'How happy we are here!' they cried to each other. The birds sat on the trees and sang so sweetly that the children used to stop their games in order to listen to them. Here and there over the grass stood beautiful flowers like stars, and there were twelve peach-trees that in the spring-time broke out into delicate blossoms of pink and pearl, and in the autumn bore rich fruit. It was a large lovely garden, with soft green grass. We leave Bruce Banner in an intriguing situation, a long way from where he started, potentially angry, and waiting for a sequel.Note: Oscar Wilde intended this story to be read to childrenĮvery afternoon, as they were coming from school, the children used to go and play in the Giant's garden. ![]() It's also a movie that seems, more than many such would-be super-hero franchises, to have a good deal of unfinished business. ![]() They're bigger, more excessive, more destructive - fairly impersonal, directed at buildings and objects rather than people, but leaving their chaotic mark. Bruce Banner/The Hulk is a more haunted, passive figure than the average superhero, acted upon rather than acting, and his physical transformations have none of the adolescent energy or exuberant play of Tobey Maguire morphed into Spider-Man. Hulk, like its central character, is a divided entity, dark one moment, green the next, bleak followed by expansive. ![]() The military establishment is the dominant institution of power in this film: as the Hulk terrorises California, there's a brief glimpse of a president on a fishing trip being informed of what's going on, but the army makes the decisions about the necessary means of containing the threat offered by the Hulk, and the possibility of exploiting his powers. He is an army man, and that's important, too. Betty's relationship with her father, and her father's role in the lives of the Banner family are crucial to what happens. Parental links are important in this movie. There are times when he's reminiscent of King Kong, but rather than being buzzed by aircraft, he can leap up and pluck helicopters out of the sky. He's a striking figure, a computer animation who resembles Lou Ferrigno from the TV series writ large, a big, green monster who can not only leap tall buildings with a single bound, but also tear them to the ground if he wanted to. It's not an affectation or a stylistic tic, however: it gives the film a crispness and a considerable momentum.īut when the main comic-book element, the Hulk, arrives - when man transforms into monstrous figure- the film inevitably changes gear. He uses split-screens to suggest comic-book panels, multiple angles and wipes that resemble the turning of a page. In this extended, pre-Hulk establishing sequence, Lee pays tribute to the character's Marvel origins. ![]() Their research has possibilities that interest some unsavoury types from the military, embodied by the pushy Talbot (Josh Lucas), who comes across like the Paul Reiser character in Aliens, greedily eager to put people at risk for profit. He works with an ex-girlfriend, the crisp and compassionate Betty (Jennifer Connelly), who can't sustain an emotional relationship with him because he's too withdrawn.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |