Previously on the Spiderman franchise, Emo Spidey. And like all emo kids turn into hipsters when they grow up, Emo Spidey is rebooted into hipster Spidey. I’ll explain later. But first, let me take you to a journey about my pre-conceptions about The Amazing Spiderman! The first preview clip looked like CGI crap! More preview clips showed that he’s funny! Then where were the blog entries about Spidey/Peter Parker’s (Andrew Garfield) essence that were divisive. He’s a jerk! He’s Jewish! He’s a Jewish jerk, or for political correctness’ sake, a jerk who happens to be Jewish!
I can’t necessarily account for his relation to the biblical Jacob (or Rachel, to be more technical), but he’s probably not a jerk. I regretfully can’t remember how the Raimi Spiderman began, but director Marc Webb begins his with a sensitive portrayal of a boy who grows up too early. Cue a soundtrack that’s half Titanic and half Inception. Mad About You is playing in the background, so we must be in 1997. As much as young Peter wants to play hide and seek with his parents (his mother is played by fake British person Embeth Davidtz), they’re trying to scurry away and hiding him away from danger, leaving him with his Uncle Ben (Garfield’s fellow Sorkin alum Martin Sheen) and Aunt May (Sally Field). His father is one of the few paternal figures who will be unfortunately excised during the duration of this movie, helping Peter on his way from being an unlucky teenager into a morally centred young superhero. The high school scenes firmly sets the movie’s ambivalence towards labeling their characters as good or evil, because despite one bully, the schoolmates who piss Peter off inadvertently aren’t necessarily out to get him.
His transformation is rocky, even calling out the dated, if not troubled notions of being one. Let’s talk about the light stuff first. He clings to his hipster wardrobe until he gets inspiration from a lucha libre poster that came out of nowhere. He later notices that many athletes are wearing spandex and reluctantly embraces it. Spandex was never fashionable, and at one point I’m thinking that if new superheroes were being created today, none of them would be donning the skin-hugging material, despite the flexibility it can offer.
Now on to the heavier stuff. He first decides to become a superhero as a way to avenge Uncle Ben’s death caused by some stringy haired blonde dated version of a grunge villain. Mr. Stacy even calls him out on this personal vendetta, despite of how much Peter defends Spidey’s position as someone trying to help. If the original Spiderman movies were accounts on our collective adolescence fresh of the 9-11 era, this reboot is four our Tea Party/Occupy times, both movements quickly becoming relics of our time. Just like his real world counterparts, their status in the binary of good and evil are more shaded than he thinks, due to his early disregard for due process. The paternal figures, as ghost figures, run the risk of having their de facto descendant – Peter/Spidey – and his vigilante-ism running amok without and strategy. And despite of him being barely at home to be under May’s guidance, his father figures’ advice hopes to be impactful enough not to let him astray.
I was also wrong about the movie’s visual effects, because the movie is gorgeous, if not a little manicured. Every long shot is a nighttime version of a New York City postcard. Every dark room is a chance for dusty light to beautifully funnel itself in. Every visit to Oscorp, where his late father the latter’s very alive colleague, geneticist Curtis Connors (Rhys Ifans), is a neon trip that leads Peter to knowledge or danger or both. The CGI is CGI, often successful at taking a dip into the uncanny valley, but it’s not that distracting anymore as a technology. And that I was watching this with my laptop and was still floored by its compositions is a feat in itself. I can only imagine the 3D lessening its aesthetic impact.
Speaking of manicured, and I guess I should be used to this by now, but TAS’ version of New York City is a bit whitewashed. The private school in Gossip Girl is more diverse than what I assume is Peter’s public high school, where everyone’s dressed like an H&M model and goes home to places arranged gay interior decorators. Peter’s classmate Gwen Stacy (model Emma Stone) is wearing a cream coloured wool trench and woolen thigh highs God. And everybody knows each other. Gwen becomes Peter’s love interest and is the police chief’s daughter and Curt’s intern. Mr. Stacy’s New York Police Force is equally white. There are people of colour peppered around the movie’s fringes. The interns at Oscorp, with Asians to the front and a Hispanic guy struggling because of Peter’s temporary identity switch – thank God I’m not over-thinking that. Peter’s F train ride turned fight club to Coney Island (there is no way the F train is that clean, by the way). The crane workers who help Spiderman get to Oscorp (speaking of workers, Aunt May wears a Bridgeworkers shirt, a close enough reference to Field’s Norma Rae). It’s curious that Peter adapts into a more New York accent as he turns into Spiderman, but I like that he sees himself as one of the people, giving the story a bit of locality. And despite of my nitpicks, the movie’s central figure is compelling and authentic enough to anchor its fantastical plot, making both enjoyable.
I know this is a conflict of interest because I vetted for Juliette Binoche last week, but vote for her or for Ralph Fiennes here as the better performance of the 90’s at Encore’s World. Now to my write-up…
Ralph Fienneslets his audience fill in the blanks to his character in Schindler’s List Amon Goeth, subverting our assumptions about Nazis, despite the latter’s necessarily constrictive place within the movies boundaries of good and evil. At first glance there’s no way he could have gotten his job as an SS captain without nepotism – just look at how incompetently decadent he is. On the other hand, a man who has that posture, with or without riding a horse, cannot possibly belong in the upper levels of old Germany.
The way he looks at entrpreneur and eponymous hero Oskar Schindler (Liam Neeson), like an older brother who drives him to both jealous admiration and protective fascination can hint to either provenance (Here’s his reaction when Oskar kisses a Jewish girl). Maybe he’s piling on his daddy issues towards him, whether it’s the father who thinks he’s never right or the one he never had.
A sequence in the movie’s second half takes us to three locations within a concentration camp in Plaszow. A Jewish couple gets married. A Polish singer performs and sets her eye on Oskar. But the encounter we’re going to focus on is between Amon and his maid/punching bag/ sex slave Helen Hirsch (Embeth Davidtz, the Princess of Accents, in a performance that should have guaranteed a better career). Amon talks to or talks at her, a logic-defying four-minute monologue.
I keep trying to place him in different contexts, like if both wars didn’t happen. His awkward creepiness with make him barely survive my context. But his flustered way of speech is opposite of his supposed evil nature. It’s easy to prove that he’s evil – he just played target practice on a bunch of Jews. The one-on-one encounters, however, show his humanity.
The sequence’s shot-counter shot relationships shows Amon’s real place within his mangled relationship to Helen. He extends his arm the same way the singer does to Oskar, making him a less successful seducer than the Polish woman. The kissing and the glass breaking symbolize how he cannot consummate his relationship with Helen and deflects his lust to more destructive emotions.
Let’s go back to the monologue, seeming to have of different emotions, conveying waves instead of arcs. A lesser actor would have said his lines quickly and jarringly, it’s the first instinctual conclusion that we might see on paper.
Fiennes, however, delivers the transitions smoothly because he sees just one emotion instead of many. He sees disgust, its many syllables and its many targets. It’s disgust towards himself, towards the world that has both joined him and Helen and has been violently keeping them apart, disgust towards her. Only Fiennes can see not just love as the opposite of hate but within hate.
- Review of Schindler’s List (socyberty.com)