The biopic ‘Queen of the Ring’ (2024) tells the story of Mildred Burke (1915 – 1989), a three-time women’s world champion of pro-wrestling who had her heyday from the mid-1930s to the early 1950s. Burke started when this amalgam of sports and entertainment was illegal for women in the US, and she trailblazed her way to the top while being a single mother in a masculine environment to become the first million-dollar woman athlete in history.

‘Queen of the Ring’ has the competent direction of Ash Avildsen, who has also secured his territory as a music and comic books impresario. The period piece is enhanced by the reliable work done by the research and art department that recreated a long-gone Americana to the point that helps to understand the central character development. The cinematography has a sense of immersion that makes the viewer detach from the world outside and sense how it was to live with the technology and values of those years, the well-curated soundtrack also plays its role in the experience; these resources cause nostalgia even in those who never lived there. The film is based on Jeff Leen’s book The Queen of the Ring: Sex, Muscles, Diamonds, and the Making of an American Legend (2009).

The great asset of ‘Queen of the Ring’ is its protagonist, Emily Bett Rickards (Arrow). The Canadian actress underwent an arduous body transformation to build muscle while prioritizing muscular definition. In addition, the performer went through pro wrestling training. The scenes where Rickards is training or wrestling have her as a ferocious predator eager to take any comers. All the preparation she went through makes it believable which is more valued by Rickards’ Golden Age star appeal.

It is a strong showcase of acting as Rickards feels like a countryside girl with fears and doubts who grows into a mature woman who has to accept her leadership role in a male-dominated world that is always were men and even other women try to ensure she knows her role. Rickards displays a lengthy range while traversing from hope, eagerness, fear, love, anger, and self-respect, and all that with a believable accent.

‘Queen of the Ring’ announces that Emily Bett Rickards is prepared for the upper echelons of leading ladies, be it in dramas, thrillers, action, or horror pictures. All the effort combined with her acting skills should set her up for bigger productions or at least get the attention of casting directors and producers. The supporting cast helps further this emotional story, which gains muscles with the professionalism of Walton Goggins (The White Lotus season 3), Cara Buono (Stranger Things), Francesca Eastwood (Juror #2), Tyler Posey (Teen Wolf), Martin Kove (Cobra Kai), Damaris Lewis (The BlacKkKlansman), Deborah Ann Woll (Daredevil), Gavin Casalegno (The Summer I Turned Pretty), and Adam Demos (Rescue Special Ops).
Demos gives life to the legendary and flamboyant pro-wrestler Gorgeous George, one of the first celebrities with the advent of television and significant influence in the public personas of Muhammad Ali, Bob Dylan, and Ric Flair. Although a supporting character, Demos’ George feels like an ever-shining diamond whenever he appears. Ann Woll’s Gladys Gillem starts as a naïve girl, then surrenders to resignation and ends as a stark reminder on how rough this scripted entertainment can be.

Alongside this respectable cast of supporting players is Josh Lucas (American Psycho), who gives one of his best performances as the problematic women-wrestling manager Billy Wolfe, a man who deserves his credit for helping usher the acceptance of women in the ring, as they were forbidden to wrestle among themselves.
Still, Wolfe is a philanderer and abuser prone to beating up women and those he deems weaker than him but acts as if he didn’t mean to wreak havoc. Once the damage is done, and as happens with abusive people, Wolfe reverts to a cycle of being nice again, which leads to further aggression.

Lucas cleverly portrays Wolfe as a good person who shows genuine interest in investing in others. However, this genuine feeling mutates into neglect or taking advantage of those in his inner circle, and once they are broken, he dismisses them, as he does with George, or uses full strength to destroy them.
The picture is improved by having world-class pro-wrestlers. Toni Rossall (Toni Storm) and Kailey Farmer (Kamille) portray wrestlers Clara Mortensen and June Byers, respectively. Both bring a different type of antagonist to Burke, being good scene partners for Rickards and complementing her narrative. Rossall and Farmer are world champions in real life. Their acting revolves around their physicality, not just the way they move in the ring but how they portray the personalities and motifs of their characters through their body language, making Mortensen and Byers very different from each other and from Burke.
The movie has so many rich characters that it could also be a limited series, but still, it wouldn’t have the same impact as ‘Queen of the Ring’ does, so showcasing them opens the doors for them to have their stories told, much like Mildred did for others.

‘Queen of the Ring’ comes after pro-wrestling biopics’ Iron Claw’ (2023) and ‘Cassandro’ (2023) and years after Darren Aronofsky ‘The Wrestler’ (2009), starred by Mickey Rourke, and the mainstream moment pro-wrestling is enjoying. ‘Queen of the Ring’ finds an identity of its own, which is straightforward, sometimes feeling like an endearing matinee piece from a bygone era, but it has moments of darkness as when it portrays husband-on-wife violence and how it was dealt with in those days, which packs a strong message and is another moment that Rickards’ chops flourish.

