From time to time, I’d like to spotlight reviews by some of the site’s regular participants. This one is from David, who was surprised by just how much he enjoyed Ang Lee’s latest superproduction, Hulk. And if you’re not up on your comic lore, peruse this informative primer for a historical overview.
When I first heard the announcement, some two-odd years ago, that Ang Lee, fresh from the critically acclaimed Crouching Tiger, Hidden Dragon (2000), would be helming the theatrical debut of The Incredible Hulk, I was excited. I didn’t read comics much growing up, but in the past few years I’ve been exploring graphic novels and the vast possibilities of the comic genre in the hands of groundbreaking writers like Alan Moore who consistently and creatively explore the dark corners of the human soul with a mixture of whimsy and unflinching honesty. The story of the Hulk–the man with a monster inside–is a classic theme of literature, full of twists and turns to explore, even if its run in comics has at times been as monosyllabic as the title character himself.
When I saw the first theatrical teaser trailer, my heart sank a bit. It seemed adolescent at best. Coupled with the rushed-to-get-it-out CGI of the SuperBowl trailer, it looked like perhaps the deeper underpinnings of the comic might be lost beneath a modern Hollywood action treatment. Comics are a delicately balanced blend of fantasy and reality, and with the modern film equation tilted heavily towards gloss and effects, it looked like perhaps the Hulk would be more cartoonish on the big screen then he’d ever been on pulp and paper.
Well my faith has been restored. I never should have doubted. Ang Lee’s Hulk is the least cartoonish, but most comic-like adaptation yet released. Where X-Men (at times) and Spider-Man (consistently) felt like an animated series with live actors, Hulk feels like a great graphic novel brought to life. There’s no sharp one-liners, no nod-and-a-wink ironic references (except for the “you wouldn’t like me when I’m angry” line which Lee places exquisitely), no attempts to prove how hip any of the characters are in modern terms. It’s about the story, the characters, and the tension it creates.
Be warned. Don’t go into this film expecting the usual Hollywood film experience. Lee does not attempt to impress out of the starting gate. Instead he paces the film steadily, taking his time, before building to several climaxes and going out with an impressive bang. Lee is willing to underwhelm at first in order to build momentum. It takes a while to get your first glimpse of green, but when you do, there’s a solid runway for the film to be launched from.
There’s not much that can be said about the plot without ruining the experience, but the standard story is there: a slightly nerdy, repressed scientist (Eric Bana) is exposed to gamma rays and develops a nasty habit of getting big, green, and ugly when under stress. The military gets involved, and there’s a redeeming love interest played by Jennifer Connelly, owner of the cutest front teeth in America.
The psychological tension is drawn out taut throughout the film. It occassionally bubbles over the top, but never boils over. Lee carefully sculpts the film using various scene cutaways (I could see a nomination for Best Editing for this film), and split screen techniques, and every scene serves a purpose. There are no gratuitous shots of mayhem and destruction, no cool effects used just to show them off, no fights included just for the sake of a fight. CGI has been redeemed, finding its place in service of a movie instead of the driver’s seat.
The Hulk himself is a wonder to behold. The childlike quality of his face conveys a wide range of emotions, and his resemblance to actor Eric Bana is a nice touch. In action he’s no less impressive. A scene where he runs through the desert churning up dust and sand is incredibly rendered. In fact, it’s in the desert scenes that Hulk truly shines. Wisely minimizing human/CGI interaction (the weak points of films like Spider-Man and The Matrix), Lee stages his battle royale with tanks and planes in an outdoor arena and it pays off with a spectacular look and feel.
Lee also allows the action to unfold as it would in reality–at times it’s blurry and almost too quick to see. Where another director might have been tempted to use slow- or stop-motion, Lee lets things unfold at a frenetic pace lending a sense of true urgency and tension to the fight scenes.
The actors acquit themselves well. Bana successfully underplays scientist Bruce Krensler/Banner contrasting his blank personality with the Hulk’s full blown rage, though we never get to see him fully wrestle with his darker side. Only time and a sequel will tell, perhaps, how well he can convey the struggles of Jekyll & Hyde. Nick Nolte chews up the scenery without tearing it down, and Sam Elliot is appropriately tough and leathery as General “Thunderbolt” Ross.
Commendations are also due to Lee’s partner and storyman/screenwriter James Schamus who manages to imbue a well-known yarn with twists and turns while maintaining a moving and gripping story. His unexpected and masterful inclusion of a classic Hulk villain is one of the best kept secrets in film this year.
This is the standard by which entertainment should be judged–the ability to craft a smart story and incorporate action without insulting a viewer’s intelligence. Lee has set the bar higher for comic book adaptation and shown the genre how it’s done by bringing his impressive directorial skills to bear. One can only hope he stays on for the sequel because it just wouldn’t be the same without him.