In this space I have the fortune to share with my two colleagues, Eastwood, and Jairo Alfred Potter, the view that a film is not ontologically good or bad. Avoiding judgments on technical quality, consider a movie as good if it delivers what is expected, rather than seeking more than they can deliver. With this vision, an intimate film, made formally and with exquisite visual detail can be as good as a comedy of errors, a parody or a police chase movie. So it's very difficult to define what is the best film in a given year, for the production variables are also related to the type of expectation that the film has generated. There are films that simply seek to distract the view, other thought-provoking, some of which are responsible explore narrative and formal possibilities of the medium, other than just waiting to tell a story that touches us. Some think that the most representative works must meet only one of these qualities, but there are those who believe that the best films tend to be those that achieve a satisfactory mix of all these qualities. On this occasion I will refer to Iron Man 2 as a film that does the trick at all levels being raised. Meets the requirements of film genre, and succeeds as a good cult movie, meet fans and newbies. Although it may seem convenient, it is useful to assert that there is a new film genre defined by the comic book adaptation. I do not think that this classification serves as the film has been adapted all kinds of works (painting, literature, journalism, television, radio and even film), and it's absurd to divide products film according to the source material for adaptation - except in the case of 'remake'o fried because it is a reconstruction of the same medium.
funny thing is that it seems very comfortable referring to the comic book adaptation as a particular form, however the storyboard, an essential step in the development of the majority of films, is almost a comic in itself. As the script is a transformation by way of written project, the storyboard sequencing is an image that effectively turns the narrative action in a series of vignettes that can be static be understood by the production team and serve as a guide to its filmic representation. Thus, it seems absurd to think that the comic was this rather than textual support, but sometimes include visual elements that play on the big screen. But talking about the comic book adaptation as a genre is as absurd as talk of literary adaptation as a genre. The comic, like literature, has many facets and many different types of products.
The case of Iron Man 2 serves as an example, because it gives us a certain kind of comic book - the comic book superhero - whose interest is primarily the entertainment. This type of comics has been characterized by excessive devotion to create images of perfection in human bodies, the creation of characters and stories that extend over time thanks to the constant reproduction of printed comics, and visual exploration of graphic space and communicative possibilities within the printed page, among other qualities that do not want to explore now to avoid spreading too. The relationship with other forms of media can thus be seen clearly: the obsessive interest in the ideal bodies on the comic vision of the Hollywood film, which wallows in actors and actresses who defined the concept of beauty. Narrative continuity separate full stories related to comic book serialized television, rather than film or literature. His exploration of the visual boundaries of the page, away from the film and brings it closer to painting in its expressive desire.
Similarly, the cartoon has been actively nurtured the film and photography. The ideal body reference promulgated by Hollywood have become benchmarks for the creation of characters and actors have been the model for some comic book heroes. The angles and photographic compositions, as well as blur, have served to enrich a medium that originally focused on more general levels. Painting techniques have made the comic not limited to a visual reduction of features, but to explore the possibilities of various techniques such as watercolor and oil paintings. Iron Man 2 shows many of these issues. Robert Downey Jr. not only plays a major role as Tony Stark, also builds a new facet. This gives him a face more specific in this character, just like Christopher Reeves affected the way that drew a Clark Kent. The obsession with male and female bodies is evident, from the dancers who accompany Stark in his first appearance in this movie, even the clothes stuck Rushman Natalie (Scalet Johansson), focusing especially on the male body of the 'suits' Stark metal. Is excessive interest by the exaggerated male and female body as we have seen in almost all movies based on comic book superheroes (Superman, Batman, Sin City, 300, The Spirit, to name a few).
The construction of the characters developed for many years in the comic book series serves to allow the proceedings in the movie stand out. Robert Downey Jr. manages to embody the narcissistic, arrogant and self-flattering Tony Stark, including weakness for alcohol and extreme self-sufficiency. This dedication to the characters allows them to have bright lines that help you remember the characters and remain in the memory of fans. Beyond that, this constant current international representation through cameos strengthen those characters and created a universe of links that satisfy the most dedicated forever cult following - for example, Tony Stark appears in Hulk, The Incredibles (2008 ) and the next installment of Nick Fury (2011) and The Avengers (2012), or Stan Lee, creator of many Marvel Comics characters, making cameos in the style of Hitchcock.
Interestingly visual possibilities within the page have not been brought to produce similar effects in film. In Iron Man 2 there is no use of visual space to tell stories in parallel, or contrast moments, even to represent the face of Stark or Vanko within the 'costume' mechanic. This aspect of the comic has not permeated both films, though his most important contribution is visual. At best, in The Spirit (2009), Sin City (2005), or 300 (2006) has served to acquire a background image stylistically similar to that produced in the comic, but not for the narrative construction through vignettes. However, the movies based on superhero comics have had similar good fortune to the literary adaptation. While some have been great successes that continue to produce sequels or franchises (Batman and X-Men as the best examples), others have been significant failures. Furthermore there are also movie versions of comic book superheroes are not, as such, corresponding to a different style of play not based on a monthly or weekly occurrence, but annual best. Asterix has had several film appearances in France, with mixed results, the film Mortadelo and Philemon (2003) was irregular and Mission: Save the Earth (2008) a total failure the next year we will see Steven Spielberg directing the first version of Tintin in the film. We'll see what kind of adaptation shows this famous director.
In short, Iron Man 2 is a film palatable, understandable, with a well-developed main character, showing a visual delight in the male and female bodies, and with a large dose of explosions and high speed chases to violent demonstrations aggressive but not bloody (thereby receiving a classification to avoid the younger go to see it).
The film also has a strong ideological, as Jerome says in his book Rivera Film: Recipes and Symbols , represents both the historical moment as the backdrop against which the work is constructed. It is inevitable to see the reference to the U.S. center of the universe, and technology and free enterprise as a bastion of culture and, presumably, as a promulgation of world peace. No need, either, disqualify the work for this reason. Simply, and as recommended by the book, one must understand that the audiovisual work has many simultaneous messages and we must realize that some of those absorbed without realizing it. Therefore these issues discussed here, to show that there is much to say about the film. Yes, and quoting Rivera, talk about movies, "No let's enjoy it. "
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