An emotionally powerful biopic that hits harder than a vertical suplex, The Iron Claw engrosses with its true-life tale of old-school wrestling, repressed trauma, and family legacy.

The world of professional wrestling has featured much tragedy amongst the triumph. This is especially the case for the Von Erich’s, one of the great families of wrestling who throughout their ascension during the pro-wrestling circuit of the 1970s and 80s saw their young brood viciously removed from this world.

Where whispers of a curse long haunted the Von Erich’s, the Sean Durkin (Martha Marcy May Marlene) written and directed The Iron Claw convincingly makes the case that a poisonous air of repressed trauma and unhealthy competitive machismo created a dark psychological cloud that engulfed the young Von Erich’s.

This was made more imposing by the shadow of patriarch Fritz Von Erich. Character actor Holt McCallany delivers one of his best performances as Fritz, a former wrestler turned successful promoter whose high demands placed on his sons created young men of strong body yet fragile mind. One scene in which Fritz openly ranks his four sons from most to least favourite shows how this father’s love comes with conditions.

The one-time jewel of his eye was Kevin Von Erich, the second eldest son (first born Jack Jr. died of cancer at 5-years-old) whose made-of-granite body and freakish athleticism made him a must-watch event. Zac Efron is excellent in the role, living up to the physical and emotional challenges of portraying a champion professional wrestler who helplessly witnessed the destruction of his family.

Great too is Jeffrey Allen White as Kerry Von Erich, the middle brother whose star shone the brightest in the squared circle, yet outside the ring a dark cloud of addiction and depression was suffocating.

Durkin tells the Von Erich’s story with the dramatic intimacy needed to effectively portray the heartbreak and trauma that this family endured. In turn a rich family dynamic is captured, especially between the brothers whose ‘us against the world’ camaraderie proves even more heartbreaking during those moments when direct conversation could have – possibly, probably – staved off tragedy.

Rich period detail of 1970s and 80s Texas, USA, is wonderfully presented by cinematographer Matyas Erdely (Miss Bala), whether it be greens and browns of the rural landscapes or the smoke-filled spotlight of the wrestling scenes, which in their own regard are the best on film yet.

The Iron Claw can be hard at times to endure, with the thick fog of death and trauma present through much of the film. Yet from the suffering the Von Erich’s have endured comes lessons and revelations, most notably that the need to raise a family should only be done from a place of love, and that during those moments of darkness the need to break down the walls of silence is vital.