Raimi immortalizes Spider-Man...

Rating: 9/10 (3 May 2002)

The transcendence of a world renowned super hero into the immortalization of a silver screen icon is a difficult task. Yet Sam Raimi's Spider-Man' is a cinematic piece of uber-Popcorn filmmaking that is a pure treat to experience. Not to watch, but to experience. Viewers will familiarize themselves with the delicate xenophobic genius of Norman Osborn and the fragile torrid innocence of a young Peter Parker destined for infamy. Sam Raimi directs a stylized and vast piece that will hold true to Spidey fans worldwide. A mediocre script by David Koepp is improved upon by the visceral imprint Director Sam Raimi creates upon his key sequences. An astonishing trait lifted from the film is an incredibly surprising pervasive sense of dualistic symbolism. This profound characteristic seeps through the film. Before we go into detail, one can assume that I really enjoyed the film. That is a fact. Yet many will disagree with me due to the film's modest approach to such a beloved icon. And yet that is where I find the brilliance within the film. Raimi sculpts a fun piece of film that can not be simply brushed off as a brainless, summer piece of moviemaking. It is a certainty that the Summer Movie Season has officially commenced. It is a strong possibility that films to come will be mundane and recycled, yet Spider-Man' leaves its' mark as a new kind of Superhero film that many will attempt to imitate, yet will not succeed. Raimi's simplistic approach to such a huge undertaking must be admired because it works. Special effects are an added bonus to this intricately weaved film that does not rely on the special effects to tell a story, but instead relies in the development of these inter-related personas. Tim Burtom was the first to immortalize an icon of comic books with his gothic and darkly entertaining 1989 feature Batman'. In Burton's film, our opening sequence introduces us to this mythical being that has already made a name for him through the rumblings of crooks in the Gotham streets. In this film, Raimi takes a step back and gives us a concise and detailed account into the origin of this masked legend who is cursed with a powerful gift. Upon anticipation for the film's release, I questioned how Raimi would sustain the interest of the audience when Peter Parker was not Spider-Man. Could Raimi show us Parker going from zero to hero in an entertaining and cohesive fashion? Those worries were quickly disregarded as the opening credits rolled and Danny Elfman's pounding score tricked its' way through the digital sound. This film paces itself beautifully and provides a healthy balance between the hero and the man behind the hero. We come to sympathize with this young man as he struggles to counter the unexpected exuding powers he must come to terms with after a genetically enhanced spider bites him on a school trip. WITH GREAT POWER COMES GREAT RESPONSIBILITY' is a line frequently uttered in the film. That can also be applied to Raimi's demeanour as a filmmaker who knows will be single-handedly in charge of either creating a profitable studio franchise or tarnishing the immortality of a boyhood icon. The power Raimi has to create a great film is highly visible on screen as he amalgamates all great levels of cinema to bring us a thoroughly enjoyable film. Raimi incorporates sparkling visual imagery with a surprisingly deep character enhancement of all our main characters. Mary Jane Watson is played with sexual zest by Kirsten Dunst who will be catapulted to stardom with this role. James Dean look-alike, James Franco; displays his inner anger at one of the film's final cataclysmic scenes as he proves he isn't just a pretty face. As for Tobey Maguire, his hypnotic blue eyes are enough at stating a stellar casting choice for our Peter Parker. While emitting anxiety and joyous boyhoodness while discovering his newly found powers, we can sympathize with a dorky high school nerd who is suddenly pounding his bullies and web slinging his way through the streets of New York.
Yet the film's greatest surprise is a scene stealing villain reminiscent of Jack Nicholson's Joker role in Burton's Batman'. Dafoe incarnates a new breed of evil as a schizophrenic scientist who evolves into the Green Goblin. Subtle humour and dark ferocity elicit a thorough assessment from this larger than life villain who terrorizes and entices us with his demonic ways. Earlier I mentioned a duality of sorts between these two characters, those who have seen the film will understand this next analogy playing back the Thanksgiving scene in their mind. We all know Parker and Osborn are bitter enemies under the masks yet seem to have a kind relationship as their altar-egos. Yet upon the film's climax in an abandoned cemetery we can see the fate these two characters await. The duality of these two characters is unmistakably immense as we are guided through covert symbolism suggesting a grander scheme of destiny for these two characters. In a nutshell, these two characters are much more thought provoking than expected resulting in a solid two hours of masterful entertainment that is led by the characters and not the action. A solid example of this the duality of Osborn can be viewed as he encounters his innate evil in The Green Goblin. What I call the Mirror' scene displays this perfectly as Osborn falls prey to his own evil. Without giving too much away, Raimi is on the ball as he delivers a fun, entertaining and satisfying Spider-Man' film that will have them in droves at your multiplex. On a final note, make sure to stick around for the end credits as true Spidey Fans get a nostalgic treat during the final moments.
Giancarlo's Rating: ***