It is undeniable that comics are the
new hottness when it comes to big screen adaptation, and as any nerd
can tell you, it's not hard to imagine why...superhero comics have it
all! Heroes, villains, romance, adventure, drama; big fights and
bigger emotions. Superheroes stories are the modern mythology;
they're the stories we tell ourselves that define who we are and who
we wish to be. They comment on the times and the values we hold, and
have profoundly resonated the world over.
A large part of this is, in my opinion,
is because modern superhero adaptations have adopted the storytelling
techniques of their source material; nothing does metaphor,
particularly visual metaphor, like comics does, and the film medium
can also add other layers on top of that through sound and music.
The result is a modern form of storytelling that engages the audience
completely on every emotional level. That isn't to say that film
hasn't always used these same types of storytelling short hands or
gimmicks, but comic and superhero movies afford a higher level of
suspension of disbelief which allow them to be more obvious and
literal, which has lead to the creation of a sort of visual opera.
(WARNING: SPOILERS FOLLOW)
Take, for example, AMAZING SPIDER-MAN
2. Regardless of the problems the movie has with too much
exposition, to many boring subplots about Peter's parents and
predestination, any time the movie is doing Spider-man stuff...it's
BEAUTIFUL. AMAZING SPIDER-MAN 2 is one of the MOST comic book movies
ever made (the only one that exceeds it is SPEED RACER), combining
sight and sound to replicate the experience of reading a comic.
Nothing demonstrates this more than the
scene of Electro's “debut” in Times Square, which is the most
comprehensive, most beautiful, origin of a villain that's currently
been committed to film. When we are introduced to Max Dillon, he is
already something of a comic book character; nebish almost to the
point of absurdity, Max Dillon is socially awkward, bumbling, but
earnest. Our sympathies go to him immediately just from the visual
of this poor, margenalized, nerd who is exploited by his superiors.
It is here that we are introduced to Max Dillon's theme; a meloncholy
four notes played on a clarinet which is both sad but sort of
clownish, perfectly summing up his character.
Casting Jamie Foxx as Max Dillon, who
in the comics is a white character, is a stroke of genius in the
movie because it gives his character metaphorical depth; he is a
minority, he is poor, he is exploited by rich white people who steal
his work and give him none of the credit, and he feels powerless to
fight a system that is overwhelming skewed against him. All he wants
is to be noticed, to have a voice. When Spider-man happens by to
save him from being run over during a bombastic car chase, he takes
the time to make Max Dillon feel special, which is probably one of
the MOST Spider-man things I've ever seen on screen, and connects
with Dillon on a level that has small significance to Spider-man, who
does this every day for hundreds of people, but huge significance for
Dillon, for whom this is the biggest, brightest, moment in his sad
life; to be singled out and told that he is special and significant.
Dillon goes on to suffer a tragic
accident, which, in a beautifully subtle bit of writing, happens on
his birthday; he falls into a tank of genetically modified electric
eels after being eletrocuted, and is seemingly killed...only to be
REBORN as Electro. Shambling forth from the morgue, confused and
disheveled, the crust of his old life cracking and falling away as
black ash, Dillon stumbles into Times Square, drawn by the flow of
electrical current and a strange new compulsion to seek out
electricity, which is something he's always really had; a desire for
power. When he lifts up the grate and grabs the power cables it
conceals, he is confronted by the police; representatives of an
authority that has never served him; who react immediately with
hostility and fear to the transformed and empowered Dillon.
Now, while this is happening, Hans
Zimmer's beautiful score is in the background. Some people found the
score for this movie obnoxious, with it's dubstep influence, but I
find it operatic and thematically appropriate, but no more so in the
track MY ENEMY (Paranoia, the Electro Suite ),
which builds the tension as things slowly escalate. You can hear
bits of Max Dillon's theme embedded underneath the electrical
distortion, reminding you of who he was, and evoking the sadness of
Max Dillon, as he stumbles forward. But, and I think this is the
most clever thing about this track, you can also hear voices
whispering, barely audible, in the background, as if Dillon is
broadcasting his thoughts over the air to the TV's and speakers in
Times Square, allowing us insight into his thoughts, which is a
mechanic unique to comics; thought balloons; which literally allow
you to see the characters internal monologue. Max's internal
monologue takes the form of a repeating chant;
Something's Happening
Mind destructing,, Agony Inside Of Me.
My Pulse Is Raising
Mental Torture, Self Destroyer.
Can't Ignore the Paranoia.
Mind destructing,, Agony Inside Of Me.
My Pulse Is Raising
Mental Torture, Self Destroyer.
Can't Ignore the Paranoia.
Dillon
is confused, despondent, and paranoid. Then he is attacked; he begs
the police for sympathy, to listen to him, to understand him, “Stop!
Please...it's not my fault!” after he lashes out, using his powers
for the first time to flip a car and send his flying, unaware of what
he's doing. And as he looks around, and sees himself projected onto
the many screens, the Dillon theme comes back, reminding us of how
pitiable Dillon is as he finally gets what he's always desired;
everyone can see him. He is the center of attention, “Y-you...see
me...you see me...” For a breath moment he is Dillon again, and
this is something like the calm in the eye of the storm, before
police renew their attack on his, throwing tear gas canisters as he
begs them to stop (this is even more timely, unfortunately, in the
wake of Ferguson, as we seen a black man attacked by Police while
begging for understanding; regardless of what Dillon has done, he
hasn't hurt anyone and is obviously not in his right mind).
