the alternation of physical display and wrapping. The existence of the dancer was a more popular hint, and it was also a breakthrough opportunity for him, but he didn't grasp it. This arrangement is certainly decisive, but it makes the characters more reasonable and profound.
The film's restrained camera language leaves no room for the ugliness of violence. It shatters the compromising attitudes of wrestling and boxing movies about violence—let alone those that glorify or exploit. Although this special "show" makes it have to be inclined to "reveal the ugly" to a certain extent, those eye-popping close-ups still make the audience have to face the cruel reality. And the group of once-glorious aging champions, the embarrassing reality stripped of its last coat as the camera swipes across their faces at a "non-event" pace. This is another good thing the film does after providing a poignant character.
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