“Champion” starts out in Chicago (shortened to “Chi” later in the story). Midge moves around to other places such as Milwaukee, New York, New Orleans. The eventual setting fiction about Midge is that he also has a wife up in Canada (outside the range of the American media) with five sons, all ‘dead ringers’ for Midge: the ultimate dream for a man who has dreams of being all-powerful.
The pattern of domestic abuse isn’t so different from how it works today, with the following noteworthy addition:
“I’ll put you in a hospital where they’ll keep you quiet.”
Last century, sending ‘crazy’ wives and girlfriends to mental asylums was one strategy used by men to get rid of partners they no longer wanted. This was considered an alternative to divorce, for which the man could not be blamed. It was more common in the 1800s, but continued into the 1900s.
CHARACTERS OF “CHAMPION”
The cast of characters in “Champion” is a long one, because the point is that Midge goes through people like they’re nothing, one person after another after another. They are listed again at the end, to remind us of all the people he has screwed over.
This story is dialogue heavy and written in a working class Northern American lower class dialect of a century ago. All considered, it’s amazingly simple to read, and I’m sure it’d be satisfying to listen to.
Legend has it that his spelling wasn’t very good, though he was super smart academically. In those days, spelling alone could let you down in school.
Midge (Michael Kelly) is a man who uses violence like a workshop tool. He could be a sociopath, and this serves him well. Midge is more like a robotic horror opponent than a fleshed-out main man with human shortcomings and needs. I don’t even code his sociopathy as a shortcoming.
Instead, we see the cast around him suffer because of their own shortcomings. “Champion” is a good case study in stories which create a cardboard ‘main character’ then delve into how that person wreaks destruction on those around him.
Interesting that when this story was adapted for film in 1949, the screenwriters gave Midge more humanity.
Possibly we should be grateful that the makers of the film have sweetened the character just a little from the way he was in the tale, for Mr. Lardner’s Midge Kelly was as cruel and contemptible as they come.
Reason given: the audience can put up with a one-dimensional psycho for main character in a short story, but watching him on screen for full movie-length would be highly unpleasant. In other words, you can’t get away with one-dimensional main characters in works of length.
Nothing stands in Midge’s way because he has the superpower gift of his fists. So when he gets in trouble for beating up his disabled brother, he simply leaves home to make his fortune. And so he does, going from strength to strength.
Because this guy is a fighter we see an endless stream of punches and kicks. There’s no big fight that will determine the course of this guy’s future — after a while we know he’s going to win.
Is it just me, or is everyone else waiting to see Midge get his punishment? I thought the industry itself might chew him up and spit him out. Most stories are conservative in their values — bad characters meet bad endings.
But this story subverts that expectation and ends with the following message: Once people are champions, their audience wants them to remain champions.
This is absolutely mimetic to real life. It works especially well for white men. We have seen it over the last few years in men who have been accused of assault then come back and keep on doing whatever’s been making them money. I’m sure Ring Lardner witnessed this himself, while working as a sports journalist. He must have wondered how such assholes can keep doing what they’re doing.
The answer, of course, is that an audience loves a champion.
It’s about wish fulfilment. We project our own wish to be famous and powerful onto celebrities and if they fall, we fall. There’s also the cognitive bias of sunk cost, in which we tend to stick with those into whom we’ve already invested our attention. It’s related to status quo bias, in which we prefer things how they are, even if that thing happens to be a patriarchy powered by toxic masculinity.
COMPARE AND CONTRAST
In one way this short story reminds me of the film The Wrestler, which is about how the modern American wrestling entertainment industry uses their wrestlers up and spits them out, without looking after them when their bodies become too broke to fight. But the main character of The Wrestler is a sympathetic figure and he is the underdog. Midge is no sympathetic underdog. Because I’ve seen The Wrestler, I know to expect he will get his comeuppance from the industry itself.
But no. Midge remains top dog. But even in The Wrestler, broken fighters remain top dog in the minds of the audience, and that’s what brings in the bucks.
If we met Midge at the end of his life, we might find someone looking more defeated, as Mickey Rourke looks in that poster.
The Wrestler (2008) directed by Darren Aronofsky remains one of the best, and also one of the saddest, films I’ve seen. Australia’s Margaret and David both gave the film five out of five stars.
Logline: A faded professional wrestler must retire, but finds his quest for a new life outside the ring a dispiriting struggle.
The Wrestler is a tale of self-destruction, but self-destruction with thematic purpose. Its raison d’être is not simple masochistic pleasure — this is a critique of entertainment industries, among other things. Most of the audience is neither a wrestler nor a sex worker. This story takes the concept of masks and work life (im)balance to create a widely relatable story.
The part of Randy the Ram was written for Mickey Rourke, inspired by the emotional arc of Mickey’s life (though we almost got stuck with Nicholas Cage). Cage agreed to the role once Rourke seemed unable to play it for obscure Hollywood reasons, but soon realised he’d never get bulky enough without resorting to steroids himself. Cage didn’t want to compromise his own health in that way. So the part went back to Mickey somehow.
Mickey Rourke didn’t write the story — that was Robert Siegel — but he did rewrite his own dialogue with the director’s permission. I’ve no doubt this is part of the film’s success. Writer Robert Siegel has also written a kids’ film about a snail (Turbo) and a baseball film starring Patton Oswald (Big Fan). The Wrestler is his standout success as a writer so far.
