With Thor coming out three months prior, 2011 was definitely a year of risks from Marvel Studios. Both the God of Thunder and Captain America are two characters which could have come across as detrimentally silly. If you've read my review for Thor, you'll know my thoughts on whether or not that film managed to avoid that downfall. My confidence in Captain America: The First Avenger was boosted when director Joe Johnston announced as the director. Johnston proved with 1991's The Rocketeer that he could capably craft an old-fashioned, comic-book adventure along the lines of a lighter Indiana Jones. For me, that sounded great for Captain America's introductory film.
But the real controversy came when Chris Evans was cast as Captain America. Now there will always be controversy over casting choices in superhero/comic-book films (remember how mad some people were over the choices of Robert Downey Jr. as Tony Stark in Iron Man and Heath Ledger as The Joker in The Dark Knight?) Evans had proven in the past that he was a likeable and charismatic screen presence in films such as 2004's Cellular, the 2005/2007 Fantastic Four films (in which he was another Marvel superhero) and 2010's The Losers and Scott Pilgrim Vs. The World. He even showed genuinely strong acting chops in 2007's Sunshine. So when he was announced as Captain America, I was ready to give him a chance. Did he pull it off? We'll see...
1943. Steve Rogers (Chris Evans) is desperate to join the fight against the Nazis, but his physical handicaps means constant rejections from his every attempt to sign up. When one of his attempts catches the attention of scientist Abraham Erskine (Stanley Tucci), Steve is recruited into the 'Super Soldier' program, a effort by the Allied forces to create the perfect soldier. After being chosen for the final experiment, Steve is turned into a towering, powerful and supremely capable soldier. While Steve wants to join the battle, he is initially put into a war bond campaign by a opportunist senator and given the name of Captain America. However, when Steve does finally get onto the battlefield, he is recognised for his power and use and is sent after the Nazi science division Hydra, led by fellow super-powered being Johann Schmidt (Hugo Weaving), who has nefarious plans and a new weapon to carry them out.
In the director's chair, Joe Johnston proves to be a brilliant choice. He completely captures the sense of fun and fleet-footed adventure that one would hope to experience from a film like this. While he does strong work in the action scenes, Johnston and writers Christopher Markus and Stephen McFeely deserve credit for focusing more on the characters and their interactions than on the super-powered antics. It's easy to understand the character of Steve and to relate to him; in fact, he's one of the relatable and likeable of the Avengers. While a lot of the kudos for this should go to Evans and his performance (more on that later), Johnston, Markus and McFeely still do a great job of bringing Steve, his ideals and his relationships to life in a way which embraces the coic-book aesthetic without being overwhelmed by it. Some of the most memorable sequences from the film are ones where nary a (real) punch or explosion are seen. For example, there is a lot of fun to be had watching a newly-empowered Steve being used as a propaganda piece in a series of live performances and films as part of that war bond campaign. While this is a very colourful and entertaining scene (props go to Alan Menken's gloriously catchy song The Star-Spangled Man), it is also deceptively clever on the part of Johnston, Markus and McFeely because the aggressively corny nature of Cap's exploitation in this scene paradoxically makes the symbol of Captain America once Steve goes into battle a more realistic concept within this world while showing just how badly the film could have gone wrong. Johnston, Markus and McFeely spend ample time with the character (both good and bad) interacting, thus allowing us to glimpse their personalities. This makes it easier to become invested in the final outcome. Plus, the MCU connections are integrated brilliantly. Tony Stark's father Howard Stark (Dominic Cooper) is a supporting character in this film, and the first time we see him, he's displaying some familiar flight equipment. There are plenty of references to the world of Thor. There's a similar sequence to Iron Man 2 involving awards, with both scenes set in what looks like the exact same location (and the different attitudes of both Tony and Steve to that event indicate the differences between the characters, something which is touched upon in The Avengers). In a nod towards the fun adventure vibe that the film-makers are clearly aiming for, there are even some great references to Raiders of the Lost Ark, with one of them being surprisingly bloody for an MCU film.
