Summary: Deliciously pulpy and rich in character, ‘Captain America‘ makes for a fine adventure, a welcome addition to Marvel’s increasingly impressive roster.
Review: As Marvel’s comic book universe unfolds on the silver screen, unique talents step up to take on the challenges presented by each story. For an adaptation of Marvel’s most old-fashioned hero, they did well to recruit Joe Johnston, the director of period adventure ‘The Rocketeer’ (which I reviewed). Under his reign, ‘Captain America’ translates into a shamelessly idealistic and muscular picture, improving in every way upon ‘The Rocketeer’ and boasting action that puts Marvel Studios‘ other entries to shame.
Nothing in this film would work if we could not identify with Cap himself, a.k.a. Steve Rogers, brought to life by Chris Evans refreshingly playing against type. We thankfully don’t have to endure yet another rendition of the Campbellian Hero’s Journey, as Steve Rogers’ heroism isn’t founded on mythic notions of destiny, but pure selflessness. In a twist on the usual themes, the villain, played with great spirit by Hugo Weaving, views himself as the mythic hero, the Chosen One of the gods who alone has access to their power. “What makes you so special?” He sneers at Rogers during a confrontation. “Nothin’,” Steve answers, “I’m just a kid from Brooklyn.” So while we see the dark side of Rogers’ gifts in his villainous counterpart, what draws us to him isn’t a played out struggle to resist the heady draught of power, but his steadfast humility, that he retains his social awkwardness and innocent patriotism despite his new powers and authority. It’s an enthusiastic affirmation of a simple, but oft-ignored, fact of life: There really are good people. In the interest of drama, many filmmakers cloud this fact, assured that the more demons given to their characters, the better. It isn’t — what matters is truth, regardless of content.
The action works out against a rich backdrop of pulp iconography — the European theater of World War II, secret factories constructing impossible weapons, Norwegian churches hiding ancient relics, supply trains and eight-story tanks and a humongous Flying Wing. There are fist fights, gun fights, flamethrowers, lasers, alien energies, deformed villains, mad scientists, masked stormtroopers, motorcycles, and an invincible shield colored like a flag. The film’s Americana is obvious, and of course the more deeply ingrained the viewer’s appreciation for that particular nation, the more likely they are to appreciate the film from that perspective. Nevertheless, ‘Captain America’ is somehow less jingoistic than other modern action pictures such as ‘Transformers’, ‘Air Force One’ and ‘Independence Day’, all of which promote the myth of American superiority to an embarrassing extent.
The glorious thing about ‘Captain America’ is that it somehow tells a good standalone story, ties directly into Marvel’s grand plan for ‘The Avengers’, is stunningly retro and yet quite modern in its presentation. Its weakness is that it moves so fast that it requires repeat viewings to catch all the character and background detail so easily missed on a first pass. A more suspenseful build-up to the climax would have been beneficial, underscoring the impressive action sequences like a rest between the notes. A longer stay with Cap and the Howling Commandos would have been most welcome. Nevertheless, these are good problems to have, symptoms of a well crafted film.
‘Captain America: The First Avenger’ stands alongside ‘Iron Man’ as the best of Marvel Studios’ pictures to date. Though DC Comics and Warner Bros. have the benefit of Christopher Nolan‘s ‘Batman’ films, Marvel has proven to me that they are unashamed of their material and are more than capable of delivering quality adaptations to the screen. These are films which today’s kids and geeky adults like myself will hail as classics in twenty years’ time. Thanks to Joe Johnston and company for yet another.