Film Review - The Iron Claw
Images courtesy of Roadshow Films.
I used to be a brother, and now I'm not a brother anymore.
Professional wrestling has long thrived at the crossroads of athleticism and fantasy, elevating men at their physical apex and immortalising them to modern gladiatorial status. Yet, beneath its veiled theatrical eccentricity emerges a concealed realm of darkness—an insular shadow which can consume even those deemed invincible. Sean Durkin’s The Iron Claw superbly avoids the pratfalls of biopic cliché and transforms the story of the Von Erich clan into a harrowing denunciation of toxic patriarchal masculinity masquerading as familial dynasty.
It's the early 1980’s, and the Von Erichs reign supreme in their self-built Romanesque colosseum, assuming their status as modern-day warriors presiding over their wrestling dominion on a weekly basis. As family patriarch Fritz (Holt McCallany) viciously orchestrates the family's ascent to wrestling royalty, the Von Erich brothers, like gladiators of old, grapple not only with fearsome foes, but also with the relentless demands of sudden fame and the unyielding pursuit of victory. Kevin (Zac Efron); Kerry (Jeremy Allen White); David (Harris Dickinson); and Mike (Stanley Simons) exist solely within their familial echo chamber, being hegemonized in their pursuits by Fritz as a method to carve a legacy which he alone could not obtain. His love for his sons is anything but unconditional, it’s almost transactional, openly ranking his sons based upon their ability to meet expectational merit – reminding them that the rankings can always change.
To say that there’s not a bad performance in this film would be an understatement, because each performance paints a tapestry of unparalleled brilliance. From McCallany’s untempered callousness, to Efron, White, Dickinson and Simon’s collective veiled stoicism that masks an internal anguish which threatens to cannibalise them at every step. Lily James and Maura Tierney respectively illustrate different perspectives grappling with the repercussions of emotive repression – one struggling to crack through her husband’s entombed anguish, the other opting for detachment from responsibility, yet both bear the consequences. However, the strength of The Iron Claw doesn’t solely exist within the performances alone; every single facet of this film has been eloquently crafted. Be it the Texas sun's sweltering touch vividly painted by a warm-hued palette or the meticulously curated needle drops woven into its sound design, every element helps weave the film's immersive artistry. I’ll admit, I’m biased as a Rush fan, but hearing Tom Sawyer emblazoned over an 80’s wrestling montage made me want to start pumping my fist in a crowded theatre.
In reality, the story of the Von Erich family is much denser than what has been presented in this film, most notably omitting the fifth brother, Chris, who died by his own hand in 1991. Although this decision has been met with a somewhat mixed reception, Durkin has adeptly presented a film which subverts the standardised biopic bloat, instead opting to craft a much more focused narrative which seeks to demythologise the family curse. In Durkin’s eyes, there was no such thing as the Von Erich curse – just blood sacrifice to the pursuit of immortality, and it came at the cost of brotherly love.
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The Iron Claw is screening in cinemas from Thursday 18th January. For tickets and more info, click here.