Writing from the inescapable isolation that it-that-shall-not-be-named has forced us into, the newly foreign prospect of being at home 24/7 has compelled me to one conclusion: time to watch all the films; those films on your list you have been meaning to watch for years, ones you missed in cinemas, ones markedly outside your comfort zone, and ones you have watched innumerable times over and over.
All things considered, the mood to binge trilogies has nicely coincided with the desire to immerse myself into the fantastical superhero world. Sam Raimi’s Spider-Man (2002) was one of the pivotal films of the new millennium to both revolutionise superhero cinema and bring the origin story centre-stage. Stan Lee’s Spiderman/Peter Parker narrative is a masterpiece in itself, and so the film was destined for success in bringing such source material to life. Nevertheless, re-watching this film for the umpteenth time after, at least, a five-year gap has inspired me to discuss the many elements that make it undisputedly great:
The ultimately light-hearted nature. Whilst the more recent films of the Marvel Cinematic Universe (MCU) and DC Comics navigate a more solemn and serious road to victory, Spider–Man is free of such expectation. The film’s extremely saturated colour grading of deep blues, reds and greens, is both visually electrifying as well as emblematic of the buoyant and relaxed tone in operation. Raimi was highly effective in constructing strong action sequences, such as the Green Goblin’s attack at the World Unity Festival, whilst maintaining audience optimism at the prospect of Spidey swinging in (across colourful hot air balloons) to save the day. Anything to do with Raimi’s Green Goblin speaks to this film’s greatness, as this plotline enjoys a feast of tropes that superhero cinema was to follow in its wake: the villain is born out of a scientific formula mishap; it illustrates a rational individual grappling with his evil alter ego, and his dialogue is irresistibly melodramatic whenever it can be, from “First, we attack his heart!” to “Misery, misery, misery… that’s what you’ve chosen”. The Green Goblin is frightening at a comic level, as his niche appears to be whizzing around on a hoverboard with a pointy helmet and an archetypal evil laugh. This, paired with brilliant moments like the first time Peter tries to shoot a web (“Go web go!”) and the entire amateur “human-spider” wrestler plotline, work to maintain fun and hilarity amongst the drama and action.
The cast. As much as I love Tom Holland’s magnanimously pure Spidey – sorry Garfield you’re getting no love from me – Tobey Maguire will always reign atop as the rightful namesake. No one does nerdy, awkward Peter Parker like Tobes, and especially, no one tops that crying face. His Mary-Jane infatuation is unparalleled also, as the way he speaks to her in a slow, goofy voice whilst the ends of his mouth curl up, is something I can’t help but notice and adore. The chemistry between Maguire and Kirsten Dunst is sweet and heart-breaking (with safety coming before romance in the end); and forgives Dunst’s moments of slight irritation as a damsel in distress. Much props are deserved to her windpipes, however, as her dialogue consists almost entirely of screaming in the two latter thirds of the film. Substantial praise must also be given to Willem Dafoe and James Franco for creating the unlikely but faultless and complex father-son dynamic of Norman and Harry Osborn. J.K. Simmons as J. Jonah Jameson is just as amusing as he is aggravating, as intended. Rosemary Harris, as Aunt May, is authentic and heart-warming (and the source of most of my tears). To top it all off, we are graced with cameos from the likes of Octavia Spencer, Elizabeth Banks and Joe Manganiello. How far they’ve all come!
The old-school VFX and editing. Looking back almost two decades on from the film’s initial release, the noticeable green screen and rough-around-the-edges computer generated imagery seems outdated; but was the most advanced of its time. Such visual effects are manifested in several montages of news articles and photographs showcasing Spidey against the background of the concrete jungle (supported by some generous dissolve editing). Speaking of editing, I cannot ignore my favourite edit sequence in the film in which an explosion match-cuts to graduation hats being thrown in the air – one of many details that are simply cool. Similarly, something about Peter’s ketchup-consistency blood droplet splodging onto the ground next to Norman Osborn’s feet is so visually pleasing. Overall, the visual effects of Marvel films pre-MCU are simple but humble and, like the compulsion to re-watch an old film rather than watch a new one, endearing as a long-time fan. A sweet reminder of the less complicated and world-ending times of being a superhero.
The cafeteria scene. Amongst many exemplary stand-alone scenes, this one deserves its own mention: the sequence sees Peter perfectly catching all of MJ’s food that has just been thrown into the air, displaying his new exceptional reflexes post-bite. For me, this scene has everything: it begins with Peter being doe-eyed, once again, in the presence of his lifelong crush; it has both slowed-down and sped-up shots creating immaculate pace and balance; it shocks the audience with Peter’s new-found swagger, whilst still ending with an awkward silence that further buttresses his goofy nature. Interactions between Peter and Mary Jane are especially cheesy for-the-most-part, which I love. The cherry on top is the fact that it took 156 takes for Maguire to perform the trick successfully, rather than use of CGI, which sees this scene fitting of a big round of applause. The filmic detail is much appreciated.
Essentially, Raimi’s Spider-Man is a goldmine. Alongside the earlier likes of X-Men (2000) and Superman Returns (2006), this superhero classic finds its success in the sweet spot between being corny and realistic (within a sci-fi sense). It is a 2-hour journey of evolution, friendship, mourning, romance and heroism that keeps on giving; not to mention its two successors whose cinematic architecture exudes exactly the same cheerful, riveting and melodramatic chronicle. From the minute the gripping old-school Marvel opening sequence plays, you know you’re in good hands.
With great power, comes great responsibility.
The Screen Diaries 