My Spidey Sense is Tingling

After talking with my brother at length last night, I decided to take the time to post some thoughts about a favorite movie franchise. Spider-Man!

I have always been a big Spidey fan, reading the comics, hoping for a faithful and creative movie adaptation. When the first Spider-Man was announced in 2001, I was beyond excited: I was pumped. I think I spent more time watching the preview trailer online than writing my undergraduate senior thesis (note to college students: don't do that.)

The first film took its time establishing the essential characters of the story: Peter, awkward yet diligent; MJ, fun, popular but with a true heart; Harry, awkward (in a shamed/defeated way; Aunt May, source of strength and love. More importantly than explaining who these people were, the film did an excellent job in exploring the relationships between the characters. This aspect of the story was essential to make a film faithful to the Spider-Man comic.

Spider-Man is a super-hero who's greatest power is his over-abundance of faith to his friends and family. He is a good boy. Whether it is helping his childhood bully (Flash Thompson) overcome his alcoholism or physically defending his greatest critic, J. Jonah Jameson, Peter Parker is a young man who superhumanly follows his moral code. In the comics, he is constantly conflicted by a desire to use his powers to help strangers and a need to take care of his loved ones.

This is why I enjoy the stories of Spider-Man and it is why the first Spidey film pleased me. Here the story had focused on dramatic moments rather than slam bang special effects (though there was plenty of that). And I think I understand how this happened.

Sam Raimi has long been a favorite director of mine, mainly for his daring and stubborn use of innovation. While creating his (in)famous Evil Dead trilogy, Mr. Raimi made due with the limited budget he had, creating 2x4 dollies and homemade rigs. He has what creative film people need to succeed: a visual style/dream that is buttressed by a keen technical sense.

Raimi's success, however, was mired by his love of slapstick and schlocky storytelling. Xena, Hercules, Army of Darkness, parts of Darkman. Mainly stages for exciting action, his work had little character development or substance. Some enjoy this and I can, when I'm in the mood. But it doesn't get you big budget films.

So Raimi started wearing suits on set and went small, directing less flashy films: the superb A Simple Plan, the muted For Love of The Game, and the thankfully short-titled The Gift. In all of these, he chooses a story about relationships and took the time to learn more about how to really pull a performance from an actor. These new skills, combined with his long history as a great visual director got him Spider-Man.

Since this was his first BIG film, Raimi focused even more, knowing that (in some way) his career was on the line. And he pulled it off to great acclaim.

Stay tuned for continued thoughts on Spider-Man 2 and 3.