By Paul Gaszak, English Faculty
(This post is a response to “Superhero Movies are Rarely Super” by Michael Stelzer Jocks.)
Yesterday, my dear colleague Michael Stelzer Jocks wrote about how superhero movies are rarely super, and I feel compelled to respond. I am a lover of superhero films (the only thing I want for my birthday on May 5 is to see Captain America: Civil War that night), and I am familiar with the genre both as a fan and as a writer/teacher of Science Fiction (SF) & Fantasy. However, I am not an apologist for the genre. So, allow me to respond to some of the points made by MSJ.
“There seems to be no end in sight to our nation’s endless desire for…the spate of ‘superhero’ movies that just keep racking up box office records.” – MSJ
First, the desire for SF & Fantasy films (of which superhero films are a subgenre) is not restricted to the United States. Of the top ten films with the highest worldwide grosses of all-time, eight are SF/Fantasy films. The highest grossing superhero movie is Marvel’s The Avengers, which earned $1.5 billion dollars. Of that total, 41% was domestic, which means it grossed nearly $900 million outside of the United States.
Also, while we are in a golden age of superhero films, cinematic adaptations of comics are certainly not new. Just to name a few, there is the classic Adam West Batman TV series of the 60s, Richard Donner’s Superman film in the 70s, and Tim Burton’s Batman film in the 80s.
The success of superhero films, like all films, has been dictated by the quality of the film’s writing, direction, and acting. Countless comic book adaptations have been financial and/or critical disasters, such as last year’s Fantastic Four, Halle Berry’s Catwoman, Ben Affleck’s Daredevil, and the infamous Joel Schumacher Batman films of the 90s. So, you are correct: not all superhero movies are super.
However, what has driven this golden age of superhero films is not a blind interest in comic book stories, but rather studios finally treating these stories with care.
A great example is Deadpool, 2016’s surprise hit. The Deadpool character was, prior to the film, virtually unknown to the general population. Even to comic book fans, Deadpool would classify as a C or D-level character in the Marvel universe. For iconic characters that all people know, like Superman, Batman, and Spider-Man, audiences will flock just based on the name value of the character. Deadpool’s success was not due to a craving for comics; it has a sharp, hilarious script that is well-paced and well-acted. Positive word of mouth drove that film’s success, not opening weekend name value (like Batman v. Superman).
The same can be said of Marvel’s Iron Man. Now, in 2016, Iron Man is well-known to all moviegoers, but when the first Iron Man film was released in 2008, Iron Man was a character known largely only to comic fans. There was plenty of skepticism even among comic fans about how a “lesser” character could carry a film; yet, director Jon Favreau and star Robert Downey Jr. made a wonderful movie that caught fire and led to the current Marvel Cinematic Universe.
“Putting [Batman and Superman] in the same film would be like plopping Indiana Jones down in a James Bond movie. What is the point? It reminds me of when Scooby Doo would inexplicably team up with Sonny & Cher or the Harlem Globetrotters. Come on! Why are these people hanging out with meddling kids and helping solve mysteries? I say again, ‘ridiculously asinine’.” – MSJ
Superman and Batman sharing a film is not at all like Indiana Jones and James Bond appearing in the same film. The general movie-going audience has become accustomed to superheroes being segregated into their own films, but that is a product of film studios and business, not the source material.
Superheroes have always shared the same “universe” and regularly interact in all mediums (comics, cartoons, video games) except films, where dollar signs and film rights had kept characters separate until Marvel Studios started their cinematic universe in 2008 with Iron Man, which paved the path to The Avengers in 2012. The first time “Earth’s Mightiest Heroes” combined in the comics was 1963, nearly 50 years before it finally happened on screen.
Batman and Superman appeared together for the first time in a comic book in 1952, a whole 64 years before the Batman v. Superman film.
Indiana Jones and James Bond were written by different authors for different mediums and never had a connection. They were never meant to share a story or screen, unlike comic book characters.
A better analogy would be to take the process in the opposite direction. Imagine if George Lucas had written Star Wars initially as a book, but Warner Bros. purchased the film rights to Luke Skywalker and 20th Century Fox had purchased Han Solo. Then, for 50 years, the studios made films independent of one another in which Luke and Han could never share the screen, because it would result in endless legal battles. After 50 years, casual moviegoers who weren’t familiar with the source material would find it perfectly normal that Luke and Han aren’t sharing the screen; they’d be their own, independent SF/Fantasy space opera franchises. Meanwhile, fans of the source material would be left daydreaming about seeing Luke and Han together in the Millennium Falcon up on the big screen just as was always intended.
“Why are Batman and Superman fighting?” -MSJ
Let me make something clear: Batman v. Superman is a terrible film. I saw it twice in the theater, and was not biased against it. I love the Batman character and wanted the film to work. However, the writing, direction, and editing are all terrible. The acting has some horrible failings, as well. In total, the film failed miserably to properly represent why Batman and Superman would ever come to blows.
