The Wrestler (2008) is generally regarded as Mickey Rourke’s comeback film and
proved that given the chance, with the right material, he could be a great
actor again. This film oddly echoes another one he made 30 years prior,
entitled Homeboy (1988).
Interestingly, both films are underdog sports stories with the actor playing
down-on-their-luck loners looking for redemption. What makes Homeboy a more interesting film than The Wrestler is that it was a personal,
passion project for Rourke as opposed to Darren Aronofsky’s film, which was
tailored to the actor’s talents. Homeboy
was a film that originated with Rourke and one that he had nurtured and
massaged for years, even writing the screenplay under the nom de plume of Sir Eddie
Cook.
It’s hard to believe that by
1988, Rourke’s career was considered washed-up – at least in Hollywood where he
started off strong with memorable roles in Diner
(1982), The Pope of Greenwich Village
(1984), and then scored his biggest commercial hit with 9 ½ Weeks (1986). This would mark a high point for the actor who’s
reputation for being difficult was overlooked so long as his films made money,
but three consecutive underperformers saw Rourke increasingly relegated to the
margins. It also didn’t help that he fancied himself a boxer – an obsession
that would help derail his career even further in the 1990s.
Johnny Walker (Mickey Rourke)
arrives at a sea-side resort one rainy night and takes refuge in a nearby bar
populated by African Americans who, by and large, look at him with contempt and
disdain. It could be that he’s white and it could also be the cowboy attire
that he’s wearing. He joins in on a dice game and pretty soon he’s been
accepted and is dancing on the bar with a woman while chugging from a bottle of
whiskey. Johnny’s handler Lou (Thomas Quinn) arrives to take him to a boxing
match he’s supposed to be fighting in.
To say Johnny is an
unorthodox boxer is an understatement. When he first climbs into the ring he
plays mind games with his opponent by testing the ropes and staring at him
silently in a way that could be mistaken for being mentally handicapped. The
fight starts and Johnny spends the first round taking all kinds of punches from
his opponent and getting in close. He comes out fast in the second round and
proceeds to knock his opponent out. This catches promoter Wesley Pendergass’
(Christopher Walken) eye.
Wesley is a shifty promoter
cum small-time crook who talks a good game but is clearly trouble. He also
moonlights at a local strip club as a stand-up comic/song and dance man who
tells jokes badly and sings even worse. Imagine Christopher Walken doing these
two things, badly, in his very particular way and you get an idea of just how
awesome it is to behold.
Johnny ends up frequenting an
amusement park on the boardwalk, drawn to Ruby (Debra Feuer), a good-looking
woman that runs a mini-horse ride. She is struggling to get by but dreams of
fixing a broken down carousel her father left her before he died. Johnny soon
gets roped into a dodgy scheme with Wesley that you know can only end badly.
Added into the mix is Grazziano (Kevin Conway), a grizzled low-rent version of
Gene Hackman’s Popeye Doyle, complete with the porkpie hat. He is shadowing
Wesley and Ray (Antony Alda), his junkie sidekick, just waiting for them to
screw-up. The rest of the film plays out Johnny’s dilemma – does he continue participating
in a sport where he’s only one or two fights from possibly dying or go in on
Wesley’s ill-conceived scheme or give it all up and help Ruby realize her
dreams?
Mickey Rourke is fantastic as
a punch-drunk boxer living on the margins of society. It is the kind of
character he excels at playing – one that has a tragic-romantic vibe to him.
Like many of the characters the actor plays, Johnny is a thinker, a brooding
type that could easily be mistaken for dumb, but Rourke’s performance suggests
a man that observes others and takes in the entire scene before he responds or
acts. We also get a brief glimpse of how he sees the world and it’s in slow
motion with distorted sound as if everything is underwater.
Our first glimpse of Wesley
Pendergass sees him playfully trying to comb fellow promoter Moe Fingers’ (Jon Polito) balding head before primping his own luxurious head of hair with a
mischievous glint in his eyes as only Christopher Walken can do. It’s a brief
teaser for the full reveal a few beats later when Wesley works the room, poking
fun at Lou: “And Lou, why was God so good to me and so awful to you?” in his
trademark patter that is a thing of beauty to watch. Walken’s Wesley is all
smiles and flamboyant moves but in certain scenes he reveals the menace that
lurks underneath the gregarious façade. He talks a big game but is strictly
small-time.
Not surprisingly, the main draw
of Homeboy is the scenes between
Rourke and Walken. It is great to see two talented performers like them play
off each other with the former portraying a man of few words and the latter
playing a flashy motormouth. Each actor brings their own unique energy to their
respective roles and it is a lot of fun to see them bounce their distinctive
acting styles off each other.
Debra Feuer brings the tough
sensibility of someone that has survived a lot of hard times but it hasn’t
stopped her from trying to realize her dreams. There’s a nice scene where Ruby
recounts memories of watching her father work that Feuer delivers with an air
of wistful nostalgia while Rourke, the generous performer, just listens, giving
his co-star the space to have her moment. She and Rourke have excellent
chemistry together (they were married at the time) as evident in the scenes
they share, bringing out the vulnerability in their respective characters.
Lou, as played by Thomas
Quinn, is a burnt-out, disheveled variation of Burt Young’s trainer in Rocky (1976). He perfectly encapsulates
the seedy charm of this world, populated by broken down boxers and small-time
criminals. Over the course of the film, he reveals that Lou really does care
about Johnny’s well-being, to the point that he admits his own shortcomings as
a trainer to the fighter. This is a world that Rourke knows well and it is
evident in the details, from the bustling gym where you can almost smell the
sweat, to the seaside carnival where you can almost feel the cool wind coming
off the ocean.
Mickey Rourke came up with
the idea for Homeboy while he was a
struggling actor. When he was younger, he attempted a career as an amateur
boxer but after a few fights, a severe concussion ended that aspiration. Rourke
never forgot and wanted to depict his boxing experiences on film. He based the
character of Johnny Walker on someone he knew as a child, and a boxer who
frequented the same gym in Miami as he did: “He had all the tools. He just had
a little trouble upstairs … There was no guidance in his life. There was no
love. And if you don’t have a certain amount of love, you’re going to turn out
like a piece of shit.” Rourke hero worshipped the boxer but was also
intimidated by him: “There was some dark fucking thing when I looked at him.
When I looked at him, I was looking at myself.”
While working on Michael
Cimino’s Heaven’s Gate (1980), Rourke
met and became friends with Christopher Walken. Over dinner one night Walken
told Rourke about his theory on how the dinosaurs died out. Rourke was
intrigued by Walken’s theory and told him about a film he wanted to make some
day about a boxer. Rourke told Walken that he would play the fighter’s manager.
Rourke remembered, “I thought, ‘Wow, here I’m having this one chance to have
dinner with one of my favorite actors in the world, and he’s talking about
dinosaurs in outer space.” Rourke initially wrote what would become Homeboy on coffee-shop napkins as far
back as 1984. In an interview from 1985, he described the film as being “about
a guy who never was a champion, he’s a guy who was pretty much the reason I
stopped boxing.”
When it came time to make Homeboy, Rourke was only interested in
casting friends and childhood buddies in supporting roles as opposed to
well-known actors. He also cast his then-wife Debra Feuer opposite him and
picked Angel Heart’s cinematographer
Michael Seresin to direct his first and to date only film.
While Homeboy was released in Europe, it failed to find a theatrical
debut in North America when Rourke had it blocked because of a lawsuit he filed
against the film’s producer Elliott Kastner for failing to pay him and denying
approval over final editing and music. Rourke said, “I felt violated. I learned
a great lesson—never trust someone on a handshake. People’s words mean nothing
in this business.”
Homeboy is a fascinating study of a self-destructive man. Johnny could be
a half-decent fighter if he didn’t drink so much and had enough in the tank to
finish off his opponents. Rourke’s actual boxing skills certainly give the
fight scenes an authenticity. This is a film about making choices and being
smart enough to make the right ones. This sometimes involves learning
from many bad ones and this doesn’t always happen. Over the course of the film
Johnny has to figure out what’s important to him and make some serious choices
that will affect his life forever. Homeboy
is no Raging Bull (1980) and it
doesn’t aspire to be like that film. It’s an intimate slice-of-life story about
people just trying to get by and finding compelling drama in their day-to-day
struggles.
SOURCES
Caulfield, Deborah. “Dragon Rourke Breathes Fire.” Los
Angeles Times. September 16, 1985.
Dutt, Saurav. Stand Alone: The Films of Mickey Rourke.
Lulu.com. 2011.
Goldstein, Patrick. “The Last
Anti-Hero?” Los Angeles Times. February 24, 1991.
“Rourke in Dispute Over Homeboy.” Los Angeles Times. May
27, 1989.
Smith, Gavin. “Out There on a
Visit.” Film Comment. July/August 1992.
Walken, Christopher. “Mickey
Rourke.” Interview. January 16, 2009.
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