I watch this film through my fingers. If you have sensory issues around cutting, blood, needles etc. you will find the wrestling sequences of this film a challenge. But if you can watch them (and not just listen, as I did), apparently the pro wrestling is real, not just realistic. The actors are real-life wrestlers, and it turns out — happily — they can also act. This should be no surprise, since pro wrestling turns out to be a form of acting in its own right.
I also find this film so affecting that it stays with me for days. If you’re not up for that, avoid avoid avoid.
The reasons for all those details, by the way, becomes clear to me after reading something about storytelling by Celeste Ng, who read a whole lot of stories in quick succession for a project she was curating. She had this to say about the forgettable ones:
Why didn’t [many stories I read] work? Partway through a story about a couple at a party, secretly struggling with infertility and on the verge of falling apart, I realized something: the characters should have been desperately sad, but no one in the story actually seemed to feel much of anything. […] enough wasn’t said. Those stories, and that shorthand, ask the reader to do all the work—of figuring out how the characters are feeling; actually, of feeling, period. They assumed you knew what it felt like to be cheated on, or to lose a loved one—and that you’d feel the same way the characters did. The authors seemed to hope you’d project your own feelings onto the character, creating instant depth, like a 3-D movie. But what does that make the characters, and the story? A blank screen. […] The best stories—the ones I still remember, months or even years after reading them, the ones that punched holes in my heart—didn’t assume anything. They didn’t use shorthand; they spelled out those feelings with painfully sharp details, so that by the end, you did almost know what it was like.
Fictionalise Mickey Rourke’s very unusual rags-to-riches-to-rags life in the entertainment industry and then hire him to basically play himself.
I imagine it also went something like this:
Tell the tale of a pro wrestler, juxtaposed against the remarkably similar female analogue of sex work, to show that even when we know what we’re enjoying as entertainment is ‘fake’, the pain of these entertainers is real. Apart from the pain on display, there’s a lot of other human suffering within these industries that we may not have considered when dismissing our entertainment as fake and therefore completely harmless.
I also like this interpretation:
Real people are phoney wrestlers (from Wrestle Zone). Or, life itself is a wrestle — power struggles with loved ones, with bosses, with our baser desires. Sometimes you’re the winner, other times the loser and sometimes life is brutal.
ESTABLISHING AUDIENCE EMPATHY FOR RANDY THE RAM
Sad stories make for good storytelling studies because they tend to be heavily character driven, and the creating team needs a good understanding of human psychology in order to affect the audience. Apart from all that, there are very clear tricks writers use when creating a story like The Wrestler. These tricks remain invisible to a general audience, but writers recognise what they are.
The more morally culpable the main character, the longer this ‘setting up empathy’ sequence needs to be. Randy is not exactly Tony Soprano. Randy the Ram is the fake, entertainment version of a Tony Soprano archetype. Both stories are set in New Jersey, but unlike Tony, the violence Randy inflicts is consensual. Still, in a story about an entertainment wrestler, who is later shown to be a deadbeat dad, a scary guy, a stroppy employee and a poor potential love interest, the writer really needs to get the audience on side before sending Randy upon his emotional journey (character arc).
CREATE SAVE THE CAT MOMENTS
Once you know what a save the cat moment is, they stand out like a sore thumb. This leads some writers to eschew them altogether. But this is a writer’s response, not a typical one.
Randy the Ram signs for fans even though he is obviously suffering from pain after a fight.
He is playful with local trailer park kids even though they wake him up too early the following morning.
He brawns his favourite sex worker against some guys who are giving her grief. (Pam isn’t 100% glad to have missed out on $200, which puts some of the power back with her.)
ESTABLISH THE MAIN CHARACTER AS AN UNDERDOG
Randy is also established as an underdog character:
He is huge in bulk, but we initially see him in a kindergarten classroom. This is never explained in the story, but I guess the wrestlers have booked a school for their event. This juxtaposition infantalises Randy and makes him appear harmless. It also makes the whole wrestling gig seem a little comical.
While sitting on a very small chair, Randy’s manager gives him his pay, which is less than has been promised. Randy accepts it without a fight. Post-fight, he is too wasted to fight any more.
We follow Randy home in his beat up truck and learn that his ‘home’ is a trailer park, and he sleeps in the very same truck.
We are shown clearly how much pain he is in. We see him wince and limp and un-bandage himself. We see him mutilate himself as part of the props.
Off stage, Randy wears glasses and a hearing aid. With these accoutrements, and the pained walk, he transforms from a formidable fighter into a vulnerable old man.
The guy who runs the trailer park is after Randy for park fees and won’t let up even though Randy says he needs to spend his money on pain management.
As we spend time with Randy over the following days we see why he has no money to pay his basic living costs. Regardless of how we might judge him for misusing his own pay check, he is using it to buy time with the woman he loves (Pam the sex worker). He tells her to ‘keep the change’. We have already seen he can’t afford to be so generous. He uses his pay check to buy drugs, but only drugs which will make him ‘bigger and stronger’ for his work (notably, more are offered but he reveals himself to have limits — and his own understandable logic — when he turns down cocaine and notoriously addictive painkillers). He uses his money to get foils in his hair and to rent a tanning bed. We therefore see Randy in a financial bind — the job he is employed to do requires a lot of personal outlay. There is no financial return for this weekend gig. He is addicted to the in-group prestige, and is utilised as a fighting tool by his wrestling managers, who are his pimps.
