The sequel of a non-adapted film is subject to such restrictions: the theme of the film may have been discussed in depth in the first episode, resulting in the sequel having to choose to continue or start anew; the screenwriting idea has been used up in the first episode, and it is difficult in the sequel Continuing to build a powerful drama conflict is easy to fall into stereotypes; the background of the story and the characterization of the characters in the first episode have formed a fixed framework, resulting in the writing of the sequel has to continue to dance with more shackles. Manga-based films tend to be heavier because of the test water color of the first episode. The main purpose is to draw audiences who have not watched comics into the theater for many years. Backed up by the funds of “The New York Times”, screenwriters can take risks to explore “the secret corners of those superficial and naive stories”, as the film critic Scott of The New York Times said, giving the characters more depth and stronger conflicts, and there are With hundreds of serialized comics, it’s not too difficult to find a few stories and characters that fit the screenwriter’s intentions.
Although the story of Iron Man is simple, it can be regarded as rounding the story of a prodigal son turning back, and incidentally raised the question of whether Tony Stark has a heart. But like Tony Stark, Jon Favreau does not play the cards according to the card. Just as everyone is expecting Iron Man 2 to bring a deeper plot and more paranoid characters, he succeeded in giving the movie a better visual effect. Many explosions, more advanced technology and a more dazzling cast, but did not create a character as complicated as Joker. This comparison explains why film critics are so stingy with praise this time.
However, does Iron Man have so many childhood shadows and psychological problems like other comic book superheroes for the director to make a "deeper" sequel? Tony Stark’s self-revenge and redemption have been completed in the first episode. He will no longer feel like Bruce Banner was insulted and harmed; nor will he always be in the reflection of his own good and evil like Bruce Wayne. middle. After saying "I am Iron Man", Tony Stark has taken off the burden that almost all other superheroes have to carry-the struggle between the two identities of being a mortal self and the imposed heroic identity. I don't think it would be wise to bring the self-doubt and redemption routines of those superheroes with somewhat split personality into this series.
The charm of Iron Man lies in his high-profile and maverick, and the dilemma arranged in the story should also be consistent with this characteristic. So what we saw in Iron Man 2 was a god-like Tony Stark who stood alone against the world. As a god with a flesh, he faces the danger of being worshipped and alienated by others, and he must beware of those scorned godslayers and imitators who try to steal his power. This motivation is difficult to give the audience a sense of identity, and it is even harder to make people feel that this is a reasonable plot motivation. After all, no one is really alone in maintaining world peace. Even worse, if the screenwriter follows this line of thinking and arranges Tony with a god-like Nemesis, even if it is a little god like Joker, it will turn their confrontation into a battle of the gods. It's better to see Clash of the Titans. This time the contradiction is still a small person trying to pull Tony off the altar. The contradictory dispelling Tony’s divinity, Tony knows that his fear and madness will last forever, as well as the plot where he finally gains power from the family. Although it is hard to say that it is a natural continuation of the plot of the previous episode, at least it has avoided the plot. Disorders and emotional out-of-control. The plot power this time may not be sufficient, but it is a sacrifice that the audience has to make to accept the image of Tony.
In the last episode, Tony's enemies came from his side, but this time it became a threat from Russia. I don't know if the screenwriter is loyal to the Cold War theme of Iron Man's inception. Compared with the background of the Central Asian battlefield in the previous episode, this setting seems to be more out of touch with real life. Of course, starting from the relationship between the United States and Russia, you can also write a strong plot, such as the game CoD: Modern Warfare. Iron Man 2 If you can dig a little more about the relationship between Howard Stark and Anton Venko in the 1970s and its consequences, perhaps this setting may seem less obtrusive today.
The identity of the second anti-corner continues the setting of the previous episode. It is still an unscrupulous arms dealer. I don't know if the screenwriter has the intention to continue to obsolete these complicated death merchants, or just to make the emergence of War Machine logical. But after adding Ivan Venko, the two men formed an interesting contrast with Tony Stark. When Justin Hammer danced on stage to introduce his products, I couldn't help but think of Steve Ballmer, who tried to imitate Steve Jobs' product release style but was not an anti-dog. At the beginning of the film, the shot of Ivan Venko processing armor alone in the workshop is also reminiscent of Tony Stark in the cave in the first episode. The existence of these two contradictions reminds us that people with advanced technology in our hands are keen to invent new sticks instead of improving carrot planting methods. Tony Stark could have become that kind of person. This also makes it easier for the audience to identify with Iron Man, although it also makes the transition of this character in the first episode seem more sudden and unrealistic. If Howard Stark, who believes that technology can make life better, represents optimism that science improves human well-being, then these two roles undoubtedly remind us of the terrible side effects of technological development that ignores human nature.
Actors who play two contradictions, Sam Rockwell and Mickie Rourke, although they are very different in appearance, both show their best performances in recent years. It even makes people think that they did not play a villain of Joker's level (there are contradictions). It's too talented. Ivan Venko, played by Mickie Rourke, is superficially crazy, and even more as if unconsciously revealing the inner world, even enough to make the audience think from his standpoint while watching the movie, although the director did not arrange a large monologue for him chance. The role of Sam Rockwell is very good. It is another successful example of a person with a story while speaking. At the same time, it controls the relationship between this character and Tony Stark properly, without making him appear too threatening or too It is insignificant and thus has more development possibilities.
Among other actors, Robert Downey Jr. once again proved that he is the only choice to play this role. Gwyneth Paltrow also gave Pepper a more three-dimensional interpretation of the role than in the first episode. Look at the two roles of Tony and Pepper. Iron Man 2 is the most unmissable fun. Other actors seem to have performed their best performances, except that Samuel Jackson's performance is a little too casual, Scarlett Johannson had to be a vase due to plot restrictions-but she is also a big reason to enter the theater in action scenes.
To say that the reason for not giving the actors enough room to play is the too strong cast and the almost explosive plot like The Hulk's pants. In addition to the series of action dramas, the screenwriter also tried to add heroes like Fallen-Return in Spiderman 2, the double-villain teamwork like Empire Strikes Back, and Nick Fury's frequent gags. No wonder all the non-action dramas seem to be a feast. The melon seed kimchi served in the middle. But in fact, the critically acclaimed first episode also has this problem, it's just that the non-action plots in the first episode are better connected. As a comic movie, Iron Man 2 must provide more explosions and more novel technologies, and the coherence of the plot will inevitably lose sight of one another.
But the screenwriter is successful in at least two aspects: the control of emotions and the application of rhythm. A fight between Rhodes and Tony seemed to be as nonsensical as all bar fights, but it prevented the audience from falling into depression and smoothly connected with Tony's regrouping behind. The film allows the audience to be in a state of excitement almost from beginning to end without feeling bored or fatigued. This is the screenwriter's greatest achievement. A lot of the jokes in the film are all tens of minutes before the burden is laid, and the key moments are shaken, and the entertainment effect is very good.
No movie can satisfy everyone. An Iron Man 2 that only strengthens the action and cast, and weakens the plot, may make more people dissatisfied, but just like the image of Tony Stark, it’s not The efforts made by the series, screenwriters and directors of traditional film adaptations to maintain their style are worthy of recognition.
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