However, let’s look to other superhero films that have tackled this concept successfully.
Whether in superhero films, other storytelling genres, or just real life, it is very possible for “good guys” to have ideological differences that put them in different camps, if not outright conflict. This has been well-depicted in a number of superhero films, particularly both Avengers films and Captain America: Winter Soldier. Throughout these films, the heroes all mean well, but they do not see eye-to-eye at all times about what is right. The growing tensions of what’s right and wrong are what precipitate the conflicts in the upcoming Captain America: Civil War.
Thus, heroes being in conflict is not absurd – it’s good storytelling. It is actually a sign that the characters are well-rounded, that they have personalities and beliefs that make them much deeper than just their SF/Fantasy superpowers.
“But my real problem with most superhero movies…is the fact that they center around boring, lifeless characters. Action movies must be more than just action. Adventure movies must have interesting, complex protagonists that face and overcome challenges. In other words, human beings need to run the show. Superman? The Hulk? Thor? An all powerful alien, a freakish monster, and a god? There is no complexity here. There are no challenges these beings can’t easily overcome.” – MSJ
Oh, Michael. Your limited viewing of superhero films is really showing on this statement. One of the most important reasons that we are in a golden age of superhero films is because of precisely the opposite of what you claim here. As you stated, “Give me a ‘superhero’ movie in which the hero is more human than super!”
They’re all around you. You cited two wonderful examples in Netflix’s Daredevil and Nolan’s Batman series, but those just scratch the surface.
In any SF/Fantasy story, the key is to speak to the human element. As readers or moviegoers, we marvel at and enjoy the lightsabers and high-tech suits of armor, but those aren’t the elements of the story we, as humans, connect with. It’s the emotions, relationships, and themes we grab hold of. Likewise, in superhero movies, there is always the “supervillain” but the best superhero movies have much deeper, human conflicts. Here are some examples of the human emotions and conflicts:
- Peter Parker is dealing with his love life and regrets over how he failed his family. Sam Raimi’s Spider-Man 2 is a love story about Peter struggling with how his life and responsibilities always seem to prevent him from being with the woman he loves.
- Tony Stark is tormented by his consciousness after the death and destruction that resulted from his actions (which is somewhat Dostoyevskian, Michael, which you should appreciate). Tony even deals with PTSD in Iron Man 3. A famous story-arc in the comics, Demon in the Bottle, deals with Tony struggling with alcoholism.
- Scott Lang in Ant-Man is an ex-con trying to regain the life he lost due to his troubled past, and all of his “heroic” actions are prompted by wanting to be a good father to his daughter, who lives with his ex-wife and stepfather.
- Peter Quill in Guardians of the Galaxy struggles to hold onto the memory of his mother who died of cancer when he was a child.
- Bruce Banner in The Hulk is struggling with his own isolation from others.
- In the popular TV series The Walking Dead, which is also a comic book property, fans understand that the the real danger is not the zombies; the zombies are sort of peripheral, especially since they’re slow-moving and easily dispatched. The real danger is other humans, and how some people and societies can fall to pieces when pushed into a corner.
- Captain America is a kind-hearted, scrawny guy who feels powerless to help others when that’s all he wants to do. Michael, as a History Professor, you should love a tale about a guy who wants nothing more than to serve his country in WW2 as he watches everyone, including his best friend, get shipped off to war.
I even like to use Captain America as an example of leadership in my classes. In The Avengers, there is genius Tony Stark, Norse god Thor, the monster Hulk; yet, it is Steve Rogers, the guy who was born scrawny but with a big heart, who is the leader. Even with his superpowers, Cap isn’t the smartest, fastest, or strongest of the group. He is sort of the Average Joe of the team, but he is the one who commands the respect of the group, because he does what any real person can: be a good person, have conviction, and fight for what you believe in.
Moviegoers will never have real superpowers, but we understand these human moments, and the better comic book films/TV shows are packed full of them. Superhero movies are no longer just mindless action set pieces with empty scripts and ample explosions…they’ll let Michael Bay corner that market.
“See, I like some superhero movies/shows; I just don’t care much for most superheroes” – MSJ
I am biased in favor of superhero movies only in that that I will often give films in the genre a chance before casting judgement, but then I judge them on their own merit. This year, Deadpool was outstanding; Batman v. Superman was terrible. I am thrilled for Captain America: Civial War; I am extremely skeptical about X-Men: Age of Apocalypse. The best superhero films are funny, heartfelt, emotional, resonant, and exciting. They are no longer just “good” genre films; they’re great films, period.
Give some of the better properties a chance, Michael. If you need a viewing list for homework, let me know.