The boss at his weekday job treats Randy like rubbish, making a snide remark about him needing more hours to buy ‘tights’. This is femme phobic of course, but mostly demonstrates how little this boss understands about the real outlays required. Tights are the least of it. Randy swallows his pride and although he has the brawn to really take this guy down, he makes an attempt to laugh at the jokey insult. Importantly, the boss is up a ladder at the time, doing some stock taking. Randy is down below. Though the viewpoint places the boss in a clearly more powerful position, it is also true that Randy could wipe out that ladder, just like that. But he doesn’t. We side with characters who have the means to wield power but keep it in check despite trying circumstances. When they finally do break out, we understand how frustrated they are.
With Randy the Ram clearly established as an underdog character who ‘saves the cat’ multiple times, the writers pull out the big gun: they give Randy a heart attack. Vince Gilligan does exactly the same thing in the pilot of Breaking Bad(but it’s lung cancer). It’s not the first heart event Randy’s had — that would be a bit too convenient and make it seem more like a contrived narrative and less like the reality show feel they’re going for. But this heart event is the worst one yet.
Now, with our sympathy firmly with Randy the Ram, the writer is free to show the audience how this character has contributed to his own situation. And we will forgive him his trespasses, as we most always do in real life when we have a fuller picture of someone.
It is definitely possible to go too far with that and turn the story into either inadvertent melodrama (specifically, a sob story) or a narrative too much to bear.
In places, it’s almost too excruciating to watch and not just for the chairs-over-the-head, staple-gun-in-the-chest horrors of the wrestling scenes; it’s the sheer, awful hopelessness of Randy’s life
THE CRITIQUE OF HYPER MASCULINITY AND LACK OF EMOTIONAL LABOUR
After he has a heart attack Randy makes an effort to make the personal connections he’s neglected thus far in life, while working in this hyper-masculine industry where personal connections with women come last.
So he embarks upon his plan to improve his personal relationships. First he asks his sex worker woman to go out with him, outside the club. She advises him to go to see his family. That’s what family is for.
So he goes to see his daughter. I imagine women might respond to this scene with Stephanie (Rachel Evan Wood) differently from men, in the same way middle aged women responded completely differently to Helen Garner’s novel The Room, about a woman forced to care for her friend, who is dying of cancer. I feel a lot of empathy for the daughter, who sees immediately what the situation is, and she is right, of course. Randy does need someone, a woman, to look after him. And he has very little emotional labour of his own in the bank.
When rejected so harshly by his daughter, Randy decides he will pretend his heart attack didn’t happen. He goes back to work as a wrestler. He’ll just keep fighting until he doesn’t get back up again. But watching the other old men behind the desk, the camera focuses in on their various injuries and he has his first genuine anagnorisis — he really is too old for this. The job really is going to kill him.
This is when Randy’s biggest shortcoming — his complete lack of real emotional intimacy — begins to be truly tested.
He secures a new role at the department store, but this time working with customers at the deli. Working with customers is itself taxing for someone who isn’t used to doing emotional labour. The deli is not only a customer service role but a highly symbolic job where he is serving the public by selling (actual) meat. We see him cutting meat up as we have already seen him cut his own skin with the bandaged blade.
The parallel plot line is that Randy is trying desperately to hook up with a sex worker who is not interested in him, and who is also planning to move away.
In this story, women come out better off. Randy is perfectly capable of emotional astuteness, but his lack of maturity is revealed when Pam turns him down after he asks her a second time. Because the audience has been prepped to empathise with Randy, it’s easy to forget: Randy has been told no and he’s just not taking no for an answer. This is a huge, problematic character flaw. When a younger, good looking woman turns him down, he becomes aggressive. This is left to speak to Randy’s long history with women, and explains why he has ended alone. In stories with a set up like this, it is dangerous to forget this fact.
Conditioned by society to expect care and attention from women, Randy is unable to take no for an answer. He is also a victim of this specific misogyny. He goes on a drug-fuelled bender with the first woman who shows interest in him as a wrestler (though not in him). The bleach blonde woman in the bar has fallen for Randy the Ram, not for Randy the person. He wakes the next morning to find himself in an unfamiliar bedroom plastered in posters of equally buff men. Men, as well as women, can be used sexually. On this particular night, he was little different from a sex worker. But unlike Pam, he isn’t making active choices about what he’s doing with his body.
And unlike Pam, he fails to show up for his child. This has devastating consequences.
Randy’s relationship with the two major women in his life (daughter Stephanie and sex worker Pam) are combative. The power hierarchy swings back and forth, emulating a fight in the ring, except Randy is out of control in real life. He can only cope with pro wrestling, which is staged. He can’t cope with the emotional ‘wrestling’ of real life.
Stephanie initially agrees to rekindling something with her absent ‘fuck up’ father, but when he fails to show after his drug fuelled bender all is lost for them both.
I knew Randy the Ram would botch it with his daughter. I just KNEW IT. I knew it because I know wrestlers. The business ALWAYS comes first. You can NEVER switch it off.
The scene where Randy and Stephanie argue is highly reminiscent of mother and daughter fighting in Thirteen, and I guess that’s partly how Evan Rachel Wood was chosen for this role. (Child yells at parent, parent is culpable for leading both to this point, they both end up slumped on the floor.) But unlike the more hopeful Thirteen, this parent-child relationship has no happy ending, subverting the expectation (or the hope) that The Wrestler is going to be a redemption arc. (This counts as ‘subversion’ because the redemption story has a long, strong history in America and we’ve been primed to expect it. Even the movie poster primes us to expect it, but this is a redemption opportunity for Mickey Rourke, not for Randy the Ram.)
Randy is the loser in his real life. And when Pam comes to Randy to apologise and explain her position he takes off in his van without waiting around to hear it. Her face lets us know that she is distraught. But Randy is off to a safe, staged fight. He needs to leave this real life relationship while he has the upper hand. To him, at this moment, Pam is the loser. She does follow him to his fight, but can’t bear to watch him getting beat up.
APPEARANCE VS REALITY
Pro wrestling is a fake sport, right? Yes, but as an activity, it’s pretty real. […] It’s scripted that the villain sneaks up on the hero, who pretends not to see him, and pushes him over the ropes and out of the ring. Fake. But when the hero hits the floor, how fake is that? “Those guys learn how to fall,” people tell me. Want to sign up for the lessons?
Living in Utah suburbia while practising a fundamental version of accepted LDS faith which has been outlawed.
You could argue that every single narrative is about the difference between appearance vs. reality, and the very point of story itself is to let us in on another reality which is normally hidden to us — another person’s interiority — their most private of selves. But as listed above, some stories are very much about this dichotomy, and The Wrestler is another one.
One significant way writers create a duality in a character is to give them another name, whether that’s a nickname, a pseudonym, a work name, or in this case, a stage name and a hooker name. (Other examples: Elizabeth and Phillip Jennings, Nadezhda and Mikhail; Don Draper, Dick Whitman; Walter White, Heisenberg; etc.)
Randy (“The Ram”) Robinson’s real name is Robin Ramzinski. The character backstory is probably that he ditched Robin because it’s a unisex name and therefore too feminine for such a hyper-masculine world. While ‘Ramzinski’ is too foreign to be memorable in an Anglo dominant culture, the Ram is perfect for its masculine aggression. Even outside his wrestling milieu, Robin hates his birth name. He has learned to feel uncomfortable with it. The industry has shaped who he really is. He has become the wrestler.
‘Pam’ is the real name of Randy’s sex worker love interest. Unlike Randy, Pam is still Pam when she’s not Cassidy at work. She feels Pam is her real name, and uses the distinction to keep her private life as a mother separate from her sex work. She will only let Randy use ‘Pam’ in certain circumstances, when he’s not with her as her client.
How these characters use their names says a lot about how they self-identify. Cassidy IS Pam, whereas Randy IS Randy. This small detail is part of the network of clues which lead us to the inevitable tragic ending; Randy can never escape because wrestling has utterly absorbed him.
Apart from symbolic cheering and clapping at non-wrestling moments, The Wrestler makes use of a diegetic soundtrack, which gives it a documentary feel. Randy listens to 80s hair metal in his van. This music ends abruptly whenever he turns off the ignition, replaced next by silence. This abrupt switch between noisy music and silence underscores the stark distinction between two different worlds. (The 1980s soundtrack also takes us back to an earlier era, when Randy was in his prime — contrast upon contrast.)
THE PRO WRESTLING—SEX WORK ANALOGUE
Whereas one of these industries has been heavily regulated (and criminalised) throughout history, the other has not. This is part of a benevolently (and not so benevolently) sexist attitude that women (and men) need to be protected from the vice of recreational paid sex. Sex work has its very own politics.
But in many ways, pro wrestling is the perfect masculine analogue for sex work. Both industries involve penetrating the envelope of the physical body in a way no other industry requires of its workers. Both are all consuming as jobs. Both require the worker to either maintain another self or to fully incorporate their entertainment selves into their mundane-world identities. There seems to be no in between, as there is with other jobs, where we might put on a uniform (or work clothes) and change a little when entering the work arena, but not entirely. Most of us keep our names, and our inner bodies, for ourselves.
Pam is more aware of these issues than is Randy. As mentioned above, she is therefore at a huge maturity advantage, and we can see her achieving the very good life she is working towards. During the lap dance scene she asks Randy if wrestling is ‘fake’. Randy won’t admit to ‘fake’. He shows Pam his big struggle scars, sustained doing a staged but very real job.
Though we see less of Pam, Pam’s story is also a complete arc. When Randy tells his daughter Stephanie he used to pretend she didn’t exist, he is mirroring Pam, who doesn’t tell her customers she has a son (because “it’s not exactly a turn on”). Pam has her own minor story arc. At one point the camera even lets us see the world through Pam’s point of view. While this story is not The Story of a woman, the woman romantic interest is far better drawn here than in similar sports films such as Million Dollar Baby (which is deceptive, since the title suggests that film is about the female character).
THE VIDEO GAME SCENE
In one scene of The Wrestler we see Randy playing a computer game with a neighbourhood kid. The kid is unimpressed but gentle. This is an old game played on an ancient console. He is humoring Randy, who is reliving his heyday. Back in the 1980s, Randy’s avatar starred in a computer game. Now, only Randy himself remembers this retro arcade game.
