Iron ManI don't think it would be unreasonable to say that at some point in everyone's lives, a person may have a crisis of conscience and discover that the life they led prior to that moment in the proverbial crucible--when they are forged anew by their life experience--must change, so that they may live in the light of their new found wisdom. Tony Stark (Robert Downey Jr.) experiences this transformation--his transcendence from ambivalence and recklessness to justified, heroic determination--after his near-fatal run-in with the very weapons of mass destruction he was responsible for creating.
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For a fantasy/escapism superhero movie, Iron Man is sharp with its wit, and colorfully casts an examining look--and pokes fun--at many first-world sacred cows. From American exceptionalism to the institution of "war as a business" and the global repercussions, Iron Man is an example of an action film which defies conventional genre stereotypes by shuffling the tropes around and wearing it's "suit" in an unorthodox way; such is fashion, the sport of trendsetters. And Iron Man set the trend for the revitalization of superhero movies to follow, specifically those born from the Marvel Studios production company. Rather than rehash other superhero movies' qualities--I think of the sense of awe and unbending heroism from Superman, and the heightened comic book saturation of Batman--Iron Man infuses humor with the drama, allowing for moments of both with a deftness that has followed in the "Marvel Cinematic Universe" henceforth. Previous adaptations of Marvel Comics' pantheon of superhero stories had been produced by other studios, but with Iron Man, the studio produced not only a delightful action movie, but one that would cohesively work in tandem with the comic book publisher's property in a harmonious way, rather than looking to simply exploit the license. This is achieved by a dedication to producing high-quality entertainment which captures the essence of what makes Iron Man an enduring character in the comics. Tony Stark is arrogant--the golden child--a brilliant, playboy inventor, and a rockstar billionaire, headlining the news with his wild antics, but also his stunning genius; he is emblematic of the American spirit. But the problem is that Tony's conceit is so endemic of first-world entitlement that he has no genuine sense of perspective, until he finds himself a victim of his own weaponry, so perfect that he cannot prevent it from almost killing him. He is saved by a gifted surgeon--Yinsen (Shaun Toub)--but only to produce his newest missile for a group of terrorists hiding in the caves of Afghanistan. Iron Man modernizes the origin story of the Silver Age superhero by setting it amidst the global conflict between the United States and a Taliban-like group of terrorists called "The Ten Rings", an enemy which carries a menacing quality in our post-9/11 society. Furthermore, The Ten Rings carries a secret revealed throughout the film, and one cannot help but recall another regrettable parallel: that the Taliban was also originally trained and supported by the U.S. government. In this, Iron Man addresses our own nation's involvement in the "machine of global warfare", and the responsibility of those who stand to profit by its existence.
Although Iron Man draws its name from the superhero alter-ego of Tony Stark, it is surprising that "Iron Man" actually occupies a relatively small percentage of the movie. Instead, we get to know the "man behind the mask" far better, making him a more endearing character than simply a foil to do combat with bizarre and maniacal super-villains. Tony Stark is immediately identifiable as one of the kind of superstar billionaires which dominate our ubiquitous media--a "Steve Jobs meets Charlie Sheen" kind of guy. Frankly, I cannot think of a better cast actor for the part than Robert Downey Jr., who had not only experienced very public exposure of some of his more embarrassing moments, but also even more amazingly, managed to not only revitalize his career in the aftermath against all odds, but emerge stronger and more dominant in film than ever. To say that Tony Stark leads a charmed life would be an understatement. But his success is not simply self-made, it is built on the foundations of his father's legacy, as well as the commanding supervision of his close business administrator, Obadiah Stane (Jeff Bridges). Obadiah exercises his power from behind the throne; not with the flagrant excess of Tony, but with a rare calculated savvy and secretive panache of a master conductor. The irony about Tony Stark is that for a virtuoso inventor, reinventing himself in the public eye proves to be his biggest challenge upon his return to civilization from his time in captivity. After discovering that he had, as he puts it, become comfortable with a system of "zero accountability", he appears to revoke his own meal ticket by halting work as a weapons manufacturer, the most identifiable product of Stark Industries. He questions himself and what kind of legacy he wants to leave the world, and not just parroting the allegiance he has to his father's and Obadiah's company. To a world which has come to expect the rich and famous often making radical--even ridiculous--changes out of boredom or misguided righteousness, Tony has an uphill battle awaiting him; not just in convincing those who doubt his intentions--like his military liaison and friend, James "Rhodey" Rhodes (Terrence Howard)--but even those who seen him as just another celebrity icon who has flipped, grown bored after jet-setting and seducing reporters and supermodels alike. Tony's reawakening forces him to experience that "Road to Damascus" moment, and his perspective changes. He begins to accept that he has feelings for his close, personal assistant Virginia "Pepper" Potts (Gwyneth Paltrow)--they share a chemistry, although their relationship remains purely platonic...for now. Pepper is the spirit of temperance to Tony's fire; he burns hot with the flames of the proverbial--and literal--forge he has been remade within, but she is strong enough to stand up to him and caution him not to squander his life, or treat it with disregard. Tony has a second chance at life, and a first time to really see that his creations can work for the betterment of mankind, and not simply serve as just another tipping point in the scales of global dominance; lofty and important stuff for a hero of the 21st century.
