by John D. Bess
Daily Lobo
While some may think Hollywood has beat the superhero thing to death, any wannabe-caped crusader would pay their own weight in vintage DC pulp to keep the celluloid versions coming.
At first glance, the film adaptation of Marvel Comics' The Hulk appears to be just another studio attempt to cash in on the recent success of the Spiderman and X-Men franchises. But on closer inspection, this seemingly mild-mannered film reveals its true self - the best Hollywood translation of a comic book since Tim Burton tackled Batman.
That doesn't mean that this film was rife with stellar dialogue or Oscar-caliber performances; although Oscar winner Jennifer Connelly is featured prominently, or as a tear jerking, mind blowing third-act dÇnouement.
It's based on a comic book, folks, not Shakespeare.
Be that as it may, "The Hulk" unabashedly delivers the comic book goods by the truckload. This film celebrates the art of the classic comic. From the title to the credits, it features eye-popping colors and has ingenious use of wipes and dissolves. The film is a sumptuous ocular feast.
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From start to finish the movie is graphic, not in content, but in presentation. It really looks like a richly colored comic come to life.
Director Ang Lee uses some dazzling methods to replicate the look of comic book panels on screen. Some are obvious, such as the split screens that were so prevalent in "Charlie's Angels."
Instead of a retro sight gag, Lee uses them as vivid elements of storytelling with opposing or supporting action occurring in separate picture-in-picture panels at the same time, just as a comic book would.
Australian actor Eric Bana plays the beleaguered Bruce Banner, a.k.a. the Hulk. While unknown to many Americans, Bana is a well-respected actor down under. Prior to a healthy supporting role as a Delta Force commando in "Black Hawk Down," Bana was making a name for himself in independent films. Is Bana the next Mel Gibson? Maybe.
Okay, so the big question remains: how did the Hulk look? Was it some green mess of computer-generated tricks that we're forced to convince ourselves look remotely real? Well it's CG animation, with all its inherent limitations, no doubt about that. But aside from dying some steroid-pounding weight lifter lime green, there's really no way around it.
The CG folks did an awesome job. Close-up facial expressions appear startlingly real and individual hairs blow in the computer-generated wind. The only real problems occur during some of the hero's fast-paced interactions with "real" elements like tanks and helicopters. It is then that the audience is asked to exercise their imagination a bit more.
We are also asked to imagine what the real story is behind our hero's condition. Though he, his father and his girlfriend are all braniac genetic-nuclear-bio-physicists of some sort working to deal with the anomaly, no one ever comes right out and tells us how this happened. Instead, we have to make do with some vague claptrap about some radiation something or other, mutating his genetic watchamacallit.
This can all be taken in stride if the moviegoer enters the theater expecting to suspend reality for two-and-a-half-hours and just enjoy the visual spectacle of this film.
No, you will not be confronted with surprising plot twists or gripping drama, just good time movie fun featuring the biggest pair of green jewels to ever hit the silver screen: Jennifer Connelly's eyes.
