Spiderman 3
- Tim Berroth
- May 4, 2007
- Series: Film
You Want Forgiveness? Get Religion
There is no amount of praise or criticism that is going to dissuade any viewer from seeing Spider-Man 3. The expectation for this third installment of the trilogy is such that is expected to break all box-office records for an opening weekend and could very well end up being the largest-grossing film of all time. It has already set records oversees since opening May 1 internationally.
That being said, there is much worthy to discuss in S3. In hindsight, it is less brooding and dramatic as the first installment which makes it a less satisfying experience as a film. On the other hand, it is slightly more human and emotionally engaging than Spider-Man 2. The result is a mixed bag---it's a lot of fun but still a little disappointing because there was potential for so much more.
S3 opens with Spidey on top of the world as the toast of the town of New York. His presence has brought crime to a standstill and his superhero-approval ratings are at an all-time high. Nothing like a little positive press to lull you into complacency. Spidey's alter-ego Peter Parker is also doing pretty well for himself (or so he thinks)-"they like me," Parker quips to himself. Still living modestly in his run-down apartment, Pete is doing well in school, still free-lancing for The Daily Bugle and his relationship with aspiring actress Mary Jane has grown into serious boyfriend/girlfriend stage. Pete even manages to show up on time for M.J.'s (ghastly) debut performance on Broadway. Could Peter Parker actually be growing up? Don't count on it. Nothing like a villain (or two or three) to put a wrinkle in one's Spidey suit.
Enter Flint Marko (Thomas Haden Church), the man who killed Peter's Uncle Ben. Fleeing authorities after his escape from prison, Flint is caught in the middle of a secret government experiment and is, somehow, transformed into the Sandman, a morphing hulk of a man able to transform into sand at the drop of a hat.
Enter the "New Goblin" who is seeking vengeance of his own against Spiderman who defeated the first Goblin in the opening installment.
Enter unnamed "symbiote," an imposing black goo which oozes from a fallen meteor and infects Peter Parker. (Darn his luck, Peter can't escape getting infected! First, the spider and now this!) The result of the infection is a darkening (both in appearance and spirit) of Parker/Spiderman. Peter's desire for avenging his uncle's death is only heightened by the presence of the gunk which transforms the famous red/blue Spidey suit into a menacing black. Peter himself undergoes a transformation from a naïve geek into a street-strutting, club-hopping gigolo.
And if that wasn't enough for you, this gunk also infects Peter's rival Bugle photographer Eddie Brock (Topher Grace). This gives birth to Venom, the anti-thesis of Spiderman, both in appearance and superpowers.
Overwhelmed? You should be. Director Sam Raimi, along with screenwriter (and brother) Ivan Raimi and Alvin Sargent, have packed so much into a, seemingly, short 2 ½ hours that it's easy to fall into sensory overload. The plus is that the film moves along briskly alternating between exhilarating action sequences and comical (sometimes) moments. The detraction is that each story-line does not develop fully and there is a strange emotional disconnect towards the characters-especially the new ones. Raimi teases us with the plight of the villains-we almost sympathize with them. Unfortunately, we are not given enough time to before we are bombarded with another action sequence.
For example, Church brings a humanity to Flint Marko that should produce compassion and understanding for his villainy. He is a flawed man and father only trying to help his ailing daughter. Unfortunately, he the story is given so little screen-time, especially in the latter half of the film, that there is never any resolution or redemption for him. He is merely brushed away like the sand that he is. (Note: this was the same problem in Spider-Man 2-did anyone really care about Doctor Octavius?)
The same can be said for both the new Goblin and Venom. Goblin has his own deep-seeded reasons for his hatred of Spider-Man-I won't give it away in case you don't already know-yet it plays out sheepishly like an afternoon soap-opera. Even the resolution of the conflict is so predictable that it lacks any suspense. Venom, likewise, is given the rush treatment. He is merely a minor player in the drama that is the life of Spider-Man.
In retrospect, each villain could have carried a flick of their own. It seems as if the franchise, in fear of the prospect of the major players not wanting to reprise their roles, jam-packed everything into one-and the audience is the one that is short-changed.
Granted, it's supposed to be a comic book so maybe one should not take it so seriously. There was just so much potential for a kick-em-down and drag-em-out superhero flick mixed with a real human drama that one can't help but be a little disappointed. One thing for sure-it won't affect how it does at the box office.
The under-lying theme of all the Spider-Man films has been the inner struggle of Peter Parker to reconcile his powerful gifts versus the responsibility of not only how to use them but how to maintain the relationships of those close to him. Parkers' sinful nature (magnified a hundred-fold by the presence of the symbiote) desires to manifest itself and, fueled by pride, nearly leads to a total fall from grace. "It feels good," Parker says as he admires his black duds. Of course it does-sin always does.
Even the wisdom of Aunt May cannot persuade Parker to change his path. When contemplating marriage to M.J., May tells him "a man has to put his wife before himself. Can you do that Peter?" His half-hearted answer proves that even he is not convinced. She also tells him, "revenge is like a poison. It turns us into something ugly." Such gems can quickly be dismissed as Hallmark card material, yet they resonate with such eternal truth that they can not be denied.
Spider-Man is brought to a point where the only hope that remains is looking upward to a church cross silhouetted against a stormy, gray sky. It is within the walls of this sanctuary where he "puts off" his black suit and is, once-again, clothed in the familiar red and blue suit of the hero. To top it off, he washed clean as he stands arms outstretched in a powerful rain-fall. The symbolism here is striking. Earlier in the film, Parker said "you want forgiveness? Get religion." Well, Parker, seems like in Spider-Man 3, you finally found it. Perhaps the audience will see the light too. If their heads aren't spinning (no pun intended) from all the action, that is.
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