Apart from highlighting the superstar backstory of this down-and-out wrestler, the computer game scene serves three main purposes:
Randy is, in later life, keen to spend time with a child. Part of this is undoubtedly selfish — he’s reliving his heyday as a superstar. But when we see him with his daughter, we understand he is also reliving his lost fatherhood. The emotion evoked here is massive regret. Once kids are grown, there’s no second chance at parenthood. I find the song Cat’s In The Cradle excruciating in this regard, and so is this scene, in the exact same way.
The computer game of wrestling is the ultimate fake world, existing behind a literal screen.
Randy wants to spend more time with the neighbour kid than vice versa, emphasising Randy’s loneliness and underscoring his underdog status.
THE DOUBLE AUDIENCE
The first story reveal establishes a distinction between the film’s audience and the diegetic audience. We see the wrestlers discuss how they are going to set up the fights. In case we ever wondered, they’re staging this entirely. When they get into the ring they have to pretend they want to kill each other. Back stage, their homosocial camaraderie is apparent. They admire each other a lot. To make light of this homo-erotically charged atmosphere, Randy jokes at one point, “Now let’s all take a shower together.” (Femme phobic environs are always homophobic and vice versa, though Randy himself proves liberal and astute when it comes to his daughter’s lesbian-ness.)
THE UNMASKING SCENE
Randy becomes Robin when he grovels after more hours, any role at the department store. He wants to know why he needs ‘Robin’ written on his deli counter name tag. “They must’ve got it off your W-40 or something. Just wear the fuckin thing, all right?” With this simple name tag, the mask of the tough guy wrestler has started to peel off. He’s even wearing a shower cap looking thing which has a feminine vibe to it even though it’s worn by people of any gender working in certain industries. The camera follows Randy close behind as if he’s being filmed entering the ring. We hear the audience cheering. Then he steps into the delicatessen.
Randy starts to get into his deli job, joking with the customers, turning himself into an entertainer. But he is used to a completely different milieu and some of his customers find him over the top. He throws the product as if it’s a football. That’s not what they’ve come for.
Outside the deli Randy is really put through his paces, dealing with his own relationship messes on top of petulant customers from work. Then comes the big emotional Battle scene, which interpolates between staged Battles inside the ring.
Someone at the deli counter recognises him from his wrestling days. The mask has now come off completely. Two mutually exclusive worlds collide. Randy fails to manage his emotions and cuts his hand on the meat slicing machine. This time the blood loss isn’t planned. He quits his deli job in a rage, breaking out into full wrestler mode. This was foreshadowed by the way he came in.
THE SYMBOLISM OF THE COAT
Coats and hats are used in stories as a kind of camouflage or as a new identity. In this story there’s a symbolic coat, a recognisable part of pro wrestling world.
Hoping to make up for many missed birthdays, Randy buys Stephanie not one but two jackets. The first is the shiny one, like worn by a wrestler when entering the ring. But the second is a real coat, that will genuinely keep her warm. The two coats symbolise the ‘shiny’ surface world of wrestling; the warm coat shows that he does have some depth and is thoughtful. Significantly, the filmmakers showed us Randy buying the shiny wrestling coat, but kept the second coat as a reveal. This is how they make this scene so affecting. It is so heartwarming and such a relief to see that Randy was able to understand, off-stage, that Stephanie would not like a wrestling jacket. She hates the wrestling-world side of her father. Wrestling stole her father from her.
HIGHLY SYMBOLIC PLACES
Randy takes Stephanie to a highly symbolic place — an abandoned theme park — a place he remembers but she doesn’t remember much. Abandoned places make such great shooting locations because they mirror the emotional wrecks of main characters.
This film has highly symbolic shooting locations in general: I’ve already mentioned the kindergarten. Below I mention the womb symbolism of the ‘ring’.
The weather is also symbolic, with much of it taking place in winter. Yet there’s a lot of upper-body nudity, more suited to warmer climes. It’s significant that where Randy and Pam are naked they are most like their fake selves. Unlike the usual symbolic meaning of ‘naked’, these two are more authentic when wrapped in multiple layers.
THE TRAGEDY OF A FAKE ANAGNORISIS
When a character does not get what they want, we call it a tragedy. What does Randy want? Real, human connection. Too late in life, and only after a health scare, he has jumped in head first. He’s opened up to Pam and apologised to his estranged daughter. He really has tried to be his real self.
And he does earn a genuine Anagnorisis. We are shown evidence of this anagnorisis back stage with Pam, who has chased him down, hoping to start something. He rejects Pam and includes her in ‘the outside world’ when he says, “no one out there gives a shit about me”.
But then Randy gets into the ring. There he makes a mock-heartfelt comeback speech.
American filmmakers love big speeches with big audiences. Normally this big speech is used to show the (real) audience (as well as the diegetic audience) that the character has had a anagnorisis, but Randy tells his setting audience that they are ‘all his family’, contradicting the self-awareness he displayed with Pam. This ‘big speech’ scene therefore subverts the storyteller’s trope of teaching the audience a thematic lesson via a self-revelatory speech.
In other words, Randy has had a anagnorisis but he replaces it immediately with a false one, and suppression of his real human needs will lead to his downfall. Continuing like this, he will remain unable to lead a fulfilling life. Then he will die.
DOES THE ENDING WORK FOR YOU?
