All pictures: Marvel Studios
Separate marching, bruising: Joss Whedons "The Avengers" is a superhero rescue screen
There is also a Heiner Geibler to Spat. Stuttgart has to go to her knees – actually: The Schwabische City capital comes in an American blockbuster! And it has neither with rectors and terrorists nor with "Stuttgart 21"-Wutburgers to do. But when the archbose weight of the film, the Nordic God Loki, relatively at the beginning wants to show his enemies and us cinema sore, what a rake is a rake, he is not looking for one of the capital age or new empires, anything between Rome, London, Istanbul and Moscow, but Stuttgart. "You were created to be mastered!", he brulls, and then no human chain and no limitation. All knees. Only one stops: a survivor of the Nazi Volkermord.
Some others are still very well known to us: the sardonic grinning "Iron-Man", The spinach grunt "Hulk", the a bit colored blonde hippie "Thor", and the perfect classprimus Captain America. No wonder – the four were already several of their own film appearances, which were artistically as economically very different. These already established comic superheroes form the core of that superhero franchise, which now comes into the cinema with bombast: "The Avengers", Not to be confused with the British television series of the same name, which with us under the name "With umbrella, charm and melon" Cult status reached.
"The Avengers" are a collection of otherwise lonely operating superheroes, which – like that will be extinguished extensively in the film – to form a common use -, so to speak for the coarse superhero coalition. You could also "The glory seven" Name: It is indeed seven on a prank, next to the four named Natasha Romanoff, as Black Widow the Catsuit woman in Mannerbund, Hawkeye and Nick Fury, a kind of Captain Picard, AH: Charles Xavier, ie the alters Primus Inter Pares of this Neo-Tafel Round.H.I.E.L.D. calls an international organization for defense global threats.
Multicultural Superhero Society
"The presentation of heroes may seem outdated", Says Fury at some point. Superheroes are known to be myths of modernity, so what once said the knights of the Minnegesange, the gods and semi-godters of the ancient. The decisive new, and probably very time-bearing and more important to the story than everything: It’s more than one! This is a team. By dealing with many, the film does not suggest its spectators, as they have to be, there are no role models, but lives tolerance and freedom. Every moment it’s about pluralism to avoid a kind of multicultural superhero company.
the "Avengers" The Heroes of the British Series, Emma Peel and John Steed, from the beginning of the sixties: they are people like you and me who came through a coincidence to their power and then have to deal with them. And these pencils not only have their good: the normalos often treat the special skills like a disability, react with fear and diligence to the massive limit of burger rights. the "Avengers" are freaks, stewed, paid by society.
Especially that makes you attractive, and charges one for identification with you. The classic theme of the good monster Frankenstein, from the chopping, which suffers from itself, mixes with that of the split personality: DR. Jekyll and Mr. Hyde. So are the "Avengers" a deeply liberal and humanistic, individualism celebrating fantasy, the primar of the otherness and the handling of him acts.
Hero fusion in the face of the cosmic worm
On this prehistory, in which the film sometimes established a little bitam and bumpy his handful of main characters, follows the real challenge. This is of course at least planetary, the downfall of the earth is on the game, so the heroes had to fuse to the global trust: Loki, which steals so jealous as unscrupulous brother of the Thundergott Thor, steals "the cosmic river", A miracle weapon invented like all miracle weapons to secure peace, and now becomes a new war.
Joss Whedon (with "Serenity" In 2007, a beautiful journeyman presented), staged this adventure very effectively: slowly it starts to get steady to the overbonding final, so that the two and a half hours of long runtime passes rapidly. In between, there are enough fun diagets for relaxation.
The remainder worried a coarse part excellent ensemble: Robert Downey Jr. (Iron Man) and Scarlett Johansson (Black Widow). Then nothing comes for a long time, then you treasise Mark Ruffalo ("Hulk"), Jeremy Renner (Hawkeye) and the old Samuel L. Jackson as Nick Fury, during Chris Hemsworth and Chris Evans, especially for that, who is the most unbearable of the two. Great against it is Stellan Skarsgård as a scientist Erik Selfig and Tom Hiddleston as a rogue Loki.
Franchising, monopolization, diversification; Expansion with increasing speed
So far, so acceptable for this first marvel production from Disney, since this had bought the comic giants in 2009. What in the theory was materal and uploaded, like an idea of anxiety bunnies, who do not trust a single superhero, is in practice then quite well and anyway much better than was allowed to expect.
Nevertheless, one should not be blown away from some euphoric reviews: really original is not here, there are moral preached and heroic submarine à la Hollywood, and the exit is the way you can expect. What the film is clearly lacking is some ambition that is enough to make a good selling product with which you can go out of the fan masses as much money as possible. Art or cultural added value? That’s the wrong question.
The rough superhero coalition
We have it with cinema as pure – not only to do primary-economic phenomena, which is interesting exactly because here principles of other areas are transferred to the cinema itself (not only on its marketing): franchising, monopolization, diversification; Expansion, with its extension of speed. This film is there as a result of a self-advanced industry that creates the needs of which she lives is. You can admire that, you can praise it as an example for the entrepreneurship of the "Honest businessman" (as in the new F.D.P.-Program is called), one can, of course, also see a decader emotion or one of the causes of the poor artistic state of cinema.
Second coarse minus point: The – Follow-up – use of the 3-D technology is not only completely unnecessary, the technique can not keep up with fast camera rides and cut sequences. The eye does it hurt, the spectator will spoil the spab.
Finally, with 220 million dollars plus marketing ies this Disney spectacle is just Obszon expensive. There is a problem that many money is also because it puts the cinemas under massive prere. They are forced to play the movie, from morning to evening and about weeks – even if the cinemas are only a third. Thus, the film blocks and reduces the chances of many other films that have no huge advertising machine behind. Just a movie celebrating the variety, destroy them.