Review: May 4th, 2012 was, in keeping with geek tradition, ‘Star Wars’ Day. On that most, uh, Force-full of days, we the guardians of sci-fi, fantasy and comic books take a moment to remember when we first got to see the saga of a ragtag team’s struggle against cosmic evil on the big screen. Let’s never forget those days. They were very nice, though some of us were eleven in those days, or as yet mere concepts in the hearts of teenage lovers, or not even proper inklings in anyone’s head, really. But in counterpoint to ‘Star Wars’ Day nostalgia (which is only too appropriate, given “a long time ago in a galaxy far, far away…”) on that particular May the Fourth in the U.S. we were blessed with the frankly stunning apotheosis of the cinematic superhero genre: ‘The Avengers’. And the future — at least of sci-fi action-adventure cinema — seems very bright indeed.
Capping off Marvel Studios’ ambitious (and actually quite sudden) plan to finally approximate the diverse world of comic books (with their multitude of clashing heroes, villains and subgenres) in the movies, ‘The Avengers’ is a major coup for everyone involved in its creation. Especially writer/director Joss Whedon, who, having previously built up a well-deserved but continually frustrated cult fanbase, successfully helmed one of the biggest summer movies of all time, and if he were to die young, he would die having proven to the world that he really knew what the hell he was doing after all. Outside the rewards reaped by its creators, however, the whole of genre filmmaking stands to benefit from the film’s success, since, like the original ‘Star Wars’ before it, it can serve as a roadmap to properly realizing fantastic concepts in an appealing human manner.
For as big and silly and wonderful as ‘The Avengers’ gets, it’s grounded by honest, fallible and likable characters that remind us, by their magnetic presence, why we ought to enjoy any of this ballyhoo. Any hack filmmaker can pit a superhuman against an alien invasion force and call it drama; it takes a real storyteller like Whedon to assemble a team that feels, despite their colorful and disparate personalities, inevitable. These people — indeed, they are people first, heroes second — compliment each other perfectly. Flaws become strengths by virtue of the team’s unlikely unity. Out here in the real world, such moments of cohesion do occur, and tend to generate shockwaves when they do. Because the film’s structure builds to the point where the team finally coheres, the expected trope of the climatic battle suddenly becomes organic, and the team’s fight against evil, instead of being rote action, is raw humanity gloriously unleashed. Audiences react to this instinctively in a way they never will to ‘Transformers 3’. They may not know why the dynamic in ‘The Avengers’ thrills them so deeply, but it surely does, and some of the kids who see the movie in theaters today will turn their quest to replicate the experience into a career in filmmaking.
The team dynamic is not the only secret to the film’s success, but it’s arguably the most important one to discuss in terms of its immediate cultural impact. It’s the team itself that excites the (to use a word I dislike) zeitgeist. ‘The Avengers’ is incredible optimistic and fun only because the team coalesces, by doing so healing all wounds and overcoming all evils within the team and without, at least as long as the team is together. So ‘The Avengers’ is not obviously important like ‘The Godfather’ or ‘Citizen Kane’, because it’s not a critique or a deconstruction of societal forces, but it absolutely is important and resonates so widely because it strongly affirms human community. Basically all ‘The Avengers’ says is “We need each other.” But does anything else really need to be said?
Let’s not presume that every work that captures the zeitgeist must include riffs on relevant real-world conflicts, i.e., the Joker-as-archetypal-terrorist plot of ‘The Dark Knight’ (which, I hasten to add, is extremely good) or the military’s presence on Pandora in ‘Avatar’ (which, like it or not, struck a chord with audiences to the tune of billions of dollars.) Of course, even if we were to say that ‘The Avengers’ must include such imagery to resonate properly, we can easily find it in the film’s central conflict. Eleven years after 9/11, here’s a massive hit movie that features a hostile force appearing suddenly in the sky and killing thousands in New York (sound familiar?) only to be thwarted by a team led by the embodiment of American heroism. It’s an optimistic statement that draws (explicitly) on old-fashioned notions of teamwork, self-sacrifice and patriotism. Indeed, while the film’s thesis is pretty much on-the-nose, so, for that matter, is ‘The Dark Knight’. As much as I appreciate that film, it’s not exactly subtle; in fact, I’d say one reason Batfandom can be so irritating is that they do not understand how simple ‘The Dark Knight’ is, and flatter themselves for understanding a pretty damn obvious thematic message. That, of course, is part and parcel with the common fantasy among Batfans (and I count myself among their number) of being the brilliant, dark, misunderstood vigilante — as much as I like it, the Batman concept appeals to (typically teenage male) arrogance. It’s like walking out of ‘The Empire Strikes Back’ convinced you’re the only one who realized that Darth Vader is Luke’s father, and then thinking you’re the wise Jedi master who has to explain it to everyone. But ‘The Avengers’ lacks the haughtiness of ‘The Dark Knight’; it isn’t trying to be important, it just is, because Whedon and company have their hearts in the right place.
Films like ‘Star Wars’ and ‘The Avengers’ impact audiences in deep, unconscious ways, making their particular brands of storytelling popular again. Before ‘The Avengers’ hit the screen, there were many unqualified rumblings about superhero films dying off, but those diagnoses were really prescriptions, trying to cure cinema of a trend many believed was sapping the movies of their popularity and importance. It’s much harder to make such statements now without coming off as hopelessly cynical or snobbish, because the superhero genre has just now come into its own, injecting Hollywood and audiences with new enthusiasm for superheroes and other related genres. For the guardians of geekdom, who have taken over the multiplex yet again, May the Fourth can serve as a reminder of past glories and the possibility of future revelations.