"DO YOU HAVE ANY IDEA WHAT YOU REALLY ARE?"

Curt Connors (The Amazing Spiderman, 2012).

I watched the new Spiderman film.

Well, I didn’t just ‘watch’ it; I bought it on its DVD release date. See, the thing is I’d gotten quite excited by the hype, and it was always my partner’s intention to take me to the cinema to see it for my birthday in August. Unfortunately, that didn’t happen, we literally missed it by two days, and I’d been going crazy to see it since then. It was on sale for £10, and I thought to myself “it’s going to be at least £6 to hire, and I don’t live anywhere near a DVD rental store, so may as well just buy it.”

Long story short, know anybody who wants to buy The Amazing Spiderman on DVD? Watched once.

It was an unusual film for several reasons, from the relatively short time between its production and Raimi’s films (the first being 10 years ago, the third being just 2007), the legal implications of the studio holding onto the franchise, and the departures made from the previous efforts. I’m not giving anything away by saying I found it a below par film (the review is already posted), but I wanted to take the time to explain some of the highs and lows of the film… Now, I realise that every film should be judged on its own merits, but a comparison between this new film, by aptly named director Marc Webb, and Sam Raimi’s origin film is unavoidable: any reboot (especially one this close to the previous effort) will always be compared to what has came before, it will be the yard stick by which its success will be measured. I don’t find that unfair, it’s the pitfall of rebooting any franchise.

Anyway, I’m not here to ‘rag’ on The Amazing Spiderman, my review has already done that; instead I’m here to explore the differences and similarities of both Raimi’s and Webbs versions of Spiderman, and offer my insights (as they are) into where they either hit or miss the Marc (couldn’t help the pun). To help make things easier, I tackle each subject separately, and as evenly as I can. As a warning, there may be spoilers, especially for those of you out there who aren’t nerds and don’t read comics. You have been warned.

Hope you find it at the very least ‘a little bit interesting’, and as always I welcome debate.

Don’t be a stranger…

Missing Parents

So, the first departure Webb makes from Raimi’s take is quite significant, and probably the largest change in the entire film. The shame is that, so far as this first instalment goes, it’s a largely unused plot device- clearly something that will be fully explored in the sequels.

In the Raimi film, Parker’s parents are out of the picture, and nothing more is made of the subject. Such is life Peter, get over it. Webb’s film, however, tantalisingly links Peter’s deceased parents, both cutting-edge scientists in the field of genetics (aka; creating superhumans), with Oscorp- and ultimately its shady director Norman Osborne (who for the unenlightened will become Spiderman’s biggest enemy Green Goblin). No denying that it’s a smart step into new territory, and one I expect could pan-out well. I kind’a like the idea that the Oscorp tower could become ‘bad guy central’ and be responsible for a whole host of genetically engineered supe- villains.

So, in this respect, Webb’s film comes up on top, although that may be a little unfair seeing how Raimi took his background directly from the comics. But who said life was fair?

Webb 1, Raimi 0.

Uncle Ben & Aunt May

Whereas Raimi takes his cue for these loveable ‘old timers’ straight from the comics, Webb (in keeping with his attempt at a more gritty take) bravely breaks with tradition. Gone are the folksy and quaint Ben and May, and instead we have a more young-at-heart and modern relationship.

Webb’s Ben is savvy and protective of his wife, and even has the brass to get in a full-on argument when he and Peter don’t see eye-to-eye. A real highlight is Ben’s relationship with; his head is screwed on well enough to realise he’s being bullied at school, and he displays real guilt at Peter’s discovery of his father’s science notes. May, a far cry from the sickly sweet white-haired Raimi version also has sass, and when the inevitable death occurs genuinely behaves like a woman in mourning.

So, again the points have to go to Webb. It’s a very promising start.

Webb 2, Raimi 0.

Bitten By The Bug

This is where Webb’s attempt at realism starts to go wobbly, like a fat chick on a bouncy castle. I know what you’re thinking “Paul, it’s a superhero in red and blue spandex, how real can things be?” but that’s not my issue. Instead, with the discovery of his father’s Oscorp ID, Peter bluffs his way into a high security facility. Not only that, but he manages to sneak away from the tour group to secretly shadow an important company executive, and despite his poor eyesight manages to see (from quite a distance) the exact code used to access one of the most fortified units in the building. Even if I accept all of that, which I did (I was willing to suspend my disbelief), I drew the line at super-smart Peter snooping around inside a bio-hazard room, after watching two guys leave in bio-hazard suits. You just wouldn’t do it, not at the risk of boiling the skin off your bones, or giving yourself Cancer.

It’s such an easy script issue to avoid. I could understand it if Peter had to hide in the room to avoid detection, without noticing the big danger sign pasted over the door. In fact, that makes the whole thing sadly tragic. But no, seems that Peter the boffin fancies himself as invincible even before becoming a superhero.

Raimi’s ‘missing spider’ may seem just as unlikely, but at least it’s through no fault of Peter’s, and the world Raimi constructs was never meant to be taken seriously; it’s an almost timeless homage to the golden age of comics and was never meant to reflect the real-world. When you embrace the fantasy then you don’t have to fight so hard for the realism.

With that in mind, Webb 2, Raimi 1.

Out On A Line: Web Shooters vs. Mutations

Surprisingly, despite Webb’s attempts to make the comic work in a real-world setting, he brings the character back to his comic roots with the invention of the web-shooters. An odd choice, when Raimi’s films neatly side-stepped the ‘how does a high school kid come up with something like that’ issue by having them develop as a mutation, a direct result of the spider bite responsible for all of Peter’s other arachnoid-inspired powers.

Sadly, where Raimi’s fantasy would almost allow for the suspension of disbelief required to pull this off, Webb’s does not, and it’s inclusion here confuses me- especially given the drastic changes made concerning Peter’s parents, uncle and aunt. Admittedly, the Raimi method did polarise hard-core nerds, but there is no disputing that it worked. Instead, we have a 17 year old high school kid constructing cutting edge tech in his bedroom (yes, I know the actual webbing is made by Oscorp, but he still had to make the web-shooters). I don’t truck with the hardcore nerds who can’t cope when something isn’t exactly how it is in the comics, sometimes change is necessary, mediums work in very different ways (books, comics, films, games) and I say this as one of the few people who actually preffered the ending in the Watchmen film over the one from the graphic novel.

Now we’re neck-a-neck, Webb 2, Raimi 2.

Peter Parker

A film can live or die by its lead role. Would Commando have worked without Schwarzenegger, or Groundhog Day without Murray? Even a bad film can be elevated by a charismatic lead (I point you to almost any Christopher Walken movie).

Raimi’s Peter may have occasionally been pathetic, but he was always likeable- and consistent, which is a big deal. Webb’s Peter is less defined, and swings between mean-and-moody skater dude with a cock-sure attitude (unafraid to stand up to the school bully in front of a crowd of people) and stuttering girl-shy dweeb.

Much has been said of Andrew Garfield’s attempt on Peter Parker, especially concerning his on-screen chemistry with Emma Stone (with whom he struck up an off-screen romance), but I have to admit I found him infuriating. Less the way he was written, because he gets some pretty funny lines and his Spiderman is a lot more wise-cracking than Toby Maguire. Unfortunately, and this could just be me, I found Garfield incredibly self-absorbed and slap-worthy, especially during the romantic scenes.

But that could just be me, and I guess it’s hard to be completely subjective. I’d give my points here to Raimi, but I’ll have to leave this one for you ‘”dear reader” (Stan Lee homage). By now you will have seen enough on the adverts and Youtube to know how you feel on the subject, alter the score accordingly.

I also have an eversion to hair that’s still immaculate on the removal of a skin-tight mask… Webb 2, Raimi 3.

School: It’s A Hard Knock Life

Highschool was never a big thing in the Raimi films, and it was nice that the whole of Webb’s film was set in those early years. It’s all pretty convincing and well handled, if you can live with the fact that these 17 year olds look a lot like they’re in their mid to late twenties.

Where I again have problems (and sadly I said the same thing in the Raimi film), is after Peter develops super powers. You’d think, with all the hype about Spiderman going round that someone would think to tie that with the guy in school who can jump ten foot into the air during basketball, or dent the American football goal posts by slinging a ball from the stands. It’s hard to explain that shit away. Similarly, you’d think Peter’s webbing-related fiasco in the school dining room in Raimi’s film would raise a few eyebrows…

So, I have to give the points to Webb on this one. Webb 3, Raimi 3.

