by Joe Tirella
You have to give credit to Jon Favreau. When I first read that Robert Downey Jr. would be playing Tony Stark/Iron Man I did a double take like everyone else. Robert Downey Jr. as a superhero? Mr. Tabloid Fodder himself? And for that matter: Jon Favreau — you saw
Elf, right? — as the director? My initial thought: we were in store for a
Fantastic Four redux. Lameski.
Not so fast. My apologies to Favreau, who has managed to turn in one of the most memorable film adaptations of a comic book hero that Hollywood has ever made; perhaps the best since
Spider-Man and
X-Men 2 (my personal faves). He was also smart and credible enough as a director to lure Downey, a brilliant but troubled actor to play the brilliant but spoiled, faulted, playboy-industrialist Tony Stark, who after a life-altering experience becomes Iron Man. Downey's performance establishes a new standard of depth and complexity largely unseen in superhero films. His only company in the genre is Patrick Stewart as Professor X or Sir Ian McKellan's Magneto.
Joining Downey are three other Oscar-nominated actors: Gwyneth Paltrow, who plays the smart and sassy Pepper Potts (her scenes with Downey are laced with a Mulder-Scully romantic tension that spurs the film on); the always amazing Jeff Bridges as the villainous Obadiah Stane; and Terence Howard as Lt. Colonel James "Rhodey" Rhodes.
Iron Man easily has the best cast ever assembled for a comic book adaptation.
The film takes the Iron Man origin story from 1963 and substitutes the war in Afghanistan for the Vietnam War; like in the comic insurgents injure Tony Stark; his heart is damaged in the process and Yisen, a fellow captive and scientist, save his life. When his capturers demand he build them a missile, he makes a crude Iron Man suit instead, that wonderfully resembles Jack Kirby's original gray suit, and uses it to escape.
We see Stark's subtle transformation from war profiteer-to-superhero as he comes to grip with the real life tragedies caused by the products of his fertile imagination; he realizes that Stark Industries is just another Halliburton, profiting from others' misery. He decides to stop producing weapons, which of course, puts him in conflict with his partner Obadiah Stane (played by Bridges) the personification of the industrial-military complex. This neatly sets up the films' climatic battle.
The film works on several levels: as a traditional summer blockbuster (there's plenty of action, cool effects, etc.) that fulfills all the standard requirements while at the same time telling a human story of a very complicated hero in a complicated world and smartly uses the War on Terror and America's own war machine as a backdrop. Favreau also manages to stay true to the key story arcs that made Iron Man into the Marvel legend that he is, while laying the foundation for a sequel (or two) — both the seeds for Mandarin and War Machine have been planted; Marvel and Paramount would be insane not to greenlight both. Immediately.