Brief
reflections on “Dr Strange in the Multiverse of Madness”
and
thoughts on other modern action/adventure films.
Although I tend to write
about relatively weighty dramas with major themes, I do enjoy the occasional
romp in the form of a blockbuster or a superhero film. I was quite impressed by
the early Marvel outings which made an effort to build character and regularly
dealt with worthy themes beneath the superhero antics.
I can’t say I’m a big fan
of fantasy films but I quite enjoyed “Dr Strange” as I found it an imaginative
extension of the human experience anchored in inner conflict and principle,
with a focus on plot and character development, all within a framework of
imaginative and challenging perceptions of possible, if improbable, realities.
I found the latest sortie
of Dr Strange into the multiverse spectacular and very well made, but this time
I felt largely uninvested in the characters and uninvolved in an overly
contrived plot that was served by a glib script. The audience is entirely in
the hands of self-indulgent filmmakers as we are thrown from one outlandish and
extreme situation into another, with little consideration of pace, character
development or consistency. I see these as “hooks” that encourage an audience
to actually care about the fate of the characters and plot progression, but as
it is, they appeared to be mere puppets to fill one forced action sequence
after another. Curiously, the only character who invites compassion is the
misguided and unstable villainess at the centre of the piece, yet little work
is done to build any sense of tragedy or even regret over her fate.
Spectacle and speed are,
of course, essential to gloss over gaps in logic and justification. Indeed, if
you think about the content in any depth (and that is ill-advised on the
grounds of danger to mental health), you may conclude that the audience is treated
with quite remarkable disrespect as events unfold and characters react
seemingly at the whim of the writers with little thought of an old-fashioned,
well-plotted storyline that might have had meaning or relevance to the
audience.
The problem with this
film, and with so many other modern action-adventures, is that it seems
anything can happen at any point, apparently without the need for real
justification or explanation, but then films whose plots are constructed around
concepts for action sequences, stunts, and opportunities for a director or star
to show off technique and style, are likely to lack plot integrity and
engagement as themes and character development are sacrificed to spectacle and
visual thrills.
All that said, “The
Multiverse of Madness” is remarkably well made and remains fast-paced
reasonably entertaining fare with smatterings of a knowing humour, yet its
qualities also serve to undermine concern for characters and interest in the
plot as the lightness of script and lack of consequence contrasts with
atmosphere and situation.
In so many modern action
adventures, and this is certainly not restricted to films from the Marvel
stable, action sequences often constitute a veritable onslaught on the senses
in terms of pace, extravaganza and sheer deafening volume, and this actually
has the effect of desensitising and even disengaging the audience, whose
understanding and commitment are sacrificed to spectacle and visual thrills
with little attention paid to integrity and cohesion.
Another weakness is the
sheer length of the film. Why is it assumed that a longer playing time means a
better film? Adding action sequences and unnecessary plot developments, which
risk transforming adventure films into soap operas, may only make the
experience more tiresome and may suggest a lack of appreciation or
consideration on the part of filmmakers for plot integrity and audience
response and thresholds. Self-indulgence of this nature does nothing to enhance
the quality of the film and may well detract from it.
Although the blockbusters
of the summer of 2023 have fared reasonably well at the box-office, it has been
suggested they have fared considerably less well than hoped, and those
filmmakers disappointed by their box-office returns might do well to consider
just why people are failing to flock to their films and should consider the
quality of their scripts and product rather than blame social issues, financial
pressure and even the weather for disappointing attendance.
Big, brassy stunts and
set-pieces should enhance or complement a good, engaging storyline, not replace
it. Cinema-goers return to view sequels not because of the action sequences but
because they care for or are entertained by the characters and plots. A good
action film will put substance, heart and mind over stunts.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
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