Avildsen’s movie gains by not being preachy, but it has messages of acceptance of women, Blacks, and queer people in society, and pro-wrestling owns a lot to these groups. The film shows the battles that Burke and her peers had to go through to have their artistic and entertaining craft respected, laid the road open for talents like Toni Storm, Kamille, Chyna, Mercedes Moné, Charlotte Flair, and others to be on the marquee of wrestling events and even headline the coveted Wrestlemania events which saw in its 35th edition Becky Lynch grappling with Ronda Rousey.

‘Queen of the Ring’ talks about the days we live in as women, queer people, and other minorities are having their rights threatened, if not terminated, in America and other parts of the globe. Nevertheless, it doesn’t forget that its focus is to tell Mildred’s story with skill, and it can entertain the whole family, but primarily girls at an age where they seek role models, much like those little girls on the ringside who projected themselves on Mildred Burke.

Rating: (4 / 5)

The post Review: ‘Queen of the Ring’ – Emily Bett Rickards is the New Leading Lady In The Ring appeared first on Big Picture Film Club.

The series, helmed by Emmy-nominated filmmaker and former St. Edward Eagles wrestler Ben Hatta, goes beyond mat results, portraying a side of American society that humanizes its characters and helps to understand the values that compose Americana at its core, considering how big amateur wrestling is in the nation.

Before ‘Clash of Dynasties,’ Hatta worked on the acclaimed documentaries ‘Team Foxcatcher’ (2016) and ‘Angle’ (2023). The former focused on the controversial Foxcatcher training camp, which had among its luminaries the Olympic champion Dave Schultz, and the latter on Olympic wrestling gold medallist and pro-wrestling champion Kurt Angle.

Hatta didn’t only wrestle in his youth but hails from a family with deep roots in the sport. His father, Tadaaki Hatta, coached the Olympic teams of the USA, Japan, and Mexico, and his grandfather, Ichiro Hatta, was a secretary to judo founder Jigoro Kano and introduced amateur and pro wrestling to Japan in the early 1930s and also competed as a wrestler at the Los Angeles 1932 Olympics. Now, the country is a powerhouse at the Olympics and has a vibrant pro-wrestling culture.

Ben Hatta draws from his experiences at home and on the mat to thrive in his cinematic career. In an interview with The Big Picture Film Club, the documentarist speaks about his creative process, working on a story and keeping it real while he was a character and the role that wrestling plays in American society.

Gabriel Leão (GL): You worked on the acclaimed wrestling documentaries ‘Team Foxcatcher’ and ‘Angle.’ How do you believe those two prepared you for ‘Clash of Dynasties’?
Ben Hatta (BH): Both Team Foxcatcher and Angle were wrestling-based stories that took place during the 1990s and so was ‘Clash,’ so all 3 dealt with the same time period and I actually lived through all 3 stories and experienced them personally. I was able to actually tie all 3 films together with Clash of Dynasties with some throwback footage to those other moments. But I think what I found the most educational with the 2 previous films was really looking for those storylines or those elements that didn’t have to do with wrestling or sports at all really and find more of those universal stories that could help enhance the overall film and appeal to a broader audience with ‘Clash of Dynasties.’ Plus, all the work finding the archives and digging through footage from 30 years ago was pretty much the same… (Breaths) Intense.

GL: You were part of the St. Edward team. How did you work with that background in the docuseries? Does it influence your decisions, considering you tell the story from both sides?
BH: Yes, I wrestled for St. Eds from 1990 to 1994, so I knew of this moment in time in American high school wrestling quite well but since I only started on the varsity team for just my senior year, I was also a spectator for some of it. And since I was from one of the schools, I had to make a conscious effort to tell a fair and even-sided story. In order to help do that, I employed the services of 3 wrestlers from the other school, Walsh Jesuit, to help me make this project. None of them were filmmakers but they helped produce the project in several ways; especially keeping me on track and honest to their side of the story. I never looked at this as my story to tell, it was all of our stories and at some points, it was even bigger than us.

GL: You hail from a wrestling family with your father and grandfather, the legendary Tadaaki Hatta and Ichiro Hatta, respectively. How is this personal biography part of not only ‘Clash of Dynasties’ but also your creative process?
BH: Well, my father is a cast member in the film series, as he was one of the coaches at St. Edward during this time. My brother is in the series as well, and so am I, so we’re all in this series together. My dad is also an artist (painting and sculpture) and I’ve taken on some of those traits but I’m trying to use television and film as my art form and canvas. I think both of us are trying to follow in my grandfather’s footsteps by trying to grow the sport of wrestling as much as we can through art, storytelling, international diplomacy, etc. whatever we can do to broaden the audience and showcase the great passion, emotion, and efforts of the oldest sport in the world.

