Iron Man (2008)-Kanaka Sathasivan
Iron Man (2008)
By Kanaka Sathasivan
After the dismal failure of Batman and Robin in 1997, the market for comic-book movies was largely dried up. While there were small successes in the genre with movies such as Blade, and some larger success with X-Men, it wasn’t until 2002’s Spider-Man that the genre finally returned en force. As summer turnout for Spider-Man broke box-office records, producers went to work; in the years following, dozens of movies were released, hoping to cash in on the same market. Marvel Studios created franchises out of every major character in their arsenal, double the number of DC movies, but none were able to replicate the success of Spider-Man.
Within the genre of comic-book movies, there are a great variety of adaptations. Some, like Sin City, are simply moving comic books, while others like Batman Begins, are barely comic-book movies at all, but rather serious films that happen to feature comic-book characters and lore. Arguably, Spider-Man and Spider-Man 2 (we shall never again speak of Spider-Man 3) succeeded in the genre where others failed because Sam Raimi found that ideal balance between the narrative style dictated by the medium of film and the fantastic elements found in comic book canon. The result was two films enjoyable to both movie audiences and comic-book fans that have long been heralded as some of the best comic-book adaptations to date (Spider-Man 2 wins the top spot in my book, if we don’t count Batman Begins).
So why am I explaining all this? To bring home the significance of my next statement. Taking all of this into consideration, you’ll understand what I mean when I say: Step aside Spider-Man 2; the genre has a new king.
Iron Man is, simply put, the best comic-book film I’ve seen to date. The writing is clever and witty, the acting pitch-perfect, the mesh of realism and fantasy seamless, and the action thrilling. While I know there will be a number of people who disagree with my crowning of Iron Man, there is no denying that the movie is both a faithful adaptation and an amazing film.
Once a young genius, now a billionaire inventor, Tony Stark walks fast, talks fast, lives fast, and has little patience for those who don’t. As the movie opens, Stark Industries is the premiere weapons manufacturer for the United States military, and Stark himself has personally come to Afghanistan to demonstrate the power of their newest missile, the weapon you only have to shoot once: the Jericho.
But after his military escort convoy is attacked, Stark is captured by terrorist forces and commanded to build them said missile. When provided with materials from the very weapons he built to stop such terrorists, Stark realizes his life-long work has not only helped protect his country and people, but simultaneously provided his enemies with the means to destroy them.
Trapped, Stark agrees to build the weapon, but instead, secretly erects a suit of iron. After escaping, he is shaken by the thought that Stark Industries technology is in the wrong hands. He vows never to manufacture a weapon again, much to the dismay of his partner Obadiah Stane. After building a new, sleeker suit, Stark strives to correct the damage he’s already done and prevent any future abuse of the weapons he spent his life creating. But expectedly, there are those who are unwilling to accept his change of heart or humor his vigilantism, including not only Stane but the government he used to work for.
Visually, Iron Man delivers everything you’d expect, so excuse me for skipping over the customary praise of the graphics, cinematography, sets, and art direction (unless you would like this review to go on for another 200 words). While the action is short, it’s definitely pretty sweet: well-choreographed, suspenseful, and exhilarating, occurring in timely bursts that don’t overtake the movie. My only qualm with the film is the lack of a strong soundtrack or recognizable orchestral theme; the end was the only time I felt the swell of the music and when you see it, you’ll understand why. However, this is a minor complaint and really, something I failed to notice until it was pointed out to me.
Back to the good stuff. The true appeal of Iron Man lies not only the clever writing and pacing, but in the charm of every actor involved, from the biggest names to the smallest bit parts. Robert Downey Jr. plays the title character with such ease and humor, it’s easy to forget you’re watching a movie. The success of his performance stems not from the obvious but from the understated. For example, there is no need to tell us Stark is an alcoholic; the ever-present half-empty glass and his uninhibited behavior and mannerisms reveal all that’s needed.
Gwyneth Paltrow as his assistant is not only an amazing addition but also perhaps the best-cast actress in any comic-book movie in recent memory. Generally, the women in such movies are meant to be flimsy yet strong, but Margot Kidder was really the only actress in the genre who managed to create a memorable character. Paltrow’s Pepper Potts is the refreshing female lead we’ve been looking for since 1978: a classy, confident, capable woman who manages to organize Stark’s entire life while remaining social and independent; show emotion, yet stay composed; and mostly impressively, run for her life wearing stiletto heels on grating.
Of course, cast aside, much of the credit goes to director Jon Favreau for bringing this ambitious vision to life. The movie is an uncompromising genre piece, with nowhere near the dark realism of Batman Begins, but also with fewer comic-book clichés than Spider-Man. The events, the characters, the villains, and the surprise guest stars are at once credible and incredible in the world Favreau creates. While the importance of some of the characters might be lost on casual movie-goers, their inclusion does little to detract from the spectacle of the movie.
I think there are few people who would dislike this movie, and it is a must-see for any fan of the genre or really, movies in general. Iron Man delivers on all counts, an excellent beginning to the summer.
Copyright C. 2008 Kanaka Sathasivan