Movie Reviews - 2009 postsFriday March 13, 2009
It’s almost unfilmable. If you stay true to Alan Moore’s original graphic novel, as director Zach Snyder did here, it’s almost unfilmable.
“Watchman,” the graphic novel, was created during the 1980s, when Europeans in particular were paranoid that between Reagan and Russia (which is where they were, literally), the world would end. Given human nature, and given the destructive power of these two countries, human beings were doomed. How to prevent it? Moore’s solution was to blow up New York, blame a third party (aliens in the graphic novel, Dr. Manhattan in the movie), and thus unite humanity against this third party. Sacrifice millions to save billions. Create an illusion of an Other to save ourselves from ourselves.
There’s logic in this. The problem? It’s 2009. No matter how nihilistic you may be, the doomsday scenario Moore and others feared didn’t happen. Which means sacrificing millions wasn’t necessary.
At least in our universe. Fans will argue — have argued — that the “Watchmen” universe is not our universe. Their America “wins” Vietnam. Nixon gets elected to a third, fourth, fifth term. So maybe in that universe, it’s argued, the sacrifice is still necessary.
Doesn’t matter. We’re stuck in this universe. And for moviegoers stuck in this universe, particularly those who have never read the graphic novel (which is most moviegoers), watching the machinations in “Watchmen” is like watching a contemporary action flick set in 1999 in which the hero —Will Smith, say — sacrifices the world financial order to save us all from Y2K. Audience reaction will generally be: “What the hell...?”
Fans, those pesky SOBs, will argue that the Watchmen are not Will Smith — that the whole point of the Watchmen is that they’re not Will Smith. They’re dark, complex, full of faults. Night Owl II is weak and ineffectual. Rorschach is like a short, masked Dirty Harry. Ozymandias is amoral, Dr. Manhattan disconnected. The Comedian is a murdering, raping fascist. “Complex.”
Yeah. For me, the lack of anyone between Rorschach’s paranoid activity and Night Owl’s shrugging passivity (or, in sexual terms, between the assaults of the Comedian and the impotence of Night Owl) means we’re in an adolescent realm where extremes rule and an unrelenting darkness is often confused with complexity. “It’s all a joke,” the Comedian says. It may well be, but he’s not in on it.
Why “The Comedian” anyway? That’s an odd name for a superhero who isn’t funny. Why “Ozymandias”? Why would the smartest man in the world, a powerful and pompous man, choose for his superhero name a figure representing the ultimate lesson in power and pomposity? To remind himself not to be pompous? Or maybe in this universe, Percy Shelley never wrote “Ozymandias,” and so its lessons were never imparted to the smartest man in the world, who took the name just because. This “other universe” thing is always a helluva argument.
OK, here’s why they chose those names. They didn’t. Alan Moore did. They come to represent those names (ironically), but there’s little in their characters that would make them choose them at the beginning. Well, maybe The Comedian; he’s got a sick sense of humor. But Ozymandias? That’s the author imposing his heavy (and symbolic) hand on the character. And Alan Moore’s got one heavy and symbolic hand.
Questions linger that we can debate forever. Why does Dr. Manhattan fight in Vietnam? Can’t he see where this will lead? And if, 14 years later, Manhattan is so disconnected from humanity he’s choosing non-life over life, wouldn’t he, by 1971, at least have divested himself of nationalism?
I like the rise of the costumed superheroes in the late ‘30s — which is when they first appeared for us in comic magazines. I like their ascendance during World War II, and how they began to get knocked off after the war — which is when superhero comics began to be replaced by westerns and romance and horror. The graphic novel, more than the movie, gives us a sense of both the Golden Age (Minutemen/Watchmen) and the Silver Age (Watchmen II) of comic books, while the movie fudges the Silver Age. We really only get the second generation (Silk Spectre II, Night Owl II, Rorschach) in their dotage. By the way: Can we imagine a less likely duo than Night Owl II and Rorschach?
Ultimately the biggest problem with the movie (and maybe the graphic novel) is this: After the opening scene, we are left with five superheroes: Dr. Manhattan, Silk Spectre II, Night Owl II, Rorschach and Ozymandias. What is the storyline for each? What is each of them seeking?
Manhattan is increasingly disengaged and building things we don’t understand. Ozymandias is a non-entity until his machinations are revealed — then he seems insane. Night Owl is a schlub. Silk Spectre wants, like Daisy Mae, a man. Only Rorschach is really after anything and it turns out he’s wrong.
This is why I never really got into this story. I need characters interested (in something) in order to find them interesting.
Two-Minute Review: The International (2009)
When I first saw a trailer for “The International” it seemed like a thriller for our time: corruption at a bank, money being lost, people getting screwed. Turns out it's a thriller for the exact opposite of our time. It's about an Interpol agent trying to bring down an all-powerful bank at all costs, while in the real world we're busy trying to prop up our weak and hemorrhaging banks. Yes, at all costs.
The movie has some nice moments. We get to travel the world: Berlin, Lyon, Istanbul, Milan. Director Tom Tykwer shoots agent Louis Salinger (Clive Owen) entering, and dwarfed by, these gigantic financial institutions — the way Raoul Walsh filmed Joel McRae against a western backdrop in “Colorado Territory.” The great set-piece is a shoot-‘em-up down the circular floors of the Guggenheim in New York. Armin Mueller-Stahl, playing the inside man with a conscience, gives us his usual solid performance and delivers the film’s best line: “This is the difference between truth and fiction; fiction has to make sense.”
Unfortunately this fiction makes little sense — reflecting its difficult birth and German/Hollywood parentage. It’s too slow to be an action thriller and not cerebral enough to be an intellectual thriller. As implied, its villain (an international bank) is, in our world, on life-support, so as Salinger relentlessly pursues the executives of this bank around the globe, you almost want to reach out a hand and stop him. “Everyone is involved,” Mueller-Stahl warns Owen about the bank. Well, now anyway.
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