Using
his new power Dillon lashes out; this brings in more of the distorted
electrical sound which will become associated with Dillon as Electro,
a the cue for his transformation from sympathetic victim to angry,
empowered, villain; sending police cars flying and threatening to
crush one officer, as our hero, Spider-man, swings in, his own theme
(three cords that seems to say, “Spi-der-maaaaan” the way a good
theme should) overwhelming Electro's. In contrast to the reactionary
approach of the police, Spider-man does not attack Dillon, but
instead tries to talk him down (another VERY Spider-man beat).
This
scene is the most like Spider-man in the comics that I can possibly
imagine. Spider-man asks Electro what's wrong and who he is.
Electro, still confused and struggling with his paranoia and
distress, reaches out to his hero, the man who made him feel special,
and is disappointed that Spider-man doesn't recognize him...doesn't
remember his name. This is CLASSIC Spider-man; he does something
nice for someone, only to have it come back to bite him in the ass
later. He made an impact on this guys life, and could diffuse this
whole situation if only, IF ONLY...he could remember his name.
As
Spider-man talks to Dillon, the conversation turns from him, as
Dillon's disappointment, his fear, and most importantly, as he
himself admits, “This power...I've got so much of it. And I have
so much anger too.” Max Dillon is not powered by electricity; he
is powered by ANGER. We've seen into his head in earlier scenes; how
he represses his rage, bottles up his anger, his little out,
self-contained, outbursts. Dillon never vented his anger because he
felt powerless, so he contained it...now it's literally spilling out
of him, crackling and sparking through is fingers; so much anger and
fear and paranoia that it's literally overflowing from his body.
Spider-man
almost succeeds in talking Dillon down, as his only request is “I
don't want them shooting at me” indicating the police, and
expressing that his only desire, looking forlornly at the TV's
broadcasting his image, is that he wants to be seen, to be heard.
The situation is then escalated when a sniper with an itchy trigger
finger (perhaps fittingly, a white officer), shoots at Dillon,
breaking Spider-man's promise, and inciting Electro to violence; the
eletrical distortion picking up and becoming loud and violent as he
lashes out.
Spider-man
does his thing and saves the crowd from Electro's outburst, and the
crowd turns against Electro; he is no long the victim deserving of
sympathy, but the miscreant deserving of scorn. The crowd boos
Dillon and cheers Spider-man, and the screens that surround them
slowly replace his face with Spider-man's. From Electro's
point-of-view, he just been betrayed by his hero, who promised the
police wouldn't shoot him, and is now stealing his
spotlight...putting him right back in that margenlized and ignored
little box that he used to inhabit. The difference this time is that
Electro realizes that he does not have to be quiet; he can DEMAND
attention; he can make his anger known...and FELT. And int he
background of his increasingly distorted, ugly, theme we can hear his
thoughts being broadcast;
He
lied to me
He shot at me
He hates on me
He's using me
Fragility
Electricity
Afraid of me
He's dead to me
He shot at me
He hates on me
He's using me
Fragility
Electricity
Afraid of me
He's dead to me
Electro's
paranoia has grown but his fear has deminished. The earlier lyrics
where about how he felt about himself; scared, in pain, and confused;
now they're about what he feels about those around him. How they
react to him, betray him, use him, and how that makes him feel.
Spider-man
is helpless as he watches everything fall apart, as Dillon accuses
him of lying to him, setting him up to look ridiculous, turning the
world against him, and he lashes out, attempting to make others feel
his pain by sending his power, his anger, through the ground.
Spider-man saves the people with is spider-sense, which is
brilliantly reconcieved here not as a prescient danger sense that
protects Spider-man from harm, but a superhuman situational awareness
that allows him to save those AROUND him through an unparallel theat
of acrobatic prowess. Spider-man's theme here is triumphant,
swelling bigger and bigger, as he saves EVERYONE from Electro's
outburst.
Angered,
Electro attacks Spider-man, who spends him flying into a huge
television screen. Electro feels the power around him, and takes two
large cables and presses them against his heart, conducting the power
of Times Square through is body, in a final, massive, outburst,
screaming with rage, his thoughts now turning to the world;
They
lied to me
They shot at me
They hate on me
They're dead to me
And now they're all my enemy
They shot at me
They hate on me
They're dead to me
And now they're all my enemy
The mindset of a supervillain is often hard to understand, much less dramatize, which is why so many end up flat and boring; evil or antagonist for the sake of being so, with thin or underdeveloped motivations or goals. Electro's origin in AMAZING SPIDER-MAN 2 dramatizes the emotions that drive a supervillain, and how they differ from those of the hero. Electro could have been a hero; but his life was such that, while ostensibly a good man as Max Dillon who never hurt anyone or wished anyone any harm, a man who believed in heroes and looked up to them, Max Dillon was also a put upon outsider, who repressed all of his rage against the world, and, when given power, now directs it at the world. His dream was always that people would see him, would listen to him...and now, as Electro, no one can ignore him. When he shouts, people listen, because his voice is an explosion. Max Dillon is what happens when an angry man who secretly hates the world that grinds him down is given power; he becomes Electro.
This
is a powerful, emotional, origin that his made beautiful, big,
dramatic, and most importantly, OPERATIC, through the use of
metaphor, both abstract, visual, and through music. In a comic book
everything is brighter, more colorful, more emotional, and more
literal, and most successful superhero movies are the ones that
embraces that approach; the origin of Electro, the end of the WINTER
SOLDIER, where Captain America throws away his shield, his token, the
literal embodiment of all he believes in, for his friend, Peter Quill
the Star Lord as a runaway, the X-Men as an allegory for bigotry of
all types; these big, bold, emotions are dramatized huge and colorful
in a way that not only entertains, but resonates...which is why we'll
always come back.