FOXCATCHER: The Story of John du Pont | Tag Hollywood | by Ilene Proctor

THE STORY OF JOHN E DU PONT IN THE FOXCATCHER BY Ilene Proctor From the demented mind of Richard Mellon Scaife, to the Bush Dynasty, to John E Du Pont, the subject of the new film Foxcatcher, there’s something about third and fourth generation inherited wealth that requires serious social investigation., Not only does family money get chopped apart as it passes from generation to generation, it has great potential for self-destruction. The same story plays out a thousand different ways: Hardscrabble grandfather makes the money, Junior sustains the business while living well all his days and then the Third, softened to marshmallow shallowness by a charmed life, fails in his duties as scion. “There’s a phrase: ‘Shirt sleeves to shirt sleeves in three generations,’ that inevitably seems to play out in predictable repetition.   Imprisoned by wealth, these third generation princelings appear to become, narcissistic and vicious characters of the Real Housewives franchise, we’re told that wealth is not for kind and gentle souls, but a sport for bloodthirsty animals. While entitlement and narcissism are extremely prevalent in inherited income peers, their obsession with power, prestige and vanity often serves them well in their financial life, it wreaks havoc with all the important relationships in their lives. In addition to suffering from narcissism and addictive personalities, people of wealth also suffer from “low frustration tolerance.” They want what they want and they want it NOW. They’ll pay extra for immediate gratification and haven’t the time nor the patience to wait for anything, including the time it takes for seeds to fertilize.    In the FOXCATCHER, Steve Carell makes a stunning metamorphosis into John E. du Pont, scion of the wealthiest family in America, and a disturbed and emotionally stunted magnate. In one of the most  revealing  scenes,  Du Pont  delivers  a  wan inspirational speech to his wrestlers, spurred by the sudden appearance of his wheelchair-bound mother. His efforts are so wan and pathetic that she leaves in mid-speech.		The film focuses on du Pont's tortured relationship with Olympic wrestling brothers Mark Schultz (Channing Tatum) and Dave Schultz (Mark Ruffalo). Despite his gold medal, Mark lives a life of constipated silence and lacks a life and identity outside of his daily wrestling practice with his older brother Dave. The two never seem as comfortable as when they're tussling, nuzzling and throwing each other around. Dave also acts as watchful father figure to his insecure sibling. Soon, du Pont extends an offer Mark can't refuse: He offers to accommodate him at his magnificent estate and subsidize his training for the 1988 Seoul Olympics.      Is homosexual attraction the reason for Du Pont’s involvement, the film refuses to go there? Mark moves onto the rural Pennsylvania property known as Foxcatcher Farms where the taciturn du Pont keeps a stable of Olympic hopefuls, assuming the role as their coach. Mostly, he wears a token uniform and creepily watches the wrestlers. His trophy room acts as a metaphor for his failed relationship with his icy equestrian mother Jean (Vanessa Redgrave). Inevitably, like with all of his relationships, du Pont treast Mark as his property, barging in on him at all hours, hit- ting and insulting him, He invades Mark's psyche by pretending to sympathize with Mark and his inhibitions. Mark is musclebound, lumbering, inarticulate and in the shadow of his more outgoing big brother.      In his most emotionally complex performance, Tatum nails his character's pent-up ferocity and wounded vulnerability. The magic of Magic Mike does not exist in this film. Eventually, du Pont persuades Dave and his wife Nancy (Sienna Miller) to live on his luxurious premises. Ruffalo, a consummate creator of varying characters is supurb as the gregarious Dave, a grounded, parental guy with an edge of violence. But things go terribly wrong and du Pont shoots and kills Dave in 1996.      This is such a great feel-bad film that even though the dialogue is spare and the atmosphere depressing throughout, Director Bennett Miller's creates mounting intensity that culminates in the fatal shooting. Viewers, on the other hand, will be glued to their seats, mesmerized by the powerful performances and the tragic consequences of the demented mind of John E du Pont.