GL: For Americans, high school sports play an important role in shaping the individual and the community. How do you see ‘Clash of Dynasties’ registering this corner of American sports history?
BH: This is not just your classic “David vs Goliath” story, there are other themes running throughout this series as well, where teenagers were dealing with extreme losses (deaths of teammates, coaches, and family members) that took place “off the mat” that affected them deeply and how they overcame those moments. Hopefully, viewers will be inspired to be the best at what they set out to do and see that there is a formula to success, if you put in the work and never give up.

GL: What would attract British viewers and those from other countries to your docuseries?
BH: I feel any viewer will be able to connect with the human elements of this story: the struggle, overcoming loss, deaths, dealing with pain, dedication to helping others, and working hard to be good at something. This is more than just a wrestling story, or a sports story really, it’s a human story and I think everyone can relate to those moments more than the amazing athletic achievements of these teenagers. Coach Bill Barger’s pledge to God in Vietnam that he would help youth if he just got out of there, and what he ended up doing with his life is just one of the many amazing stories in this Series.

GL: Wrestling is part of American society and culture. How is it inserted into American life, and what values does it bring to the nation?
BH: Wrestling is a sport that possesses many values that are relatable to the American way of life, in such that a wrestler is the only one on the mat… Much like boxing or MMA, the only one in the ring or the octagon. There is no one else to blame but yourself for the work you put it is what you’ll get out in return. There’s also a respect for the competitor who has the strength and courage to step on the mat or in the ring or in the octagon and give it their all in an effort of competition. I actually think it’s a story that is probably needed today not only in America because it shows that those who were once enemies can come together out of mutual respect for the battles they shared. Rivalries and competition are what make the good into great, and the great into dynasties!

GL: There is a belief that American society has an image of “winner culture” and that those who didn’t make it aren’t worthy of it. The movie industry is also an unforgiven world. How does the sport of wrestling help in dealing with societal pressures?
BH: I think the lessons learned from the sport of wrestling, like many martial arts, is discipline and focus. Setting goals and the dedication to achieve them are part of the sport and realizing that you can’t really rely on anyone other than yourself – can help you block out those pressures and help keep you on the path you’re supposed to be on. And like the sport, life is never easy but if you’re a good person, you work hard and have a little luck, good things will come.

GL: Your documentary humanizes its subjects, going beyond training methods and wrestling moves. How did you achieve this approach?
BH: Again, I feel focusing on the stories that were much deeper than wrestling, things that were taking place off the mat- behind the scenes, that were affecting those teenagers was the most important. I say teenagers because you can forget that these were just kids- some as young as 14 years old- thrust into the national spotlight and in a very physical sport, in front of huge crowds, while dealing with deep emotional losses. I hope viewers can feel that. Our cast was very open and vulnerable in telling their stories and I feel it comes through in their interviews. I also put a focus on the 1990s and that time period that this story took place because that was a decade of change – in media, politics, sports, etc. – and many of the events that took place in the 90s were reflective of this story.

GL: What are your sweetest memories from your time as a St. Edward wrestler?
BH: I think the best times on most teams, were the times spent travelling together and competing together, being part of a team. Focusing on a common goal at the highest degree, training and pushing each other to be the best (or at least your best), taking on the toughest competition in the country, and trying to prove your worth was something that I value highly in my time spent at St. Eds. And the coaching staff and the amount of talent we had watching over us was just amazing. But my sweetest memory was winning my match against Walsh Jesuit during our dual meet in 1994 – when ESPN was there – in front of 2000 to 3000 fans.

The series became available to watch on www.clashofdynasties.com and by pressing the Watch The Series button.

The post How ‘Clash of Dynasties’ Captures America’s Greatest High School Wrestling Rivalry appeared first on Big Picture Film Club.

This form of entertainment had its highs and lows in popularity. Its best moments were during the 80s with the likes of Hulk Hogan and Ric Flair, then in the mid-90s brought the Attitude Era with Stone Cold Steve Austin and The Rock meanwhile the now-extinct promotion WCW blasted with Goldberg, Sting, and the nWo, and another good moment happened in the early aughts with the Ruthless Aggression Era that presented John Cena and Batista (Dave Bautista).

Now, as seen in the Rhodes battle with the Samoan Anoa’i family, of which Johnson and Reigns are members, pro-wrestling is relishing another moment in mainstream pop culture ushered by the spike in audiences promoted by millennials and their nostalgia added by Gen Zers, who flock around more social media-inclined stars.

According to an April Variety piece, WWE saw improvements in the Q1 demo ratings year over year, kept most of its viewership steady, and is experiencing growth among the adult group composed of 18 to 49-year-olds, which brings the last batch of Gen Xers, alongside Millennials, and Gen Zers. The previous two groups were around when The Rock, Stone Cold, Undertaker, and the nWo were mainstays in wrestling, during the “Monday Night Wars”. Younger fans may be more enticed by names like Logan Paul and Dominik Mysterio.

