I remember that well. The X-Men movie had come out and brought back some of the good will lost to the genre after the disastrous Batman and Robin starring George Clooney. After that garbage heap, I recall some folks wondering if this time the Superhero Movie genre was dead for good. The same conversation came after the dismal performance of the uber-preachy Superman IV back in the day, only to get a second chance from Tim Burton's first Batman movie - admittedly due to the hype around then superstar Jack Nicholson's turn as the Joker.
But X-Men got people's attention and folks thought perhaps it could work, or at least it was worth trying again. Then came Spiderman. In those infancy years of the Internet, I was only partly on board with the cultural conversation trends. And I've never been a big comic book fan in the first place. I know some of the bigger characters, and recall Saturday morning cartoons here or there from back in the day, but that's all.
Nonetheless, I couldn't help but hear that there was quite a lot of controversy surrounding that upcoming movie. Because for this Spiderman, some young, rather diminutive actor named Toby Maguire had been tapped to play the superhero. A scrawny little geeky kid? That's not Peter Parker! Heading into its release, I remember the scuttlebutt about the assumed pushback. This was only exacerbated by the delay in release because of the movie erasing scenes involving the World Trade Center towers, which ceased to exist after filming.But when it came out, it was an out of the box smash. The idea of Spiderman as the alter-ego of an otherwise put upon, beaten up, bullied and awkward super-nerd captured the imagination of young filmgoers everywhere. Sort of every geeky wallflower's dream. Even if they made the unwise decision of covering the face of crack actor Willem Dafoe and not allowing him to emote as he could have, it was a mega-hit. And then, of course, you had 'the kiss', which became the talk of the pop culture mainstream media that year.
Now the next question was, could they do it again. X-Men 2 had come out, and many felt it was better than the first. But the X-Men franchise was always somewhat niche for the comic book world. Spiderman, like Batman and Superman, was a household superhero name. I knew of the character after all, and that's saying something. Being that well known does place a burden after all. So was it luck for the first time out, or could the success of these franchises keep the genre alive?
Then came Spiderman 2. The first correction to the original came to the supervillain - Dr. Octopus. This time the main antagonist was played not by some A-List actor's turn as the latest supervillain, but by accomplished character actor Alfred Molina. No masks or face coverings here. He was allowed to show all of his human expressions and emotion, and he did so in spades. Being an almost would be mentor to young Peter, he is transformed by a science experiment gone terribly wrong that costs him everything. Bringing a combination of wit, snark and at times understated delivery, he was able to do what Dafoe couldn't. And he did it wonderfully.But more than that, my son noticed that the movie was, well, mostly just a good movie. The 'comic book' parts were few and far between. In fact, a sizeable part of the movie could have been a teen romantic comedy with nothing superhero about it at all. You could have taken away the minimal comic book story and replaced it with a young, conflicted kid overworking to get ahead, struggling with his romantic relationships, with a disgruntled coworker whose own dreams have been dashed and is seething with resentment, and the main crux of the plot and the characters would remain unchanged. Which only adds to the punch when the actual comic book element comes crashing back into the story.
FWIW, I'm not a professional film critic, and I don't know the jargon and the gibberish that film critics use to unpack this or that film. I just know a good movie when I see it. For example, in addition to the movie itself being hailed even now as one of the best in the whole genre, my sons tell me that the climactic confrontation upon a speeding L-Train is still considered one of the best action sequences ever, not only in comic book movies, but movies in general. I'm inclined to agree.
Because like the best filmed scenes in any good movie, the action flows from logical development to logical development - it helps tell a story. Just like the lightsaber duels in the original Star Wars films. As opposed to much of the CGI action now (including later Star Wars films), which is just endless CGI action followed by more endless CGI action almost to the point of numbed boredom. When the action starts in Spiderman 2, it's moving the film from point A to point B, as all scenes in good films should. And it's worth noting that those scenes are surprisingly brief.A big shout out goes to the effects for not being merely a ton of CGI on greenscreens. For instance, the mechanical arms of the villain were real, and worked by puppeteers off screen for most of the shots. For those cases where CGI was needed, and certainly it was used extensively throughout the movie, it was still built upon the modeled arms for reference. It was similar to the original Jurassic Park, which filmed all dinosaur scenes with stop motion models as reference, giving the CGI more depth and realism when it was used.
But the most important thing, at the end of the day, is that it's a movie that is incidentally a superhero movie. The important part of the film is the storyline, the struggles of the main character and his interactions with those most important to the story arc. Take away the fight scenes and spiderwebs and costumes, and you're still left caring about what happens to him. Will things work out? Will he find his footing in life? Who is going to get hurt? Because the rival for Mary Jane's affection is not portrayed as a one dimensional jerk. Rather he's shown as a great guy who is genuinely good, at which point you know someone good is going to lose. And that's a bold decision in any story. It would be easier on the audience to have her beaux be a jerk or frothing at the mouth sexist or something. But nope, someone has to be hurt when the dust settles, and the film does a good enough job preparing you for the star being the one who gets the loser card at the end (assuming you don't know the comics). The same goes, it should be mentioned, to the very shy and awkward daughter of Peter's quirky landlord. She obviously has a crush, but for her to hope for a chance, Peter must lose what he wants the most. Otherwise, she loses. And she is nothing but a sweet, shy girl.
That's how the movie works so well. Maguire does an excellent job as the beat-dog superhero who is a genius on one side, but at times socially awkward and lacking in basic life skills on the other. The guy who just seems to be there to be kicked around. His one benefit is being a superhero, but even that is as much bane as boon in this movie. Kirsten Dunce does a good job with the frustration and confusion she has over this would be lifelong childhood friend and possible love interest. J.K. Simmons chews up the scenery with his few minutes of screen time as Spiderman's chief critic J. Jonah Jamison. James Franco merely broods and growls and complains about Spiderman, but this is one more part of Parker's life that seems in shambles. And behind the scenes but always felt is Dr. Octavius, who is his own tragic character in the mix. One of the best such villains, he is also one of the few who pass from mentor to monster and finally redeemed hero. His classical training as an actor no doubt lent help to his role.Overall, it was just a good movie. Like the original Raiders of the Lost Ark, it transcends the genre and becomes, not just a fine superhero movie, but a fine movie overall.
As a side note, I should mention that it's been probably over a decade since I last saw this. That's why I was almost shocked with a movie made before the last dozen or so years of the era of bat-nuts crazy. At the end of the day, it's a movie with mostly white people, men and women, in what used to be a focus on story, characters and action. There is no feeling that a demographic chart is at the bottom of the screen tracking various groups and their proportional representation, ready to blacklist the moment it fails in its obligation to meet appropriate group identity quotas. There is an African American in a small part, Molina is part Spanish and Italian (but still "white"), and some long shots of crowds show a variety of groups (it is New York after all), but that's it. It's neither a problem nor a focus. It just is. In those days, we wouldn't have thought much about it one way or another. Just the fact that some diversity was represented was good enough. Likewise, Mary Jane doesn't suddenly turn into a Ninja warrior and take out a platoon with her bare hands, pinning Dr. Octopus in a half nelson for Spiderman to finish off. She's the damsel in distress who must be save by Spiderman. It all seemed so ... normal, natural, common sensical, and in the oddest twist, a million times more real than agenda driven movies today supposedly based on reality but that seem anything but real.
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Original teaser art that I remember got people talking |