There is another Marvel movie out, in case you had not heard, and while Andrew and I will discuss Doctor Strange in depth on the next episode of the podcast, I wanted to use this space to write about the film as it relates to the larger world of the Marvel Cinematic Universe.
This will be a sort of diagnosis (ahem), if you will.
In case you are sensitive to this sort of thing, there will most assuredly be spoilers.
Where are we now?
It has been eight years since Iron Man stormed movie screens and kicked off what was then the risky, uncertain endeavor of a universe of connected, but parallel films. The gamble has more than paid off for both Marvel Studios, and their parent company, Disney. One can argue over many things concerning these films, but it is impossible to deny that they have been hugely successful and that there has never been anything quite like this. The idea of launching groups of “solo” films which would then connect in The Avengers remains ambitious, and despite the many copycats, and my own relative ambivalence toward the Marvel films, no one has pulled the idea off more successfully.
In fact, no one else who has tried has really pulled it off yet. Sony had an ambitious interconnected universe planned around the success of The Amazing Spider-Man and its sequel, but the disappointing box office of the latter has led to a partnership between Sony and Disney to bring a new Spiderman into the MCU fold. The X-Men films have never quite branched out in the same way the MCU has. Despite a convoluted time-travel plot to try and simultaneously launch sequels to the X-Men films of the 2000s while rebooting them, the franchise has yielded only a few Wolverine-centric entries and Deadpool, whose success may push the franchise into MCU territory, or may prove a blip on the radar. Then there is the Fantastic Four universe which exploded on the runway. And to keep with the metaphor, we have DC, who, after backing the successful and often audacious Batman films of Christopher Nolan, has had to hit the reset button and build the plane while it’s in the air with Man of Steel, Batman v. Superman, and the upcoming Wonderwoman and Justice League – which may be the DCU’s last real hope to compete at Marvel’s level.
I am not even saying most of these Marvel films have been particularly good (they haven’t, in my opinion), but the fact that the whole enterprise, eight years on, continues to grow and expand and remains successful financially is impressive, and a testament to the model that Marvel has built. This model is a kind of hybrid of the way Marvel’s comics wing operates, and the Golden Age of Hollywood studio filmmaking. I will be the first to admit that responding to my broadest criticism of these films – that they lack a distinct aesthetic vision from film to film and bring nothing new to the art of cinema – would likely make them a less successful corporate endeavor. But with Doctor Strange, it appears that Marvel may, at least, be searching for a middle ground – a way forward.
The Doctor is in: Doctor Strange as remedy
The thing about perpetuating a franchise for nearly a decade is that ten years is a very long time – actors age or drop out, technology changes, sequels start to yield diminishing returns. One of the benefits of the Marvel system is that, while they have produced 14 films up to this point, they are not all direct sequels. Marvel can tell new-ish stories that sort-of stand alone while still tying them into the brand. For a while, these stories were all Avengers-centric, but in an effort to expand, and potentially modulate its universe, Marvel, beginning with Guardians of the Galaxy, started expanding its (already large) cast and plot strands. Next came Ant-Man. And now we have Doctor Strange. And while each of these films orbit the Avengers, they also try to inject some new blood into the years long saga of the Avengers Initiative.
On one level, Doctor Strange accomplishes this task – it introduces a new hero who, thinking purely in terms of plot, is the type that could lead an Avengers film at some point (Robert Downey Jr. isn’t going to stick around forever). But much like Guardians of the Galaxy introduced more hard sci-fi elements to the MCU, Doctor Strange introduces a new dimension of sorcery and magic which has been essentially untouched in the MCU.
And the film really rips the viewer right into this world. The first fight scene has the dual qualities of being both interesting to look at, and not overstaying its welcome. There is no expositional dialogue explaining exactly what is happening. Just a theft and a chase. Here is a villain. Here is a hero. Here are some buildings getting folded.
As interesting and effective as this sequence is, it is completely dwarfed by the first interaction between Tilda Swinton’s Ancient One and Benedict Cumberbatch’s titular Doctor in which she removes Strange’s soul from his body and sends him flying through multidimensional space and the astral plane. The film is a surrealist, mind-melting trip. Director Scott Derrickson flexes his horror chops here, bringing genuinely memorable, and grotesque, images to the MCU. There is nothing in any of these films like Cumberbatch’s damaged fingers growing more fingers which continue to grow more fingers. It is a fascinating and show-stopping sequence in a world of films that could use much more of that. And while I have seen much stranger things on film before (pick any David Lynch film you like), it struck me while watching in the theater that most people who watch these films have not. For that alone, I am grateful for this film.
While Doctor Strange stretches some of the visual boundaries of the MCU, it also seems to make some oblique nods to the problems and critiques levied at past films. The climactic sequence contains the two most notable. First, instead of a city-destroying ending (of which we have, by now, seen more than enough to make them boring), Strange reverses the damage wrought on Hong Kong. In backwards-motion, the city is slowly put back together, until it is stopped mid-stream, allowing for some interesting shots of civilians frozen in time before the moment of terror. The sequence is a welcome reprieve from the expected endings of comic-book cinema fare.
Second, and this may be entirely unintentional, though no less notable for it, Strange uses a bizarre, Sisyphean method of saving the day. He traps himself and Dormammu, the film’s barely-defined villain, in a time loop in which they must relive the same ten seconds or so of Dormammu destroying Strange. The time loop is meant to eventually wear down the villain and force him to bargain as, in the loop, he cannot commence with world conquering, and must be content to merely crush Strange over and over, hoping for a different result. One could cynically read this as the way in which Marvel slowly grinds down audiences, delivering essentially the same scenario film after film until we wear down and give into the whole enterprise. Less cynically, one could read it as the director’s hopeful vision of breaking away from the relentless Marvel style of filmmaking and trying to craft something more personal and cinematic.