Budding Romance: Gwen Stacy vs. Mary Jane Watson

Anyone who reads the comics will know the real love of Peter Parker’s life is Gwen Stacy, whose life is tragically cut short during a confrontation with the Green Goblin, while MJ was the silver medal. Raimi decided, for whatever reason, to merge Gwen and MJ into the one character, and this worked fine for his films- you get both the high-school sweetheart angle and the red-head model. Talk to any nerd, and you’ll find a divide between the ones who fell for Gwen’s innocent charm and those who drool over the feisty curvaceous MJ.

I’ve always been more partial to Gwen, and in the Raimi film MJ shared her more sweet-natured traits which makes her more likable in my eyes (MJ’s first appearance in the comics portrays her as a bit of a diva- she becomes a more likable character as the comics go on). So, the prospect of seeing a real version of Gwen Stacy was very appealing, and from the promo she looked the spitting image of the comic character. So it’s with a heavy heart that I write that I found her ‘mumble-can’t finish sentences’ relationship with Parker hugely irritating. No doubt it was meant to be sweet, quirky and hip, but (for me at least) it missed the mark. Having said that, the three-way relationship between Peter, Gwen and her father (played by the ever-gruff Denis Leary) was entertaining, and without giving too much away it’s a shame it won’t continue into the sequels.

On balance, Raimi’s MJ is more engaging and more sympathetic than Webb’s Gwen (who just also happens to be the villain’s intern at Oscorp- not bad for a 17 year old, huh?). Having said that, she looks the part and it’s nice to see her in the film, even if it’s in a flawed way. Webb 3, Raimi 4.

A Death In The Family

OK, so I don’t think I’m giving too much away by telling you that (shock, horror!) Uncle Ben is killed, and that Peter Parker had it in his power to prevent it. This time around, the death is related to a simple liquor store robbery, with the whole absurdist wrestling scene removed (eluded to later). Personally, I wasn’t a fan of the wrestling scene in the Raimi film, and the sudden brutality of Webbs scene in the street just rings so true in today’s age. No final words, no gasping, no holding hands. All the cliché’s of storytelling are stripped away, and instead we are left with just a simple death, and that’s so much harder to watch. And where is the killer? Already 2 blocks away, lost in a concrete city maze…

Webb 4, Raimi 4.

The Vigilante Days

After the death of Uncle Ben both Webb’s and Raimi’s Peter go in search of revenge. For Raimi’s Peter, luckily he was able to apprehend the criminal on the very same night. Webb’s Parker, as fitting for a real world scenario, is denied his justice- which will no doubt be addressed in the sequels.

I quite like Webb’s approach to this, but again it hardly seems fair to hold it against Raimi for sticking to the source material. You can’t help but feel that this wasn’t necessarily an intuitive move for Webb, but an attempt to make his film different.

Webb 5, Raimi 4.

The Villains: Curt Connors vs. Norman Osborne

Curt Connors, aka The Lizard, was always my favourite Spiderman villain. He appealed to me because he was actually monstrous (and looked like a dinosaur), whereas most of Spiderman’s foes were simply people in suits. I was particularly a fan of the Todd McFarlane drawing, with the long snout full of crocodile teeth. Again, I was very interested to see how this translated to the screen, and the news that Rhys Ifans was due to play the character was interesting. Willem DeFoe’s Norman Osborne was ham-fisted scenery-chewing villainy at its best, and would always be a hard act to follow (I honestly don’t think even Raimi managed to top this), so the odds were already stacked against the reboot…

Shame then that Ifans (a usually interesting actor) was given no chance to shine in a role that was both underwhelming and poorly developed, despite a promising revelation that linked him to the disappearance of Peter’s parents (and is then never revisited)! The CGI of the beast-form was also unconvincing, and without the ripped lab coat and feral mouth the design was also bland- it looked more like the Abomination from the end of Edward Norton’s Hulk sequel than the reptilian creature from the comics. A real missed opportunity.

Webb 5, Raimi 5.

