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The Death of Supermanis one of the bestselling comic books ever published, shifting over six million copies upon its release in 1993. The story’s bold premise and provocative artwork is turned into animated pictures, complete with a fine ensemble of voice actors. The Death of Supermancharts the arrival of the seemingly indestructible alien beast Doomsday, its rampage through Metropolis (and the Justice League) and its battle with the Man of Steel. Like many a superhero tale, The Death of Supermanalso engages with ideas of identity and roles. A romance blossoms between Lois Lane and Clark Kent, the latter of whom struggles to reconcile his public and secret identities. The other members of the Justice League, including Wonder Woman, Batman and Green Lantern, as well as Lex Luthor, also worry about Superman’s role, and these concerns run throughout the film and its sequel.
The adaptation struggles to bring the emotional heft to the screen, not least due to rather stilted animation. Compared to recent fare likeIncredibles 2and Spider-Man: Into The Spider-Verse, this superhero adventure feels lacklustre and uninspired. Character movements lack fluidity, backgrounds are often under-developed and the film falls into an unfortunate space between comic book and animation, lacking verve and dynamism. Where The Death of Supermandoes succeed, perhaps surprisingly, is in its brutality. The violence inflicted by Doomsday is bloody and often graphic, from crushed and severed heads to battered and bloody heroes. The eventual conflict between Superman and Doomsday is compelling and does deliver in the physical and emotional stakes, even though the end is known. While the journey to the climax is not always engaging, it is a hard viewer who does not experience a lump in their throat
The follow-up, Reign of the Supermen, is more successful in the animation stakes, offering greater vibrancy and movement. It also has a good line in humour, which is while present is less at home in The Death of Superman. In Reign of the Supermen, the humour is effective, especially the comedic quips of the Flash and Green Lantern. The film also does some exploration of power and its proper uses, the various ‘Supermen’ offering different takes on the concept. On the downside, the Supermen as well as the overarching plot seems overtly derivative of other cinematic superhero adventures, which leads to the film feeling like a half-hearted imitation of The Avengers. Overall, this double bill falls short in several ways, but does provide thrills and laughs in others.
There is a widely held misconception that BVS: DOJ is about an epic physical showdown. It isn’t. What the title refers to, and what the film portrays over its sometimes ponderous running time, is an ideological debate between saviour and vigilante. Perhaps surprisingly for a filmmaker best known for bombastic action set pieces, Zack Snyder grapples valiantly with this political debate, resulting in a film where the most interesting sequences are those that feature actual debates. A brooding, melancholic and traumatised Batman/Bruce Wayne (Ben Affleck) debates with reluctant but loyal Alfred (Jeremy Irons); an idealistic yet doubtful Superman/Clark Kent (Henry Cavill) debates with Lois Lane (Amy Adams), Martha Kent (Diane Lane) and Perry White (Laurence Fishburne); senator Finch (Holly Hunter) debates with fellow politicians as well as twitchy billionaire Alexander Luthor (Jesse Eisenberg). Meanwhile, the mysterious Diana Prince (Gal Gadot) seems to have more answers than everyone else, yet raises questions herself. In-between the debates are immense set pieces, many shot in Snyder’s trademark slo-mo that recalls 300 and Sucker Punch (other references to Snyder’s back catalogue also appear). DOP Larry Fong lenses the film in gloomy shades, especially the ruin of Wayne Manor and the urban wastelands in which our ‘heroes’ battle. At times, the grand portentousness does overwhelm the drama, the wit of Chris Terrio and David S. Goyer’s script hamstrung by Snyder’s lumpen pacing. Yet while the film lacks the lean muscularity of Christopher Nolan‘s Dark Knight trilogy or even the more focused bombast of Man of Steel, it does make a strong contribution to the fundamental questions of superhero cinema – what does it mean to be a hero and what does it mean to be super? Batman V Superman: Dawn of Justice may not be the zippiest superhero film, but it is one of the more thoughtful.
To those (like me) who have watched and enjoyed the Avengers franchise since its inception in 2008 with Iron Man (Jon Favreau), Iron Man Three offers both variation and familiarity. It has the obligatory action sequences, including the pinnacle of the Iron Man movies at its climax as multiple Iron Man suits battle the super-powered minions of Aldrich Killian (Guy Pearce). These build upon the technophilia established in Iron Man, with protracted shots and sequences emphasising the sleek technology and mutable digital images. These are sometimes at odds with the vague social critique that the first film performed – as one viewer described it, “Michael Moore pimps my ride”. Tony Stark (Robert Downey, Junior) is not only a master builder, or “tinkerer” as he calls himself, but also handles information and images with perfect ease.
Iron Man Three features plenty of witty repartee between Tony Stark and Pepper Potts (Gwyneth Paltrow), as well as between Tony and his computer Jarvis (Paul Bettany). There is also great banter between Tony and Colonel James Rhodes (Don Cheadle), which echoes the previous film directed by Shane Black, Kiss Kiss Bang Bang, which also starred Downey, Jnr. as well as Val Kilmer (Iron Man and Batman together!). Here is where the variation comes in, as much of Iron Man Three focuses on human exploits. This links to the darker element in the film, which is a change from the previous instalments. Since the superhero cycle began in earnest with X-Men (Bryan Singer) in 2000 and swung to dizzying heights in Spider-Man (Sam Raimi, 2002), there was a consistent presence of “darkness”, with superheroes suffering from relatable problems and sometimes going to sinister places. The peak of this tendency was Christopher Nolan’s Dark Knight trilogy, which went so far as to feature an anarchic psychopath, scenes of torture and the repeated failure of our favourite Caped Crusader.
In contrast to the grim exploits of the X-Men, Spider-Man and Batman, Marvel’s Avengers have been light, frothy fun. Humour has been a constant presence, especially with RDJ’s razor sharp performance of Tony Stark, but also with Thor (Chris Hemsworth) as a fish out of water and Captain America (Chris Evans) being a laughing stock. Best of all, The Avengers featured Joss Whedon’s trademark wit and irreverence, making it possibly the funniest superhero film to date.
Iron Man Three is also humorous, especially in its banter but also in character responses, such as when Rhodes says with deadpan incredulity (something of an oxymoron): “You breathe fire?!” after Killian does just that. Furthermore, the character of the Mandarin (Ben Kingsley) provides very significant humour, to which I return later. But alongside the humour, there are some grim moments that make Iron Man Three the darkest entry in the Avengers franchise.
The presence of the Mandarin as the film’s big bad begins this, as the propaganda videos with his threats are reminiscent of Al Qaeda videos. These threats come home to roost when Tony’s friend and former bodyguard Happy Hogan (Jon Favreau) is badly injured in an explosion linked to the Mandarin. The aftermath of this attack, in which Happy is shown hooked to monitors in a hospital bed, swathed in bandages, is a very poignant scene that fuels Tony’s anger.
Of course, Tony’s anger makes him reckless and stupid, and his TV interview in which he invites the Mandarin to a confrontation results in his Malibu home being destroyed. Tellingly, several Iron Man suits are destroyed, demonstrating Iron Man’s vulnerability, which continues as Tony himself falls into the sea and is then automatically flown away, before his remaining suit loses power and crashes (startling a digital deer as it falls). Cut off from his equipment, Tony must rely on his own wits and ingenuity. Yet his mind also poses a problem that he must confront.
A significant development of Tony’s character is his post-traumatic-stress-disorder. The entire film features voiceover, some of which echoes the meta-cinematic voiceover of Kiss Kiss Bang Bang, and the (very funny) post-credits scene shows us Tony talking with Bruce Banner (Mark Ruffalo), who is woefully ill-equipped to offer therapy for Tony’s psychological problems. These problems permeate the film, as Tony is, plagued with nightmares about his experience in New York in The Avengers, when he travelled through a portal to destroy an alien armada and almost died. Tony’s PTSD is consistently demonstrated as he suffers panic attacks whenever New York is mentioned, his trauma casting a sombre pall over much of the film. Nor is the trauma limited to Tony, as the Mandarin’s previous victims leave behind grieving family and literal impressions, as Tony finds in Tennessee, where an explosion left both a crater and seared shadows on nearby walls. The soldiers of Killian, infected with Extremis, are shown to be suffering agony as the nanoprobes reformulate their bodies, and Pepper herself is also tortured in this way. Trauma cuts deep, and cannot be hidden from in a metal suit.
Iron Man Three brings Tony out of the suit, having him build more modest devices so that he can save Pepper, the US President and half the world. At times, he seems more like 007 (or MacGyver) than Iron Man, using a gun, homemade tazers and other improvised weapons. This creates variation from the previous films, which never quite got the balance right between super-techno-heroics and human ingenuity and interactions. Whereas Iron Man and Iron Man 2 made abrupt shifts from Tony tinkering to mechanical mayhem, Iron Man Three escalates its action. Once Tony invades the Mandarin’s secret headquarters, using his various improvised weapons, he has some success but is eventually taken prisoner and only breaks free when the re-charged Iron Man suit arrives. Even then, the suit arrives one piece at a time and operates at less than full power so the ensuing battle is more comical as spectacular, featuring the very funny line from one of Killian’s minions, “I don’t even like working here. They are so weird!”
The spectacle comes later, as Tony powers the suit completely and flies after Air Force One to save President Ellis (William Sadler). He fails, but succeeds in disposing of Killian’s head henchman, Savin (James Badge Dale) and, in a spectacular aerial sequence, he rescues the passengers as they tumble towards their deaths. This sequence, like others, contains a surprise as Tony is operating the suit remotely, which emphasises his distance from the suit, which is less cocoon and more human-shaped coffin. It does not detract from the visceral excitement of the action set piece, which is spectacular and involving. Furthermore, the final spectacular battle of Iron Man Three feels like a natural progression, as multiple Iron Man suits battle Killan’s minions and Tony himself fights Killian. Whereas the action set pieces in Favreau’s films felt like departures, Black’s are escalations, making the film coherent and satisfying, with a continual focus on Tony’s personal journey.
MAJOR SPOILERS FOLLOW
This can also be the film’s detriment, as it is more a Tony Stark movie than an Iron Man movie. This is further demonstrated by the licence taken with the Mandarin, a major character from the comic books and Iron Man’s classic foe. Most superheroes have these – for the Fantastic Four it’s Doctor Doom, for the X-Men it’s the Brotherhood of Mutants, for Superman it’s Lex Luthor and for Batman it’s the Joker. Iron Man’s greatest nemesis has long been the Mandarin, and for many viewers the prospect of having these two great adversaries clash was one of the most exciting elements of Iron Man Three. Imagine the surprise and (in some cases) disappointment when the Mandarin turns out to be an actor playing a role devised by Killian. Some viewers were very disappointed by this, which indicates the importance of the Mandarin within Iron Man lore.
For my part, I was genuinely shocked by the revelation of Trevor Slattery, to such an extent that I didn’t believe it initially. I was waiting for Slattery to be a decoy and the real Mandarin attack, or at least be somewhere else. But instead, we get an actor whose Lear is the “toast of Croydon” (very funny for a British viewer). But the surprise worked, and Ben Kingsley’s hilarious performance meant that I was carried along for the ride.
Furthermore, it is actually a relief that the Mandarin turned out to be a fiction within the film. The original character is a Chinese stereotype and somewhat racist, and the casting of Kingsley raised questions of why such a role should be played by a white actor (not forgetting Kingsley’s Oscar-winning role in Gandhi). The film avoided the Fu Manchu territory by making the Mandarin more of a Bin Laden figure, and in “his” propaganda videos he had an American accent (replaced with a British one when he was discovered). These elements in his character serve several functions. Firstly, it avoids racism, because the Mandarin never seems Other. Secondly, it avoids the fantastical nature of a character that possessed “power rings” in the comic books, either magical or derived from alien technology. While Thor managed to incorporate science and mythology very nicely, Iron Man has been somewhat grounded in practical science (however fanciful) and the inclusion of power rings would have jarred with the overall possible world. Thirdly, and most importantly, for the Mandarin to be a smokescreen, and the real enemy to be Killian the power-mad weapons manufacturer emphasises the contemporary concern over internal threats. Killian recognises the opportunity in giving people a figurehead to fear, in order to legitimate arms manufacture, and uses it to great effect. Tony’s discovery of Slattery demonstrates the conceit of true danger often being less exotic but no less dangerous.
As with much of the film, the climax had its surprises, both with the multiple suits and Tony, not to mention Pepper, proving to be able combatants in their own right. For Killian to be in league with the Mandarin was not surprising; for him to actually be the Mandarin is a masterstroke, as it maintains the conceit of military contractors being a threat. This may not be original, and indeed forms the conceit of more “realistic” films as Snake Eyes, The Manchurian Candidate and The Ghost Writer, but it works, maintaining the critical eye on the military-industrial complex that has characterized the Iron Man franchise since it began in 2008. Tony Stark may have learned the error of his ways, but other arms manufacturers still pose a threat.
For Killian to be the true locus of the film’s threat serves as the external version of Tony’s internal conflict – he needs to address the trauma he suffered and face up to danger, which he does by doing his fighting himself. Except that Killian is far more powerful and without his suit Tony would be finished, but fortunately Pepper is there to save the day. When Pepper fell into a fiery explosion, I thought she had been killed, and was delighted when she re-appeared, reconstructed by Extremis. While it was gratuitous to have her in a bra at the film’s climax, it was very pleasing for a woman to save a man and put down the bad guy for a change. But Tony faces up to his demons and succeeds in overcoming them, demonstrated by the destruction of all his suits and the removal of the arc reactor and shrapnel from his chest, as these defences are no longer needed.
By reworking the characters of the Mandarin and Iron Man himself, Iron Man Three departs significantly from the comic books. None of this hurt it at the box office, as its current take stands at $1,077,068,034 worldwide. It is easy to be protective about the texts we love, but reinterpretation need not devalue the original. There are multiple versions of Iron Man to enjoy, in comic book, animation and feature film. Iron Man Three builds upon the strength of what has come before, and does a very fine job of being its own model.