In an interview with Big Picture Film Club, American film and TV critic Richard Newby says that nostalgia, as exemplified by the return of Johnson, has played a role in this spike. “Definitely. I did have a lot of friends that followed (wrestling) in elementary and middle school. There was a huge drop-off in high school and college to the point where I didn’t hear anyone talk about it. But over the last few years, I’ve really seen it bounce back with a lot of enthusiasm.”

Standout Brazilian martial artist and pro-wrestler who performed for WWE and AEW Adrian Jaoude (a.k.a Tiger Ruas) believes that “WWE and pro-wrestling as a whole has attracted the younger demographic considering the modernization and quick pace of its content as the storylines are shorter and following the young viewers’ trends and subjects and an example of this is the influencer Logan Paul who brought alongside him this public.”

For Newby, there is also the intersectionality between pro-wrestling and nerd culture: “All the tweets I see about wrestling are from folks who are also huge ‘Star Wars,’ comic book, and horror fans. It makes sense – these are folks in costumes playing the hero or the heel with big personalities and a lot of physicality. And it’s definitely not lost that the first superhero, Superman, was inspired by wrestlers and luchadores.”

Dialoguing with a new batch of fans while keeping the tradition

WWE is the biggest pro wrestling company, but this form of entertainment is popular in America, Canada, Japan, Mexico, and the UK. One point in common between the different countries is the respect for those who paved the way, as seen in the biopic ‘Cassandro’ (2023), telling the tale of the trailblazing exótico luchador played by Gael García Bernal, who would become a queer icon and cherished figure by Mexican families, and in the film ‘Iron Claw’ (2023), portraying the pioneering Von Erichs and the dramas that plague them.

Jaoude recalls how his Olympic wrestler brother Antoine Jaoude and himself, an international award-winning talent, opened the roads for Brazilians in wrestling and MMA fighters who wanted to improve their grappling game and how seeing the sacrifices of the Von Erichs in ‘Iron Claw’ remembered him of the trials he faced with his family.
“It is a story that shows what is behind pro-wrestling, which isn’t an easy activity, let alone an easy career. It is a mixture of being an actor, a fighter, and an athlete. However, you are not only an actor because you must always go to the gym, but you are also always practicing inside the ring because you can hurt yourself just like an athlete; in the end, you have to perform realistically”.

These hardships mould these performers and some of the most notorious are jumping over the top rope into mainstream culture as reflected by the emergence of pro-wrestlers turned actors Dwayne Johnson, John Cena, and Dave Bautista, who are big draws and known even by casual moviegoers and some even know their catchphrases. It is not uncommon to see pro wrestlers “cutting promos” telling why they are good or how they will beat their next opponent, and while some can improvise these lines, many have to rehearse with coaches, and their eloquence combined with their physiques result in personas which bring traits of themselves if not whole different beasts that capture the audiences.

Jaoude recalls how his tutelage under WWE led him to relevant acting jobs like the ‘Arcanjo Renegado’ (2020 – 2022, Dissent Archangel) series in Brazil’s streaming service GloboPlay, part of South-America’s main media group, The Globo Conglomerate.
“The acting programs I’ve been part of in WWE opened doors that led me to ‘Arcanjo Renegado,’ and the classes I had made me feel comfortable while shooting the series.”
Newby sees that the pro-wrestling acting classes can develop talents that can be as good or better than some clueless people trying to break into the industry as pro-wrestling “is a performance art.” The critic also believes that the names mentioned before not only bring the physicality seen in TV but also have the appeal of decades-ago action stars like Sylvester Stallone, Arnold Schwarzenegger, Dolph Lundgren, and Carl Weathers.

Nevertheless, Johnson, Cena, and Bautista aren’t just palette swaps of each other as Johnson is a blockbuster king, and with his MMA fighter Mark Kerr biography directed by Benny Safdie and produced by A24 will let the viewers see his drama range, Cena is the more inclined to comedy of the trio and made the anti-hero Peacemaker his own with the homonymous DC hit series; meanwhile, Bautista has picked a more art inclined path which he carries simultaneously with blockbuster material, Bautista can be seen in pictures like ‘Blade Runner 2049’ (2017) and M. Night Shyamalan’s ‘Knock at the Cabin’ (2023), and has expressed lack of interest in franchises like ‘Fast & Furious.’

“I think whether it be in hiring these big, standout personalities to act or in telling the incredible, sometimes unbelievable stories of their lives, the TV and Film industry is all in on wrestling and wrestlers,” says Newby.