The Wrestler has one of those endings that divides viewers. This is always the case when the storyteller leaves the audience to extrapolate the new situation part of the story for ourselves. Some viewers just don’t seem to be be able to do that, even after being given all necessary information. Others absolutely love it when we are given enough information to extrapolate.
We don’t see what happens to Randy when he returns to real life, because for Randy there is no ‘real life’. Any number of filmmakers would have chosen to leave us with a scene showing Randy back in his van, pumping himself with more drugs, or similar variations on that. But it’s hugely fitting that Randy ends with a wrestling scene. That’s his home (and cage) forever.
The Wrestler fits in the type of story that moves from entrapment to temporary freedom to greater entrapment to death. If you want to write ‘heartbreaking’, use this arc. I find this arc even more tragic than the arc of a tragedy like Hamlet, because we had a glimpse of how Randy’s life might have looked had he made different choices. He was so close to achieving a lasting relationship with Stephanie and with Pam. If only he hadn’t blown it. If only. This arc invokes the strong emotion of regret.
The last we see in The Wrestler, Pam turns to leave, clearly disappointed. We know from her face that their budding relationship is over; we have already been shown that she has plans to move away. We know that’s what she’ll do. We have also been shown that, in many ways, these two are ‘soul mates’ — they might really understand each other if only they both opened up.
Next we see a low-angle shot of Randy as he climbs the ropes of the ring then throws himself belly first onto the platform.
The film fades to black. One interpretation is that the fall kills Randy on the spot, but that would be too tidy for a film so cinéma vérité.
I extrapolate that this is how Randy does exit life, but on another day. With a heart weakened from drug use and fighting, he will go out with a bang. This ending is his spiritual death. His literal death will probably be another iteration of this exact scenario, with Randy safely ensconced (enslaved) inside the ring as he once was in the womb, the circle (‘ring’) of life complete, surrounded by his fake ‘family’.
“I’m A Fool”(1922) is a short story written by American Sherwood Anderson, who was born around the time Lonesome Dove is set, and who died at the beginning of the second world war. So, he came along at the end of the cowboy days, lived through one world war and was heading into another.
Anderson had four wives during his relatively short life. I’m immediately suspicious of a man who has had four marriages. “I’m A Fool” demonstrates a possessive, objectifying attitude towards a woman character which isnt challenged. This doesn’t improve my impression of the writer. To understand this story the reader must also understand that being attracted to a woman and not acting on those strong feelings is about one of the worst things that can happen to a man. If this story were a contemporary song, it’d be “You’re Beautiful” by James Blunt (2004). A young man catches sight of a pretty woman on a train, can’t be with her and is sad forever that he can’t have her. All because she smiled at her.
James Blunt swears he’s got ‘a plan’ but never tells us what that plan is, making the narrative arc incomplete. Like the narrator of “I’m A Fool”, Blunt spends the entire music video punishing himself physically, in this case by taking off all his clothes in the snow, laying out all his pocket possessions and jumping (probably to his death) into the sea below.
Sherwood Anderson’s own young life working various jobs will have influenced this story, about a young man who also feels he has little in common with more sheltered boys of his own age. I recently rewatched Terminator 2, and the very annoying kid in that movie has the same superiority complex of a boy who has been let loose on the ‘real’ world and immediately starts dividing between men and boys, putting himself in the category of man, prematurely.
Sometimes now I think that boys who are raised regular in houses, and never have a fine nigger like Burt for best friend, and go to high schools and college, and never steal anything, or get drunk a little, or learn to swear from fellows who know how, or come walking up in front of a grandstand in their shirt sleeves and with dirty horsey pants on when the races are going on and the grandstand is full of people all dressed up—what’s the use of talking about it? Such fellows don’t know nothing at all. They’ve never had no opportunity.
Some think Sherwood Anderson is a genius. Others think he’s mediocre. Mark Twain did the first person vernacular style first. Every English speaking country has their own iconic male writer of the early 20th century who got famous for daring to write in the regional working man’s vernacular. There’s Frank Sargeson of my own home country (New Zealand). In 1935, Sargeson wrote a piece in a New Zealand liberal newspaper in praise of Anderson’s literary devices. I had to study Sargeson at high school, so it’s interesting to see his main influence. I don’t remember Sherwood Anderson ever mentioned. New Zealand likes to think Sargeson was wholly original in coming up with the idea of eschewing that fancy book learnin language for normal everyday speech.
Anderson also influenced Hemingway and Faulkner, Sinclair Lewis and Philip Roth.
I don’t get a ‘genius’ vibe from this snippet of Anderson’s oeuvre. But I sure am sick of stories about the regrets of men who don’t get to do exactly what they want to with their dicks. Especially when it’s for being dicks.
Apparently, Sherwood Anderson died after swallowing a toothpick. This mode of death is trumped only by Margaret Wise Brown, who died after kicking up her leg to show doctors how well she (ostensibly) was. In any case, I’ll be very careful with toothpicks from now on. And I won’t be kicking any legs up in hospital, either.
SETTING OF “I’M A FOOL”
The time and place are very specific. Authors do this to create a strong sense of verisimilitude.
It began at three o’clock one October afternoon as I sat in the grandstand at the fall trotting and pacing meet at Sandusky, Ohio.
I checked to see if horse racing is big in Sandusky. It’s not anymore, but used to be, notably between the 1860s and 1920s.