A large part of that investment has to be attributed to the performances. These are all capable actors having a lot of fun whilst also establishing humanity when possible. One character clearly devoid of positive human traits is Johann Schmidt, and Hugo Weaving is clearly having a ball as this bad to the bone, power-hungry maniac. Weaving created one of my favourite film villains as Agent Smith in The Matrix films, and while his work here isn't quite as entertaining, it's still a ton of fun to watch him dominate the screen every time every time he appears. Most of Schmidt's scenes rely on pure villainous presence, and Weaving nails that along with Schmidt's arrogance and cold intelligence. Much like Tim Roth in The Incredible Hulk, Weaving revels in his corrupt character. He may lack the rich complexity of Thor's Loki, but you still can't deny that Schmidt's got nasty style. Also, Weaving is aided by first-class make-up once his true colours are revealed. Much like villains, most superhero films aren't complete without a love interest, and The First Avenger is no exception. Now I like Gwyneth Paltrow's Pepper Potts from Iron Man and Iron Man 2, Natalie Portman's Jane Foster from Thor and Liv Tyler's Betty Ross from The Incredible Hulk. But, in my honest opinion, this film has the best romantic interest from the MCU thus far in Hayley Atwell's Agent Peggy Carter. From her very first scene, in which she teaches a disrespectful private some manners, Carter proves that she is just as bad-ass as the men. Crucially, Atwell and Evans are given scenes together to establish a relationship between Peggy and Steve pre-transformation; this makes Peggy's belief in the man behind the muscles all the more believable and sweet. The romance between them is excellent and there are several fun touches. Atwell is never anything less than beguiling, whether sharing a moment with Steve or proving that she's strong enough to survive without the men's help. Also lacking complexity but still having a grand ol' time is Tommy Lee Jones as, well, Tommy Lee Jones. Colonel Phillips is almost exactly what Agent K would be like if thrown into WWII (there's even a nice little reference to Men In Black during the climactic action sequence). But even if he's not doing anything new, Jones is still reliably enjoyable, nabbing many of the film's best lines and delivering them brilliantly. As Arnim Zola, Schmidt's second-hand scientist, Toby Jones is brilliant as always, adding possible shades of moral ambiguity to the character as he is faced with Schmidt's ensuing madness. Dominic Cooper is wonderful as Howard Stark; he nails the arrogance and charm of the character, making it clear where Tony got those qualities from. Stanley Tucci is typically terrific as Abraham Erskine, crafting a lovably quirky character whose scenes with Steve work really well. As James 'Bucky' Barnes, Steve's childhood friend and fellow soldier, Sebastian Stan acquits himself well and there is enough screen-time between him and Steve to cement their relationship. As the Howling Commandos, Steve's back-up team, Neal McDonough, Derek Luke, Kenneth Choi, Bruno Ricci and JJ Feild are all enjoyable. And, as with most MCU films, there are a few camoes to be enjoyed.
Now we come to the Star-Spangled Man himself. While I wasn't ready to make this statement before seeing the film, I can now say wholeheartedly that I can't imagine anyone other than Chris Evans in the role of Steve Rogers. Evans taps into what makes Steve such a aspirational superhero effortlessly; he is a man who wants to help people being beaten down by those with more power, something which he can easily relate to. The powers granted to him by his transformation allow him to do this, But Evans never allows his undeniably impressive physicality (he looks Herculean) to carry the character, instead giving him a real human decency. This is a character who could have been a 'goody two-shoes', but Evans instead creates a protagonist worth caring for. The character's inner strength is as important as his outer strength, and all praise should go to Evans for capturing that inner strength in an immensely likable way without being too restrained as to be undistinguished or too over-the-top as to be cartoonish. Also, I have to give the film-makers credit for drawing parallels between Schmidt and Steve. In their first scenes, Schmidt has plenty of power and is using it to terrorise others and further what plentiful power he already has, while Steve has little power and is still volunteering for battle and standing up to bigger guys who can clearly beat him. This only serves to make Steve an easier character to root for, as in Erskine's words, "a weak man knows the value of strength and compassion". This quote is only more appropriate when compared with Evans' performance, which is a compassionately strong realisation of a potentially goofy character who instead becomes one of my favourite superheroes of recent years. While I love a complex superhero, there is something to love about a superhero who has ideals and who refuses to break them, no matter what challenges are thrown at them.