Recommended for: Fans of the "Iron Man" comic books--or superheroes in general--and for those who enjoy a great blend of comedy and action in a film which is not only rich with special effects but character and an appealing story. Gone are the days where spandex and domino masks suffice for adaptations from Silver Age to silver screen.
Although Iron Man draws its name from the superhero alter-ego of Tony Stark, it is surprising that "Iron Man" actually occupies a relatively small percentage of the movie. Instead, we get to know the "man behind the mask" far better, making him a more endearing character than simply a foil to do combat with bizarre and maniacal super-villains. Tony Stark is immediately identifiable as one of the kind of superstar billionaires which dominate our ubiquitous media--a "Steve Jobs meets Charlie Sheen" kind of guy. Frankly, I cannot think of a better cast actor for the part than Robert Downey Jr., who had not only experienced very public exposure of some of his more embarrassing moments, but also even more amazingly, managed to not only revitalize his career in the aftermath against all odds, but emerge stronger and more dominant in film than ever. To say that Tony Stark leads a charmed life would be an understatement. But his success is not simply self-made, it is built on the foundations of his father's legacy, as well as the commanding supervision of his close business administrator, Obadiah Stane (Jeff Bridges). Obadiah exercises his power from behind the throne; not with the flagrant excess of Tony, but with a rare calculated savvy and secretive panache of a master conductor. The irony about Tony Stark is that for a virtuoso inventor, reinventing himself in the public eye proves to be his biggest challenge upon his return to civilization from his time in captivity. After discovering that he had, as he puts it, become comfortable with a system of "zero accountability", he appears to revoke his own meal ticket by halting work as a weapons manufacturer, the most identifiable product of Stark Industries. He questions himself and what kind of legacy he wants to leave the world, and not just parroting the allegiance he has to his father's and Obadiah's company. To a world which has come to expect the rich and famous often making radical--even ridiculous--changes out of boredom or misguided righteousness, Tony has an uphill battle awaiting him; not just in convincing those who doubt his intentions--like his military liaison and friend, James "Rhodey" Rhodes (Terrence Howard)--but even those who seen him as just another celebrity icon who has flipped, grown bored after jet-setting and seducing reporters and supermodels alike. Tony's reawakening forces him to experience that "Road to Damascus" moment, and his perspective changes. He begins to accept that he has feelings for his close, personal assistant Virginia "Pepper" Potts (Gwyneth Paltrow)--they share a chemistry, although their relationship remains purely platonic...for now. Pepper is the spirit of temperance to Tony's fire; he burns hot with the flames of the proverbial--and literal--forge he has been remade within, but she is strong enough to stand up to him and caution him not to squander his life, or treat it with disregard. Tony has a second chance at life, and a first time to really see that his creations can work for the betterment of mankind, and not simply serve as just another tipping point in the scales of global dominance; lofty and important stuff for a hero of the 21st century.
Recommended for: Fans of the "Iron Man" comic books--or superheroes in general--and for those who enjoy a great blend of comedy and action in a film which is not only rich with special effects but character and an appealing story. Gone are the days where spandex and domino masks suffice for adaptations from Silver Age to silver screen.