Gee whizz, gosh amighty, the nice hickorynut and beechnut and oaks and other kinds of trees along the roads, all brown and red, and the good smells, and Burt singing a song that was called “Deep River,” and the country girls at the windows of houses and everything. You can stick your colleges up your nose for all me. I guess I know where I got my education.
Black people and women were not respected. People were afraid of Black men and didn’t trust women could understand stuff.
There’s a lot of things you’ve got to promise a mother because she don’t know any better.
Young women (Janes) are peachy, or they are mutts.
that girl wasn’t any mutt of a girl.
Young women are classy or they are trash.
when you’re out with girls like that, you can’t get careless and miss any trains and stay out all night, like you can with some kinds of Janes.
This is the character speaking, of course. But these were the times.
The narrator uses the word ‘dude‘ in a slightly different way we’d use it today. I think he means poser types who dress well and parade around for the ladies. (More like a modern hipster.)
Sherwood is lauded for creating characters trapped by their own eccentric natures in a hostile world.
“I’m A Fool” opens with the narrator telling us that he’s been stupid, and he gives us a reason for writing. This technique is often used in diary format novels as well. Many middle grade diaries open with the main character telling us why they would bother writing something down. Here, the narrator hopes to take ‘a kind of satisfaction in making [himself] look cheap by telling it’.
I had got too big to mow people’s lawns and sell newspapers. Little chaps who could get next to people’s sympathies by their sizes were always getting jobs away from me.
Although taking the job as swipe is justified, Anderson is sure to show us his moral shortcoming. This is what our narrator imagines in his darker moments:
There was one fellow who kept saying to everyone who wanted a lawn mowed or a cistern cleaned, that he was saving money to work his way through college, and I used to lay awake nights thinking up ways to injure him without being found out. I kept thinking of wagons running over him and bricks falling on his head as he walked along the street.
The narrator’s shortcoming is most evident via his mode of narration, in which he digresses often, trying to impress us, his narratee.
I’m reminded of these graphs you see sometimes on social media. Unfortunately I don’t have an attribution:
The ‘nigger named Burt’ exists functionally in this story about a white boy, but is not fleshed out in his own right. The narrator can see that this black man is just as good as a white man, and this has two functions for the white narrator’s character development:
It’s got a Save The Cat vibe about it. This guy is empathetic to those below him and sees the guy’s skills.
Shows how close to the bottom of the social hierarchy the narrator is himself.
Burt taught me how to rub down a horse and put the bandages on after a race and steam a horse out and a lot of valuable things for any man to know. He could wrap a bandage on a horse’s leg so smooth that if it had been the same color you would think it was his skin, and I guess he’d have been a big driver, too, and got to the top like Murphy and Walter Cox and the others if he hadn’t been black.
First, he wants to earn his own living, but jobs are scarce and he has to take what he can get. What does a horse swipe do?
You got to a county seat town, maybe say on a Saturday or Sunday, and the fair began the next Tuesday and lasted until Friday afternoon. Doctor Fritz would be, say, in the 2. 25 trot on Tuesday afternoon and on Thursday afternoon Bucephalus would knock ’em cold in the “free-for-all” pace. […] And then at the end of the week when the race meet was over, and Harry had run home to tend up to his livery-stable business, you and Burt hitched the two horses to carts and drove slow and steady across country to the place for the next meeting, so as to not overheat the horses, etc. […] looking down on the swipes coming out with their horses, and with their dirty horsy pants on and the horse blankets swung over their shoulders
Next this guy wants to impress a girl with a view to having her for his own. But he also wants to do his job, and these two things conflict.
He plans to get these kids to spend a lot on horse racing and he’s going to take the opportunity to big himself up. He’ll enjoy being another person for a little while — a middle upper class person, worthy of a middle upper class girl.
The Anagnorisis phase has been brought to the front as an opener (in much the same way as action scenes are often brought to the front in TV and film, to hook the viewer in).
He realises he has been a fool, as it says in the title. He realises not that he should have acted differently — he’s robotic in that regard — but that he just brushed up against a relationship which was never meant to be.
The twist in this tale is that the horse doesn’t lose any of them their money. It’s not that. It’s the narrator’s own lying about all the other stuff — about his social standing. In a different kind of story, the mask would come off the narrator because the horse he recommended would have won.
The fact that he wasn’t lying about the abilities of the horse but was lying about all the rest makes everything feel so much worse for our narrator. If only he could switch them round — if only he could know nothing about harness racing but belong to the same class as this girl he’s so keen on. This idea of switching is seen throughout the story, but there’s no regret until this point — he is happy being a swipe and happy being a yap, wherever he happens to be. But now he’s not happy.
How much does the narrator really know about his own situation? Well, I don’t trust he’s able to tell what the girl is thinking.
And I was with that girl and she wasn’t saying much, and I wasn’t saying much either. One thing I know. She wasn’t stuck on me because of the lie about my father being rich and all that. There’s a way you know … Craps amighty. There’s a kind of girl you see just once in your life, and if you don’t get busy and make hay, then you’re gone for good and all, and might as well go jump off a bridge.
He thinks she wants him because he wants her. End of. They’re not saying much so how else could he know? More recently than this story was written, numerous studies have shown that men tend to overestimate romantic interest shown to them by women (Levesque et al., 2006; Perrilloux et al., 2012; Treat et al., 2015).
