On the Emasculation of Foxcatcher

Director Bennett Miller has, over the past nine years, turned out three fantastic close studies of masculinity. However, this is not a chest thumping masculinity, but an exploration of the more contemporary kind. What happens when men, of certain generations and professions that subtly enforce the strong and silent stereotype, require emotional release and support? This is the question that Miller addressed in Capote (2005), when a man of immense literary talent finds a story that will prevent him from really ever writing again. In Moneyball (2011) a college student, an all round athlete, is offered the chance to play professional baseball yet fails at every club and in fatherhood. Both these films examine figures who should, because they have the skill and the opportunity, be great. Instead, they are emasculated. By their own insecurities, by other peoples’ expectations, by family.

And now comes Foxcatcher. Like Capote and Moneyball, based on a true story, this time of three men whose lives on the surface appeared successful and masculine, but took very different directions. Foxcatcher is, even before Miller got hold of it, a fascinating story of power and ambition. But it is nearly twenty years old and Miller brings in to contemporary audiences and roots it into cinema history with three incredible performances. Mark Ruffalo, Channing Tatum and Steve Carell immerse themselves in the film and in turn Foxcatcher is immersive. With the exception of a brief toy boy phase of cocaine and bleached blonde hair (which may very well be true), this is a complete experience.

Unlike Moneyball, Foxcatcher's wrestler finds his emasculation not through a lack of opportunity, but through the position wealth can have and what it can dictate. Additionally, from an older brother whose reluctant acceptance of wealth, drivers the wrestler further into himself. Success is achieved and greater success is expected, but lost. 

Thematically Miller’s films are all connected, yet stylistically, he manages to draw great tension and interest from a still or little motion camera. One of the most fascinating scenes spends time watching brothers (played by Ruffalo and Tatum) training. There is no significant dialogue, yet the scene communicates much and that this appears towards the start of the film is an achievement.

Foxcatcher fits comfortably into Miller’s body of work and is entirely gripping.