The film industry, in particular Hollywood, is a gruelling business, and wrestling is a rough career as Adrian Jaoude explains:

“The life of a pro-wrestler isn’t an easy one; it is based upon dedication, effort, lots of travelling, much abnegation, and sacrifices, but it is worth it; when the show closes, and the fans are still excited, it is always fun” – Adrian Jaoude

Also Read: How will Netflix’s $5 Billion deal with the WWE affect its documentary on Vince McMahon in light of recent allegations?

The post As WWE Revenue Hits Record Levels, Pro-Wrestling is Relishing Its Moment Back Into Mainstream Pop Culture appeared first on Big Picture Film Club.

The Project and McMahon’s History

The McMahon documentary series, centred around the life of the titular wrestling CEO/performer, was originally announced in 2020. According to WWE President Nick Khan, the project was going to be one of the highest-budget docuseries Netflix had produced. Then in 2022 reports began saying that the series release was possibly cancelled. Netflix supposedly pulling the title from their programming spreadsheet.

Around this time, McMahon had serious allegations made against him. McMahon already had ire surrounding him due to continuing to work WWE performers through the pandemic. Despite several wrestlers having tested positive for COVID-19. Then it was revealed he was being internally investigated regarding allegedly paying hush money to former employees and contractors. He temporarily stepped away from the WWE while the internal investigation was ongoing. He returned to the company in early 2023.

Later that year the documentary was revealed to still be in production. With some news outlets speculating on whether the project would become a film rather an a series. The project was expected to be released in 2024. But earlier this year Janel Grant came forward with a lawsuit against McMahon which accused him of sexual assault and trafficking. She is part of a group of five women cooperating with a federal investigation into McMahon. McMahon has now stepped down from his post.

Netflix Controversy

Producer Bill Simmons has stated that McMahon has no say over the final piece. So he will at least not be able to dictate how his image is used in the documentary. But as contributor Dave Meltzer said, “This changes the whole doc 100%…I don’t know how it can possibly be out very, very soon now”. As the documentary was said to be out soon will Netflix (who has final cut) be able to give time to these serious claims in a respectful manner?

In addition to the important choices facing Netflix over the documentary, Netflix has now signed a deal to become the new home of the WWE’s weekly RAW programme in 2025. And given that the brand is firmly associated with McMahon and that the WWE is implicated in the abuse it seems like a terrible idea to provide a platform to the company. Especially during a serious ongoing investigation.

What Should Happen?

So what is Netflix going to do? If they release the McMahon documentary without giving time to incorporate what has happened recently then they may look like they are trying to avoid a serious topic relating to their subject. If Netflix doesn’t release it but still hosts WWE programming, they may appear to be protecting a profitable brand. One that potentially hurt many workers. 

That said if the documentary is given enough time to update itself will Netflix allow a revealing documentary to be hosted alongside their WWE shows? As the documentary will continually remind audiences of the reported abuse perpetrated by the company’s former CEO and which is reportedly widespread at the company itself. Netflix is a company first and foremost, it’s hard to believe they would be willing to host both. As it would understandably result in audiences questioning Netflix’s decision to partner with WWE and potentially a loss in viewers.

If there is a way out of this it would be for the documentary to give time to cover recent events delicately. To ensure the people seeking justice have their chance to be heard. Or the documentary should pause until the case is resolved. Also, Netflix should cut ties with the WWE until all investigations are concluded. Only resuming if the company demonstrates itself to be a safe place. If they can’t do that then it shows that Netflix is not worthy of industry and audience trust and that the entertainment industry truly learned nothing from the #MeToo movement.

Also Read: The Struggle of Two Sons To Bring Back The Memory of Ted Boy Marino, Brazil Pro-wrestling Legend and TV Hero

The post How will Netflix’s $5 Billion deal with the WWE affect its documentary on Vince McMahon in light of recent allegations? appeared first on Big Picture Film Club.

“Ted Boy was very beloved. We interpret him as a superhero of his period, from the mid 60’s to early 70’s. Later he kept working on TV and became a person that TV station directors always wanted to see on the screen because Ted Boy attracted the public’s curiosity beside ratings,” says Ted Marino about his father in an interview with Big Picture Film Club. To him, the pro-wrestling father was forgotten by the media but is still cherished by the public, particularly by those who are above 50 years old and followed his career.

A recurring image of Marino consists of the agile grappler in the black speedo and white boots entangling the rival head with his legs and performing a somersault that brings the opponent to the mat; the audience in a packed stadium cheers and howls the blonde wrestler who just showed his finishing maneuver: the Flying Scissors (Tesoura Voadora). The excitement in attendance is shared by the millions at home watching in their TV sets: some coloured, some in Black and White, all watching the king of the local pro-wrestling scene, or “Telecatch” as how it was named in the nation. 

Born in Italy, Marino escaped World War II with his family to Argentina, but it was in Brazil that the Roman centurion face, toned body, dark eyes, and blond hair in a bowl cut Marino became a hero figure in a country that was emerging in the international scene with samba, bossa nova, cinema novo and sports names like Pelé, tennis player Maria Esther Bueno and boxer Eder Jofre. To the nationals, Ted Boy Marino was hailed as one of those big names but the first blow he would suffer happened by the late 1970s, when pro-wrestling was assaulted by TV executives and the military dictatorship governing the country during those dark years, few in the country know the role the dictatorship it played in telecatch’s downfall.

“In the 70’s, the Telecatch started to lose momentum to other sorts of content and all of them started to compete for ratings. The Globo group changed its strategy to reach the audiences and changed its programming by relegating Telecatch in a second tier. To add insult to injury, the censorship imposed by the (governmental) dictatorship also started to boycott Telecatch as that sort of entertainment wasn’t aligned with the ‘values’ wanted by the dictatorial regime in power.”

Although pro-wrestling lost space to other productions in Brazilian television, different from many of his peers Marino kept displaying his acting skills and professionalism in TV shows and movies for decades. As happens to many talents and public figures in the country, it was in his winter that the invitations to be part of productions and public appearances dwindled. Hence, his children knew that it was up to them to remind their country of who their father was even considering the hardships of the Brazilian movie industry to those who aren’t tight with powerful players.

Dropkicking a concrete wall of barriers 

A newsroom journalist, Ted felt the rude awakening of transitioning to film documentarist in a DIY operation, at the beginning he felt that some of the already existing archives were amateurish, still once he was able, he hired professionals to help produce his herculean task. 

When asked about the initial barriers faced, Marino points out how the support of friends and professionals helped in the project. “I also rely on professional producers capable of correcting the amateurish work that was performed without much technical knowledge but needed to exist as they are because they reflect those times. Luckily, my producer side manifested in me before the need and the fact that only I could organize all those stories that were passed to me by my father, Ted Boy, during his lifetime, by his friends, relatives, and all documented history in his humongous personal archive. It is for a reason that we recorded him, and he comes as the fundamental piece telling his own story.”

Although Ted Boy was a fixture in Brazilian television sets, the Marino brothers are doing the legwork by themselves ranging from digitalizing the extensive archive owned by their father, interviewing the main character in his final years as also those who were part of his story, including leaving their home in Rio de Janeiro to other parts of the country and abroad.

“What I face in my quest for sponsorship and support is that biographical documentaries are not perceived as money makers by Brazilian investors. Which is what we lack to be able to finish it, including getting the authorization related to copyrights. For instance, we have footage in Italy, where he was born, in Argentina with his family that still lives there after fleeing from the war. Alongside my brother Tiago, I traveled for 20 hours to interview the wrestler Aquiles who lives in São Paulo’s countryside. Besides the vast documented material from those days, humorous illustrations also help us to tell this magnificent story,” points out Ted Marino.

Another issue is how demanding producing a film can be, in particular in a country that seems to be not only against memory but culture as well. “Sometimes I’m suffocated by my anxiety and by being hard on myself” reveals Ted Marino in our conversation.

The Brazilian duo is in a race against time as the contemporaries of their father are passing away; nevertheless, their documentary may entice the interest of viewers in countries like the USA, Mexico, Japan, United Kingdom, and Canada that have a developed pro-wrestling culture. 

In our talk, I recall the younger Marino that in recent years Brazil has been producing biopics and series on some of its most acknowledged names among them pugilist Eder Jofre, and singers Elis Regina and Gal Costa. “I believe that great names don’t happen by chance. I can’t see someone, including those you mentioned, climbing the hill by chance. They were gifted. With Ted Boy things didn’t play out differently and once we started to look at his story, which few people know, it is hard to envision how high he climbed.”

The Marinos’ craft is not only based on devotion but on the hope of seeing their father and their work recognized and it strengthens the belief of the brothers in their film: “His story is segmented in rounds (the way we decide to cut it in the documentary). He was like a Brazilian superhero; you can ask that to any Brazilian 50 years of age or older. Still, when people become aware of what he went through to achieve what he did, when they can grasp what was the main goal of his life: hands will be clapped, and eyes will be teary.”

Although locked in an uphill battle, Ted Marino never lost sight of where their vision can lead and with the confidence of a superstar wrestler, he tells me about it: “We were able to produce a biographical work telling an emotional trajectory of struggle and overcoming the odds, which is so enthralling that it feels like a dramatic biopic that will appeal to many professionals. We want and believe that this documentary has an enormous potential to attract producers and writers from the movie industry to adapt it as a drama. I won’t mince words; his story is really outstanding!”

Also Read: Cassandro: Unveiling the Masked Emotions of Lucha Libre

The post The Struggle of Two Sons To Bring Back The Memory of Ted Boy Marino, Brazil Pro-wrestling Legend and TV Hero appeared first on Big Picture Film Club.