Where there is no clear Anagnorisis in this story, it can be interesting to look at The Range Of Character Change. The difference here is between the narrator as he tells his story (the extradiegetic, autodiegetic narrator) and the person he was when this story was happening in real time. There’s not a great difference between the guy he was then and the guy he is now. This all could’ve happened last week. When he describes his strong feelings after the train leaves it feels very raw and unprocessed. He wants to punish himself physically (e.g. by having a train run over his foot) to take his mind off the mental anguish.
He is romantically alone and he will return to his underbelly life, but with a newfound dissatisfaction. He probably won’t be quite as happy to be an underdog from now on. He’ll always look back to this night and wish things were different.
See, “The Gift Of The Magi” (1905) is why we don’t buy secret gifts. Aren’t we always told in relationships that communication is key? Yes, yes it is. Either buy your own presents, or drop strong hints in the lead up to gift giving season.
Wait, that’s not what I’m meant to take away from this story, is it. For the likes of me, reading the story a century later, O. Henry does a Charles Perrault and tells us exactly what we’re supposed to takeaway in a dedicated paragraph at the end — that sacrificially giving gifts is excellent for human relationships.
Magi were priests in Zoroastrianism and the earlier religions of the western Iranians. These guys were into astronomy, astrology, alchemy and other forms of ‘magic’. The words ‘magic’ and ‘magician’ in English come from ‘magi’.
In the Bible, magi get a mention in the Gospel of Matthew. They brought gifts for baby Jesus. These days they’re more often called Kings or Wise Men. This is how we come to associate Magi with gifts.
There are two main types of short stories — plotted and lyrical. O. Henry wrote the widely-beloved plotted kind, which amasses its entire weight at the end. “The Gift of the Magi” is also one of those rare short stories with a happy ending, so appeals to a wide audience.
I’m pretty sure I don’t believe [this], but which I’ll simulate here anyway: contemporary short story writers have gotten too specialized/dark/mopey. They don’t have enough “real life” in their stories—that is, they’re not taking up the real concerns of real readers. They aren’t storytellers, really (in that around-the-campfire sense) but margin-dwellers, writing stories in response (not to life itself), but to other hothouse stories, and all these stories do, really, is uphold a certain knee-jerk, lazy, default humanist ethic, etc., etc. Where’s the joy? Isn’t there lots to celebrate in life? This model (as you can tell) is dangerously close to reactionary (“Just write something I can read and I’ll read it! Why so negative! You sure seem well-fed enough, mister!”), and I don’t buy it for a number of reasons, the main one of which is that sometimes joy can express itself in strange ways, and also because stories have always been dark (i.e., Grimm’s Fairy Tales, the Crucifixion).
Typically [vignette or slice of life stories] describe one situation or a relatively short period of time. The terms vignette and slice of life are often used interchangeably. Vignettes normally describe one or two brief scenes such as “The Gift of the Magi” by O. Henry. They are often light or ironic in tone. The slice of lifecan include multiple scenes over a limited period of time, like a vignette, but in tone they often depict a realistic, unpleasant or grim side of life. […]
Because the writer’s purpose may be to explore a character, idea, or relationship, these two forms often lack a plot—no rising slope of a dramatic arc. They may be devoid of plot like conflict or even inner observations. Therefore, success is heavily dependent upon strength of voice and style and originality of story. […]
Without a plot you will have to overcome the inertia with stage action (small character actions and gestures) and through emotional movement (shifts of emotions).
Elizabeth Lyons, Manuscript Makeover
I disagree with those who say that some narratives have plots and others don’t — every complete narrative has a structure, and I’m not sure what structure is if not a breakdown of plot.
This is a story with two main characters, but the focus is on the young woman, named Della.
Della doesn’t have enough money to buy her husband a Christmas gift. This is a fairly childlike shortcoming to have, common to middle grade characters as well — a general lack of autonomy is her biggest shortcoming.
She is also psychologically needy when it comes to worry about how her husband will approve or disapprove of her beauty after she cuts off her hair, but this is a 21st century feminist reading. In a culture where a woman’s beauty is the main thing about her, the prospect of transforming from sexually attractive to unattractive is a shortcoming indeed.
This story is structured like a romance in that each lover is the other’s opponent. But we don’t know this, or in what respect, until the end. O. Henry sets up a different kind of potential opposition (for suspense reasons) — will Della’s husband chastise her for cutting off her hair? Stay tuned to find out…
When Jim arrives home we are in Della’s head and a little anxious about what Jim’s going to do. We don’t know enough about Jim — might he even beat her?
The plot revelation is that they have each bought each other an expensive present which the other can’t use, precisely because they’ve each made a sacrifice for the other.
A NOTE ON TWIST ENDINGS
There is usually an ironic or cynical tone to such Returns, as if they mean to say “Ha, fooled ya!” You are caught foolishly thinking that human beings are decent or that good does triumph over evil. A less sardonic version of a twist Return can be found in the work of writers like O. Henry, who sometimes used the twist to show the positive side of human nature, as in his short story “The Gift of the Magi”. A poor young husband and wife make sacrifices to surprise each other with Christmas presents. They discover that the husband has sold his valuable watch to buy his wife a clip for her beautiful long hair, and the wife has cut off and sold her lovely locks to buy him a fob for his beloved watch. The gifts and sacrifices cancel each other out but the couple is left with a treasure of love.