One Smart Kid: Nerd vs. Genius

To begin with, I assumed that (in Webb’s film) when Peter gives Dr Connors the formula required to complete his experiment successfully that he’d found it in his father’s paperwork. My girlfriend told me that I was wrong, that “Peter obviously figured it out on his own” while sitting on the roof of his house with his head stuck in a book on genetics. Naturally I told her that was ridicules, “he’s just a high school kid, how could he possibly fix a leading scientist’s equations by spending the afternoon reading a book?” We’ll see I told her, in my usual smug way. Guess who was wrong?

Me.

Turns out that his father’s seemingly important paperwork had nothing to do with the plot of the film (I expect that comes into the sequels), and yes, Peter Parker, high school dweeb, cracked the formula Dr. Connors spent fifteen years of his life attempting to perfect. Am I the only one who finds that hard to except? Why do this if you are trying to ground your story in reality? Oh wait, I forget, this is the same kid who builds himself web-shooters…

Peter Parker was never meant to be a genius. He’s just a very, very smart kid (emphasis on the word kid), something Raimi understood. He could follow other people’s theory’s, but he wasn’t up to correcting their mistakes!... Having said that, in Webb’s film he did kind’a cause Connors to become a monster, so maybe he isn’t all that smart after all- but that’s beside the point.

Parker is a boffin, not a genius. Webb 5, Raimi 6.

Aesthetics

Something about Raimi’s Spiderman suit always bugged me; could be the eyes, maybe even the silver web treatment on the suit. Whatever the reason, it always ‘felt’ more like a toy to me than an actual character. Webb’s Spiderman suit (despite the pointless little changes to the layout of the red patches that are barely noticeable, and probably only there to put more distance between the films) actually ‘feels’ real. Webb’s Spiderman also seems able to pull off the character’s more supple and bendy poses, which may only be down to Garfield’s more slender frame. Whatever the reason, I actually prefer Webb’s take on the suit.

When it comes down to the rest of the design, I’m torn. Both largely achieve what they set out to accomplish. Raimi’s timeless suburban neighbourhoods look like they leapt straight out of the pages of the comic book, while Webb’s gritty urban streets and towering skyscrapers set the stage to a more real life tale a’la Nolan’s Batman reboot (forgetting for now that the script fails to deliver on that promise). I can’t honestly choose one setting over the other as both feel just as important and relevant to me.

I would point out that the pointless 3D moments in Webb’s film add nothing to the narrative, and the effects, while not terrible, lack the wow factor you would hope for in a blockbuster whose main character is a guy who can swing high through the city on ropes. Aside from a little more ‘weight’, they don’t really stand much better than those in Raimi’s film, now ten years old.

As I’ve already pointed out, I feel a crushing disappointment at how badly they translate the Lizzard to the screen, although there can be no denying it’s fun to see Spiderman grapple with a character so large and powerful (most of his foes till this point have been at least human in scale and form), and the fight through the school is undoubtedly the film’s best action set piece. I realise there was a small sub-set of fans that were disappointed by the Green Goblin’s suit in Raimi’s films, but that still felt more faithful than Webb’s Lizard- and the casting of DeFoe was masterful and pitched perfectly.

When it’s all said and done, I like aspects from both films, but I’d have to award Raimi’s film the points. His world is more unique and better crafted, and his use of CGI has aged pretty well (considering).

Webb 5, Raimi 7.

Soundtrack

Can you remember the Raimi Spiderman soundtrack? Yes, no, sort of? Some can, others can’t, and I appreciate that. I really liked it. Trust me, nobody will remember the new Spiderman soundtrack. It’s all clipped indie songs, low bass and ambient noise, nothing you’ll ever hum to yourself in the car or tap your feet to. In a superhero film you need a theme, something bold and swelling- especially when you’re lead character is in a red and blue suit.

Final score? Webb 5, Raimi 8.

So that’s pretty much where I stand on the subject of comparison. I don’t touch on just how dull the second act is, or how disappointed I was in the third; all that after a promising start. It’s one of them films that, no matter what I say, if you want to see it you’ll see it anyway. Actually, I recommend you do because it’s probably best described (like so many of Spiderman’s foes) as a ‘failed experiment’, the proiduct of an intelligent mind close to success, but corrupted in its core…

My advice to Mr Webb? Not that he'll read this I'm sure, but here goes... To quote Webb's own Ben Parker "You owe the world your gifts. You just have to figure out how to use them"...