Foxcatcher, based on a true story, has been nominated for several Oscars, including original screenplay by E. Max Frye and Dan Futterman, best director (Bennett Miller), and best actor/best supporting actors Steve Carell as John DuPont and Mark Ruffalo as wrestler Dave Schultz.
From the synopsis by J.R. Jones, Chicago Reader: “A paranoid schizophrenic insulated by obscene wealth, du Pont used his family’s Foxcatcher farm as headquarters for a wrestling camp to groom athletes for the U.S. Olympic team; his tangled relationships with wrestling hopeful Mark Schultz [Channing Tatum] and with Mark’s older brother, gold medalist Dave Schultz, ended tragically in January 1996 when du Pont murdered Dave.”
However, offering what’s true and what’s not in the movie, Aisha Harris of Slate states, “Most notably, perhaps, the movie makes no mention of du Pont’s diagnosis with paranoid schizophrenia, which, at his trial, was offered as an explanation for the murder.”
What is acknowledged in the film, states Michael Phillips, Chicago Tribune, is “a certain, tactful degree of du Pont’s drug use, his personality disorders and bizarre behavior, all documented. Plenty more is elided or left out, especially to do with du Pont’s sexually predatory nature.”
A member of duPont’s actual defense team was forensic psychiatrist Phillip Resnick. In an interview with Michael Heaton, Cleveland.com, Resnick states about duPont’s deterioration: “[He] is an example of a person whose wealth becomes an obstacle to getting needed mental health care. Many of Mr. du Pont’s employees were aware of his paranoia. However, anyone who attempted to force his involuntary hospitalization would be at high risk of losing their job. In that sense, Mr. du Pont’s wealth allowed him to remain untreated and thus set the stage for his personal tragedy.”
DuPont, by the way, was found guilty of murder, but mentally ill. He died in prison in 2010.
More about how the movie portrays the story after this trailer:
FOXCATCHER‘S PORTRAYAL OF DUPONT AND THE BROTHERS
Christopher Orr, The Atlantic: “Mark’s sole apparent point of human contact is his brother Dave, who serves as his coach, sparring partner, and surrogate dad. That is, until he receives a phone call on behalf of ‘John E. du Pont, of the du Pont family,’ who wants Mark to come visit him at his ancestral estate in Pennsylvania, Foxcatcher Farm. ‘I’m a wrestling coach,’ the fiftyish millionaire tells him, earnestly if implausibly. ‘And I wanted to talk to you about your future.'”
Todd McCarthy, Hollywood Reporter:
Playing a young man who doesn’t have a clue how to articulate his feelings and suffers for it, Tatum is a smoldering, festering piece of emotional raw meat, able to be manipulated this way and that by his benefactor. You feel his pain. As the older and exceptionally capable older brother, Ruffalo bestows his character with a profoundly genial nature that suggests that no one could possibly dislike this guy, much less be provoked to murder him. But he had emotional wealth, instant likeability and physical capacity, things John du Pont could never buy.
Todd McCarthy, Hollywood Reporter: “Shrinks could have a field day with all the complicated dynamics running though these relationships, which help make the drama such a rich experience.”
Christopher Orr, The Atlantic: “There’s something inevitably remote about a movie that refuses so ardently to get into the heads of its characters. The result is an easy film to admire, but a difficult one in which to invest emotionally, even when it enters into its final, tragic arc. Foxcatcher is among the best movies of the year, but ultimately it seems one better suited for awards than for audiences.”
David Edelstein, Vulture: “…(I)t’s basically one long, sick joke played at half speed. It’s a ponderous, sick joke. After that first meeting between Schultz and du Pont, Miller directs the next two crawly hours in exactly the same key.”
Amy Nicholson, Los Angeles Weekly: “The pieces of something important are here – there’s ego and greed and desperation, the essential ingredients of the American tragedy – but none of it fits together.”
Bob Mondello, NPR: “…Miller uses three superb performances to take us deep into a privileged world where the choreographed struggle of wrestling mixes toxically with the psychological struggles of familial disappointment. The film does not — or maybe cannot — explain the inexplicable: the acts of a mentally ill man. But it can make the plight of those in that man’s orbit profoundly anguishing.”