Doctor Strange cannot help but get tripped up in the Marvel net, however.
The Doctor is out: Doctor Strange as symptom
The first sign of trouble was when Edgar Wright left Ant-Man so late in the game over “creative differences.” Ideally, these are the kinds of difference you resolve (or don’t) before shooting begins, when a director and studio are forming a joint vision for what the film should be. Marvel choosing an offbeat and well-respected director like Wright was a good sign that they would be expanding the ways in which these stories could be told, parting ways with him was a sign that Marvel/Disney, as a corporate entity, still could not resist calling some major shots even on a smaller off-beat entry like Ant-Man. Ant-Man ended up being fine, I guess – at least, it performed to expectations at the box office, which left Doctor Strange on the horizon as the film that could potentially shake things up.
But the film is tasked with doing so much that we have seen before. It’s an origin story after all.
So we have Strange as narcissistic but genius surgeon, brought down by his own hubris, unable to save himself. Here is the motive. He gets in a car wreck. Here is the inciting event. He has a vague love interest in Rachel McAdams’ character who is so poorly drawn that she is almost invisible in the film. Popping up now and again as a plot convenience to motivate or challenge the hero. Like Tony Stark (or, at times, Bruce Wayne), Strange is not particularly likable. I am still not convinced that Strange, with his High Laurie-in-House accent ever quite crosses the threshold into endearing self-absorption, like Stark – and I certainly never once found myself hoping he would find a way to fix his hands.
There is so little time for him to have a satisfying arc in this new and magical world which, despite the amount of time spent explaining the way the magic works, remains vague and borderline nonsensical. There seems to be no particular reason why these people can bend the world into Escher-like contortions (or Inception squared, if you prefer) other than that it looks cool – and the boring orange sparks the conjure out of thin air which form their portals and weapons do not even have that luxury – which would be perfectly acceptable if 90% of the characters’ dialogue in the middle act of the film was more than just droning on about how all this stuff is supposed to work and what it is supposed to mean.
There is also a persistent visual problem which the MCU (and really, most comic book films) has yet to solve. The long history of most of these characters gives a wide range of visual representations to choose from, but they are all, of course, two-dimensional. The trick is in translating these (often iconic) flat, static images into cinematic and dynamic ones. Marvel’s default response has been to simply render these classic images in 3D, mostly avoiding any radical redesign. For some characters, this approach works well (Iron Man) for others, the silliness which is less apparent in a drawing on a page becomes absurd when exaggerated into reality and placed on the body of a living, moving, breathing person (Loki’s helmet). This tactic is popular outside of Marvel as well and usually results in all kinds of useless fabric geometry from which few heroes have been spared – Captain America, Spiderman, Superman, Batman, and Black Panther have all fallen victim. Then there is the issue of masks. Cowls in particular. These look fine in comics – movies are another story. It took Nolan three films to get a cowl that didn’t make Christian Bale look like he was in a neck brace; Captain America is more persuasive as a hero when the mask is off; and I cannot even make it through commercials of CW’s The Flash without laughing at that supremely dumb mask he is wearing.
Doctor Strange opts for kaleidoscopic, Dali-esque surrealism in the early sequence I have already lauded in the space of this piece, but when it comes to staging the final confrontation with the film’s big bad, Dormammu, in the Dark Dimension, the film loses its nerve. The design of the Dark Dimension draws inspiration from nebulas and visual representations of neurons, but fails to convert these interesting touchstones into compelling cinema. The result is a sea of muddy blacks and blues with occasional neon bursts. There is also a geographic problem in that the characters never have any tangible relation to the ill-defined world around them. There is never a moment where Cumberbatch does not look like he is on a big soundstage surrounded by green screen. The close ups draw a stark line between the real fabric of his clothes and the computer simulated fantasia around him. The long shots turn him into a CGI blob amidst a sea of other, larger CGI blobs.
Consider these four shots from inside the Dark Dimension:
Now consider this single panel from the comic:
Whereas the film opts for nebulous blobs, the comic goes for more geometric psychedelics. And the colors in the comic may be more subdued, but they are better defined and, in fact, help to define the impossible space of the dark dimension, making them more effective visually. In the illustration, we can place Strange firmly within the space, even if the limits of the space itself fade into impossible orange. We can trace a path along distant strands of green and pink over a cut and paste background of stars and tracings of orbits which render our three dimensional galaxy as two dimensional wallpaper in the theoretically four dimensional space of the Dark Dimension. Despite being a static image on a page, the illustration is more interesting because it gives the eye so many possible paths to take while it simultaneously establishes the heroes place in all of it. It is a tough thing to do, but frustratingly, the film mostly does it in the first sequence between the Ancient One and Strange, and descends into visual blandness at its dramatic climax.
There have been creative and beautiful solutions to the problems of translating comics to cinema. Whether it is Guillermo del Toro’s intricate, handmade Hellboy films, Christopher Nolan’s nü-noir Batman, or the brilliant choice of putting Hugh Jackman in a white tank top instead of bright yellow spandex. One of the most interesting things Marvel has done of late is give the new Spiderman a classic, flat look to his costume that looks straight out of the comic. While it is incongruous with the copiously over-textured Power Rangers look of the Avengers, it is preferable and memorable. It draws directly from the iconography of the character. It is a literal translation, but one that works as cinema.
And that is what I want more than anything out of these films: good cinema. Comic book adaptions aren’t going away anytime soon. If they are going to stick around, they should push at the boundaries they have erected for themselves. There are some signs of that.
It’s odd, I went into the theater the other night hoping that Doctor Strange would provide the sign. It ultimately did not. But I did get my sign. And it came crashing in wearing a white tank top with Johnny Cash playing in the background: