Don’t be confused, Sean Durkin’s “The Iron Claw” is not a movie about wrestling: it is a movie about family – one that happens to be obsessed with wrestling. Kevin Von Erich (Zac Efron) states in the opening moments how his family is cursed (a message he has been told since youth) and this curse continues to haunt himself and his younger brothers Kerry (Jeremy Allen White), David (Harris Dickinson), Mike (Stanley Simmons), and their patriarch Fritz (Holt McCallany). This idea of a curse pervades Durkin’s film as he explores the theme of family as he masterfully crafts an anxiety-provoking manner, capturing feelings of alienation and dependency and the tragic consequences of an overbearing parent. Fritz burdens his children with his past mistakes, dreams and ambitions and this burden becomes a violent curse that slowly consumes each of the brothers. However, Durkin also displays the positive elements of family, portraying a brotherhood with the strength to transcend both adversity and time in a film that doesn’t quite stick the landing but never falters along the way.
“The cinematography is an active character in the film turning viewers from a spectator outside the ring to a participant alongside the brothers in their tragic tale.”
The film is set in 1979, perfectly capturing the Texan environment at the turn of the decade, from the colourful vibrant costume design of yellow spandex, hairbands and blue denim to the Blue Öyster needle drops alongside 80s-inspired montages. Durkin undeniably manages to transport his audience through history back to a period of Wrestlemania in the American landscape, charting the tragic tale of the Von Erichs told mainly around Kevin Von Erich. Efron, in a career-defining role, presents a uniquely subtle and subdued performance. Kevin is a man of few words and less emotion, a fragile man desperate for attention from Daddy. It is the dialogue Efron chooses not to say that tells the most about his character.
From his slow and restrained movements when communicating on a date with Pam Adkinson (Lily James) to the loving stares and warm embraces he shares with his brothers, Efron takes viewers on an intense journey into the process of grief, showing a man who is initially numb to tragedy but eventually learns to process grief and show emotion by the movie’s end, as he sheds tears for the first time in a truly heartbreaking final scene. However, the rest of the cast does not slouch either; White, Dickinson and Simmons each give highly nuanced supporting performances,embodying a group of brothers who share a deep unbreakable bond. Every bitter fight and heartfelt moment they share resonates enormously and this is largely due to the cast’s beautiful chemistry as well as their individual performances.
Durkin’s film is undeniably meticulous; every visual element that appears on screen is carefully chosen, where each aspect enhances the story he wants to narrate – from every frame and camera movement to the decision to shoot the film in 35 mm. The film’s cinematography is replete with vibrant colours, shot entirely in natural light mostly during the golden hour in exterior locations. The cinematography is an active character in the film turning viewers from a spectator outside the ring to a participant alongside the brothers in their tragic tale. The shots juxtapose wildly from uncomfortably intimate close-ups to wide static shots, and this does not only pertain to the ring but lasts throughout the entire film, displaying how the brothers can never truly leave the wrestling arena. The contrast creates a jarring feeling, a metaphor for the brother’s relationship with their father. Each son never attains a healthy relationship with Fritz – he comes to them at a manipulative distance at all times, constantly in a position of power. The dynamic is narrated through unique frames, over-the-shoulder shots at low angles, where we see Fritz looking down at Mike or an out-of-focus Kevin being watched on by his father in the background. Their fates are controlled by their father and it is only by escaping this relationship they can each achieve a happy ending. However, each brother has a painfully unwavering admiration for their father which keeps them locked in a violent paradigm, spiralling towards their eventual downfalls.
“While it might not be the definitive wrestling film, it is certainly a film that captures the ups and downs of the sporting world.”
The film is a masterclass in slow-building tension. The story starts with slow burning momentum, creating a sense of dread and inevitable disaster from the outset. The camera’s slow zooms or creeping pans alongside a sound design that emulates the beating of a heart on the verge of an explosion creates a lingering dread that constantly rises and only settles during the film’s most despairing moments. Early on in the film when Kevin is injured during a match and he painfully struggles to rise off the ground, the applause of the audience is loud and rhythmic, merging with Kevin’s laboured breathing, provoking an intoxicating unease. Durkin creates a constant sense of palpable anxiety throughout, bringing the audience to a place where we can relate to his characters. When the characters are in the ring, he puts the audience into a metaphorical ring ourselves, fighting to find any moment of levity as the film progresses, asking us the question of how much pain, suffering and anxiety a single person can endure? When the film reaches its most depressing moments, each melancholic moment feels earned by Durkin as the viewers are left gasping for air from the chokehold of pervading dread.
The Iron Claw is a film that everyone must experience at least once. While it might not be the definitive wrestling film, it is certainly a film that captures the ups and downs of the sporting world. From the beautiful cinematography, heart-thumping sound design, and stellar performances, The Iron Claw is a tightly crafted film showing auteurship at its peak form.
WORDS: Fiachra Owens
