Where its success lies

Spider-Man 2 is easily going to be the best film of the summer. Back in 2002, when the original Spider-Man came out, Sam Raimi set the bar for comic book adaptations. He had created the quintessential summer film, trouncing whatever boundaries could have existed between die-hard comic book fans and the average movie-going public. His love for the material was evident, ensuring that he remained true to the essence of the comic book while not alienating those who had not followed the series. Furthermore, he was able to put together a dynamic cast and crew to realize his vision. Spider-Man fires on all cylinders, and it was always going to be a tough act to follow.

It’s no great surprise that Bryan Singer and the X-Men franchise rose to meet the challenge. X-Men 2 was enjoyable, and while there were quibbles from some comic book fans, the overall reception of the film was positive. Indeed, the future of comic book adaptations looks promising with Christopher Nolan’s new Batman on the horizon and Darren Aronofsky’s Watchmen slated for 2006. However, these would-be greats in the kingdom of comic book adaptations must follow in the footsteps of Spider-Man 2, a film that matches and surpasses its predecessor. Everything that was found in the original Spider-Man may be found in its sequel . . . and then some.

To begin at the beginning: There is a lengthy and informative discussion on the Spider-Man DVD commentary about the creation of the opening title sequence in the first film, a title sequence that will long remain in memory for its creativity and artistry. If that was impressive, the opening title sequence of Spider-Man 2 is simply mind blowing. The first film is stunningly recapped by the great Marvel artist Alex Ross. Accompanying the Ross images (only one of which is photo-realistic–Mary Jane Watson’s–a signifier if I ever saw one) is the equally gorgeous score of Danny Elfman, whose music mirrors at all times the internal struggle faced by our protagonist, whether it is the soaring heights of the hero or the confusion and plaintive yearning of Peter Parker.

The success of Spider-Man rests on the character of Peter Parker. What Sam Raimi understands and most comic book directors fail to grasp, is that character is what drives a film forward. A compelling character holds our attention more than any stylized special-effects bonanza could, and with Peter Parker/Spider-Man, Raimi has a deep well of conflicts and personal battles to draw from. Spider-Man’s ability to revolutionize the comic book superhero at a time when superheroes had long fallen out of favor, is due to the ease with which one can identify with Peter Parker. He is, essentially, an ordinary guy struggling to make ends meet, to balance his part-time jobs with his schoolwork, a man who doesn’t even have enough time to spend with his friends and the love of his life, all because he’s accepted the responsibility of saving the world in his "spare" time.

Added to the burden of Peter Parker’s superhero alter ego is the fact that he is alone. He has no confidante, no one to turn to except the memory of Uncle Ben and the guilt that racks him for the consequences of having chosen not to stop the thief who would eventually kill his uncle when he had the chance. Although all superheroes deal with the difficulty of living double lives, think how different it is for Bruce Wayne, who has the resources of his wealth to fund his caped crusade, who has the Batcave to return to, and who has trusted Alfred to confide in–and you can see why Peter Parker/Spider-Man effortlessly resonates with the people.

Tobey Maguire is Peter Parker/Spider-Man, and the sequel truly allows him to come into his own in the dual role. While Jake Gyllenhaal could have filled the shoes of Spider-Man, he doesn’t possess the sweetness and naiveté, the utter dorkiness that is Peter Parker. Peter Parker’s exuberance shines in the Raindrops Keep Falling on My Head montage, shortly after he chooses to be Spider-Man "no more," when he indeed falls down and self-consciously picks himself up again before swinging on his way. In fact, when he limps away after falling 30 or so stories from a building, and moaning "My back, my back!" that tongue-in-cheek moment suddenly doesn’t seem so funny anymore when you think of what might have been.

The rest of the cast is equally adept, but special mentions must go to Rosemary Harris who is the perfect Aunt May and Alfred Molina as Dr. Otto Octavius. Aunt May’s character is well fleshed out in this sequel. She has always been one of the most likeable characters in the Spider-Man universe, and Harris get the screen time that she deserves. Alfred Molina makes a convincing Dr. Octavius, and he seamlessly fits into the chemistry of an already tried and tested cast. Molina has the most expressive eyes, which in turn can take on the childlike expression of a frightened but loveable cow, to the steely determination of a raging bull. It seems to be the fate of Spider-Man villains to suffer from various forms of multiple personality disorder, but Molina’s interpretation of Doc Ock is far subtler than Willem Dafoe’s maniacal Green Goblin. For all his subtlety, Doc Ock is a more menacing character as is established from the start in a hospital scene hearkening back to Sam Raimi’s Evil Dead days, albeit a PG-13 version. (Speaking of the Evil Dead films, Bruce Campbell makes a hysterical cameo as the "snooty usher.")

Aside from the stellar director and cast, the beautiful images and soaring music, kudos must go to the talented script-writing team. The script is tightly woven and unfolds in the tradition of the great human drama. It is no coincidence that Michael Chabon, the Pulitzer-Prize winning author of The Amazing Adventures of Kavalier and Clay, who truly understands the pathos of the superhero psyche and its implications, has been given credit for his input on Spider-Man 2. The dialogue is never forced, and exposition is never beaten over your head in the style of the Wachowski brothers (George Lucas could also learn quite a few lessons from the Spider-Man team: the emotional pull of Mary Jane and Peter Parker’s love story is the very antithesis of the contrived romance between Padme and Anakin). The only time the script becomes a little heavy-handed is during Aunt May’s crucial "everyone needs a hero" speech, but her delivery of it is flawless. Instead, the script flows as smoothly as the rest of the film. Sure to add to one’s enjoyment is that many scenes and motifs from the first film are revisited (e.g., a visit to Uncle Ben’s grave, a heart-to-heart between Mary Jane and Peter Parker from across their old backyards, Mary Jane re-enacting that kiss with her astronaut fiancé, Peter Parker saving a baby from a burning building but unable to save another occupant) and seen from an older and wiser perspective. Decisions and choices abound.

Choice is what Spider-Man has always been about: how our choices lead to the kind of person we become, a lesson Mary Jane has to remind Peter of at the end of the film. Each character faces a crucial choice, whether it is Doc Ock choosing not to die as a monster, or Harry following in the footsteps of his father. While some choices are more obvious than others, they all come at a great price. The future may remain uncertain for the characters, but the greatest choices of all fall to Sam Raimi and his talented team. Viewers can only wait with barely contained excitement to see where this franchise will go next.