Cassandro (2023) brings the story of the “exótico” luchador that names the biopic, a persona created by Saúl Armendáriz an openly gay wrestler from El Paso, Texas, USA, in the very flamboyant yet masculine world of Mexican lucha libre, the amalgam of sport and artistic performance with predetermined outcomes, the nation’s version of pro-wrestling.

The Exótico, in pro-wrestling terms, represents a character or gimmick with the vibrant and flamboyant flair often associated with camp culture. In the Amazon Prime picture, Cassandro is given life by the international superstar Gael García Bernal from Mexico, one of the best actors of his generation that delivers another powerful performance.

Although highly popular and part of Mexican culture, lucha libre is still perceived as a kitsch product, even by considering that these squared circles narratives permeate the Mexican experience to the point that luchadors have their own local action movies and talking shows, and most famous are the enmascarados (masked ones) divided between técnicos (good guys) and rudos (bad guys) with legends like Mil Máscaras, El Santo and Blue Demon and their children who carry “El Hijo de” (the son of) before the names that came from their predecessors.

Lucha libre is a true Mexican contemporary mythology and it has achieved its highest representation in the work of the late legendary photographer Lourdes Grobet (1940 – 2022), who much like Cassandro had to surpass bias to have her work recognized and admired; while the exótico is the first luchador of his group to actually win a world title as before Cassandro exóticos ended up losing most of their matches.

In Cassandro, Bernal brings a layered character who already knows his gender identity and sexuality but still struggles to find his persona inside the ring. The actor’s range in portraying fragility and strength come into play but also the nuanced changes in voice tone and mannerisms showcase how although an assumed gay man still has to abide by certain codes considering the environment they are at the time and later starts to feel comfortable in their own skin.

The movie has an interesting aspect as a biopic because although it brings an elevating tone to the story, it doesn’t sanitize the character and shows the protagonist’s drug use without being judgmental, therefore it doesn’t try to be a canonizing document committing a common mistake of biopics that are more in tone with a pitch for a new saint than a serious work of art or even an honest entertainment piece.

The cast also brings performances that help to further understand the universe and character development of Cassandro by showing the attachment of a gay man to his mother, and the neglect by his father who denies him as both relations mirror realities known to gay men in many cultures.

Those masks and personas come into play with other characters. Cassandro’s female lucha libre trainer (Roberta Colindrez) who also is part of the queer community, also has a persona, Lady Anarquía, which is an extension and more vibrant face of their personality.

Some of the saddest passages come with Cassandro’s lover Gerardo (Raúl Castillo), a married luchador and father of children who isn’t able to leave the closet in a nation marked with machismo and Latin religious dogmas.

Puerto Rican musician Bad Bunny (Benito Antonio Martínez Ocasio), an ardent aficionado of pro-wrestling who also partakes in the ring, plays a minor drug dealer in Cassandro and is growing as an actor with each appearance which is considerable given that many players that come from another area fall short when try their hands at acting. The picture also gains in gravitas by having the real El Hijo del Santo playing himself.

The color palette of the movie set by cinematographer Matias Penacho strays away from how Anglo-Saxon media shots the country like a Mad Max wasteland. It is colorful matching Cassandro’s personality with its joys and dilemmas and resembles the art of Grobet who had shown these modern Aztek gods in their privacy be it in the locker room or at home. The art direction by Margarita Laborde, set decoration by Vanessa Bryant and costume design performed by María Estela Fernández make the experience more immersive and set how different the lucha libre scenes are from the daily routine. All rounded up by the Oscar-winning documentarian Roger Ross Williams.

These elements combined elevate the picture and García Bernal jumps from the top rope with a dropkick as a contender for awards season, his training to perform the lucha libre moves shows commitment and respect to the craft. Sports cinema is more attached to boxing dramas and sadly when it regards pro-wrestling, they are straight-out comedies or they suffer from poor storytelling and acting, which is not the case with Cassandro.
Another movie that broke from these wrestling pictures troupes is The Wrestler (2009) with its melancholic encore for the character portrayed by Mickey Rourke. Like The Wrestler, the García Bernal vehicle is a serious picture which doesn’t deny the campiness of this environment with larger-than-life figures, and it shows that pro-wrestling and lucha libre stories can turn into great narratives.

Cassandro is available to Stream on Amazone Prime Video

Also Read: The Eternal Appeal of the Boxing Movie

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As a lifelong wrestling fan, I can honestly say this is the best time to be a wrestling fan. The storylines have matured, the women’s division has come a LONG way and the brand itself has evolved. No more are we made to believe that it’s “real”, instead it has immersed seamlessly into our everyday lives emphasizing more on entertainment than wrestling alone. Extending the brand by developing up and coming stars through NXT programming, creating their own SVOD with original content, developing gaming, merchandise and films.