As I said before, while Captain America: The First Avenger handles its characters very well, the action sequences are all strong. The first action sequence, in which Steve charges into a deadly pursuit shortly after acquiring his powers, is made all the more entertaining because Johnson shows sly joy in showcasing Steve's lack of control. This not only makes the scene more exciting, but it also shows that the film-makers haven't lost sight of Steve as a character. The other action sequences are all handled with aplomb, with the climactic action sequence being particularly thrilling. An attribute of all the action sequences is that they never lose sight of its characters, with each sequence adding detail to characters, especially Steve (with the second, facility-set action scene showing that Steve tries to use his wit and his strength to mutual advantage, opting for initial stealth over simply but loudly beating the enemies up).
Technically speaking, Captain America is terrific on all fronts. The visual effects are fantastic, whether being used to craft a spectacular visual tableau or shrinking Chris Evans. The effects used to make Evans look small and feeble are particularly impressive, rarely calling attention to themselves. There is also gorgeous imagery which feels like it was ripped straight out of a comic book; one of my favourite shots in the film is of Steve and Schmidt facing each other from opposite ends of a factory walk-way with explosions rampaging in the background. I could actually imagine that shot being framed and hung on someone's wall. It's important to remember how unique The First Avenger is in the MCU for being a period piece, which is something relished by costume designer Anna B. Sheppard, production designer Rick Heinrichs, set decorator John Bush and the art direction team. All of Sheppard's costume feel appropriate within this period and only call attention to themselves when they have to. The two examples of this are the Captain America costume, which goes from something intentionally silly and pantomiming during Steve's performances to a much-more battle-ready outfit later in the film (signifying Steve's journey to become a genuine hero), and a red dress worn by Peggy during a small but crucial moment in the relationship between Steve and Peggy. This might seem minor, but given Peggy's mostly tough exterior prior to this scene, the red dress shows her revealing her softer side to Steve. Rick Heinrichs, along with John Bush and the art direction team, does a top-notch of bringing this period to life with certain moments of comic-book flair. There are great vehicular designs (I'm particularly fond of Schmidt's V16 Coupe) and terrific re-creations of 1940's New York and London, along with wonderful lairs for both the good guys and the bad guys; again, while the hide-outs and labs of the SSR are very well-realised, Schmidt still takes the cake with his main base of operations. Aside from one scene and certain moments which I'll get to later, the editing is fantastic, giving each scenario enough time to breathe while giving the film a strong sense of pacing. Finally, it would be remiss to discuss the the technical icing on The First Avenger's cake without mentioning Alan Silvestri's superb score, which could be my favourite score from any film in the MCU thus far. Silvestri's work here nails the inherent heroism of the titular character so perfectly that, outside of Henry Jackman's rousing score for Captain America: The Winter Soldier, it's difficult to imagine any other music fitting the First Avenger (although, thanks to some internet videos, the Team America theme comes to mind). Silvestri is a tremendous composer, and his work here is typically expert at generating old-school atmosphere and excitement. However, while Silvestri nails the adventure vibe, he also does beautiful and moving work for the film's conclusion where things take a more decidedly emotional turn. In musical terms, Silvestri will always be the one who created Captain America. And I get to fawn over his work again in my next MCU review...
Now, as enjoyable as Captain America: The First Avenger is, there are some issues. While the ending is still commendable in how emotionally bittersweet it is, there is a significant plot hole which is difficult to explain away (and I have tried). If you want more of an idea what I'm talking about, watch this video after seeing the film. Be warned; once you're aware of the plot hole, it's nigh impossible to get it out of your head. Also, a key montage showing Captain America and the Howling Commandos in action seems a bit rushed, as if the film-makers wanted to spend more time on this scenario but knew that they had to wrap other things up. Comparatively, the rest of the film is well-paced and well-balanced between character and action. Finally, I found some of the shots, particularly during the final battle, to be oddly cut. It felt like certain shots were cut unnecessarily short, so that some seem to last only a couple of seconds. However, that last point is only a small complaint and it's not a frequent issue.
So, out of the 2011 MCU double bill, which do I prefer: Thor or Captain America? With no disrespect to the God of Thunder, I'm going to say Captain America for a few reasons. While both characters of Thor and Captain America both have unique environments, the team behind Captain America went for it and immersed themselves in the character's unique environment for almost the entirety of the running time. Again, I'm not having a go at Thor; if the makers of that film hadn't taken the character out of his environment for a significant portion of the film, there would have been almost nothing to link him to the Avengers. But that character's own environment is explored in more detail in 2013's Thor: The Dark World, whereas this is the only film given to explore Captain America in WWII mode. Plus, I am a sucker for well-executed, old-school Indiana Jones-style adventure. Next, I personally like the character of Steve Rogers more than Thor. Chris Hemsworth is terrific as Thor, but I love how Chris Evans has taken a character who could have easily been so bland and injected him with real heart, warmth and integrity. In all honesty, Captain America's probably my second favourite Avenger just behind Iron Man. Lastly, while that plot hole is annoying, the ending is still an impressively emotional conclusion. Both the film-makers and cast understand how to bring the weight of the finale to the screen, and for anyone who has become invested in the film up to this point, it's a genuinely moving ending with a couple of genuinely tear-jerking moments (the moment which personally hits me involves a photograph). Are there areas in which I think Thor is stronger? Absolutely; as much as I love Hugo Weaving's Johann Schmidt, Loki is still the better villain with more emotional complexity, more unpredictability and more motivation, along with a near-perfect performance from Tom Hiddleston. I can easily understand why, out of the 2011 double bill, someone would prefer Thor. But, in terms of which film gave me personally a more satisfying and complete experience, I have to go with Captain America: The First Avenger.
Final Verdict
In my opinion, Captain America: The First Avenger is the best MCU film since Iron Man at this stage of the game. The 1940's setting gives the film a pleasingly retro style, something which the film-makers know and play upon. Joe Johnston is confident in his direction, and is aided by the engagingly witty script by Christopher Markus and Stephen McFeely; they all deserve special credit for emphasising how corny and silly the concept could have been while never allowing themselves to fall into that trap (this is particularly true of the 'musical' scene, driven by a terrifically catchy tune from Alan Menken). The cast is fantastic, with the stand-out appropriately being the Cap himself Chris Evans for bringing the titular character to life with such effortless likeability, charm and presence. The action sequences manage to be giddily exciting while never losing sight of the characters involved. The technical credits, from the often spectacular visual effects to the terrific costumes and production/set design and the pitch-perfect score from Alan Silvestri, are all expertly done with care, while the editing keeps proceedings moving at a solid pace for the most part. There are definite issues; a key battle montage is rushed, an unshakable plot hole does somewhat demean the logic of the film's final 10 minutes and there are some oddly cut shots, particularly during the final battle. With all that being said, the finale is still surprisingly emotional, and while the contributions of the film-makers and other cast members shouldn't be overlooked, this is where Evans' success in the titular role shines through. If the role of Captain America wasn't capably performed, the emotional climax would have rung false. But, thanks to the heart and humanity which Evans invests in the role, there is a genuinely bitter-sweet sting. Come the spot-on final line, which is delivered with pained sincerity, there is a real sense of loss for Steve and those who had become invested in his journey. The nostalgic glow and viewpoint of The First Avenger is only too appropriate, as things are about to get much more complicated...
Rating: 4 out of 5
Mini-Review: A Funny Thing Happened on the Way to Thor's Hammer
In the second Blu-Ray short from the MCU, we see SHIELD Agent Phil Coulson (Clark Gregg) get caught up in the middle of a gas station hold-up... And that's it. There are no connections to any other MCU films, it doesn't add any new significant detail and it's only 3 minutes long. Why would I recommend it to any MCU fan then? One reason: Clark Gregg. Over Iron Man, Iron Man 2, Thor and the Thor Blu-Ray short The Consultant, Gregg turned Coulson into an unexpected stand-out character. Thor's Hammer (for short) not only brings the character's charm and dry wit to bear, but it also shows that Coulson is one great guy to have in a crisis. In a situation where many people would panic, Coulson is as cool as a cucumber and sets up the situation to his advantage before proving to be a credible bad-ass in his own right, something which we hadn't seen from the character prior to this point. That bad-ass moment is brilliantly done, almost like those 'planning' scenes from Robert Downey Jr.'s Sherlock Holmes films. This is also a very funny short, with well-written dialogue and terrific delivery; Gregg's final line is effortlessly, warmly winning. It's a small short without any of the MCU connections which could be found in The Consultant, but for those who are fans of Clark Gregg and Agent Phil Coulson and who want to see a different yet completely welcome side to the character from what had been revealed prior, this is still a short I'd recommend.
No comments:
Post a Comment