With the recent success of Fighting With My Family – the story of former Diva and Women’s champion Paige’s rise to success at the WWE, and 2008’s critically acclaimed The Wrestler, starring Mickey Rourke and follows the life and struggles of a once successful wrestler, there is definitely an audience for wrestling themed films to be made for the wider mainstream audience.

With that in mind, the following are stories based on wrestlers and storylines that I think would make for great feature length films.

The Rock Says

Mirroring The Great One’s autobiography in parallel to his onscreen success and rise to fame, the story of Dwayne ‘The Rock’ Johnson is one that is inspirational as much as it is entertaining. With memorable feuds and storylines from The Nation of Domination, to Vince McMahon and later Stone Cold Steve Austin, The Rock ‘s undeniable charisma led him to becoming one of the first superstars to successfully transition into Hollywood.

The Invasion

After years of battling for ratings in what is now known as the Monday Night Wars, WWE came out on top when they acquired WCW and ECW. In a shocking twist of events, it was revealed that yes a McMahon was now the owner of WCW but it was Shane not Vince who had signed on the dotted line. Together with Paul Heyman and new owner of ECW Stephanie McMahon, they formed the Alliance in a bid to dominate the WWE once and for all.

Pipebomb

The best storylines blur entertainment with reality, which in this day and age isn’t the easiest to do. It was a long lead but the infamous promo built the hype for one of the biggest matches in Money in The Bank history when CM Punk faced off with John Cena in what would be his ‘last match’ in the WWE.

Yes, Yes, Yes

The story of the underdog is one that we can all resonate with and one that doesn’t get old. The rise of Daniel Bryan’s superstardom took us on an emotional rollercoaster and finally culminated after a two year long battle against The Authority, where he overcame every obstacle that was put in his way to finally win the WWE Championship at the biggest stage of them all Wrestlemania 30. In a bittersweet moment, it was shortly after this monumental win when he announced his early retirement due to a neck injury and multiple concussions.

The Man

After a surprising heel turn at Summerslam, Becky Lynch breathed new life into the women’s evolution when she turned on her best friend Charlotte Flair. Never before had we seen such hype and support for a heel turn and overnight she became one of the biggest stars in the company. In just under a year she has built immense momentum for herself and her quest for the top, ultimately culminating in a winner takes all match when she faces Raw Women’s champion Ronda Rousey and Smackdown Women’s champion Charlotte Flair in the first ever headline main event at Wrestlemania 35.

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The story

Fighting With My Family tells the real-life story of professional wrestler Paige (Florence Pugh) and her journey from wrestling locally in Norwich to wrestling in the biggest professional wrestling organisation in the world: World Wrestling Entertainment (WWE). The film was written & directed by Stephen Merchant (The Office, Ricky Gervais Show) & was produced by everyone’s favourite pro-wrestler turned Hollywood superstar, Dwayne “The Rock” Johnson, who also plays a supporting role in the film.

Paige’s entrance into the WWE also marked the start of the “Diva’s Revolution“, a period in which women wrestling became more prominent within the company. This saw a move away from female wrestlers simply being seen as eye candy or only playing a supporting role, to being seen as true athletes, on par with their male counterparts.

Family first

A clear strength from the outset is the bond between Paige and her family. Coming from a wrestling family, who run a small independent wrestling promotion, all the quirks of this close-knit family are on full display. And the inside jokes between family members and genuine moments of affection really serve as the anchor for the film. Another positive is the casting selection, particularly of the immediate family: mum, Julia (Lena Headey); dad, Ricky (Nick Forst); and brother, Zak (Jack Lowden) all fit perfectly into their respective roles.

Expectations

Despite clocking in at nearly two hours, the film never feels sluggish. Writer / director, Stephen Merchant, does a great job of conveying the key parts of Paige’s journey and maintaining good pacing throughout the film. However, don’t expect much in the way of unexpected plot twists. What you see from the outset is very much what you get with this film.

Those who follow the WWE will also be treated to some cameos from active WWE wrestlers. While the 2008 Micky Rouke-led film The Wrestler was darker and bitter-sweet in tone, Fighting With My Family’s style of comedy feels right at home with this rags-to-riches story.

Final verdict

Great biopics about our favourite sporting superstars can often transcend simply attracting fans of the sporting discipline itself. Fighting With My Family does this and will find a home with anyone who loves a great coming of age story – whether you’re a wrestling fan or not. Fighting With My Family is a well-crafted film full of laughter. The British feel-good film of the year (so far).

Verdict: (4 / 5)

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Written and directed by Stephen Merchant, Florence Pugh takes the lead role as wrestler Paige with Dwayne “Thr Rock” Johnson producing and playing a supporting role in the film.

The film is due to be released February 2019 in the U.S and March 2019 in the U.K

Watch the trailer below

https://www.facebook.com/BigPictureFilmClub/videos/957463607774206/

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