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Hulk 2003 |
Review by Jonathan Cornwell |
Directed by Ang Lee
PG-13, 138 min. (sci-fi violence, disturbing images, brief nudity) |
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Starring: Eric Bana, Jennifer Connelly, Sam Elliott, Josh Lucas, Nick Nolte, Paul Kersey
Producers: Gale Anne Hurd, Avi Arad, James Schamus
Screenplay: John Turman, Michael France, James Schamus
Cinematography: Fred Elmes
Distributor: Universal Pictures
Released: 6.20.03 (Wide) |
Rating:
 (out of ) |
I can only imagine what comic book fans thought when they learned that Ang Lee, a master director of introspective
character studies, was given The Hulk franchise to reinterpret on the big screen. For film critics, who yearn to see well-made
film that centers on character rather than flashy special effects, Hulk piqued curiousity because of its famed director. As for
the fans, I'm not sure they will appreciate Hulk as much as other superhero films such as Spider-Man or The X-Men.
But I do know that Hulk is one of the best comic book interpretations I've seen, combining an insightful, thoughtful storyline
with special effects that serve the characters rather than the other way around. Lee's imaginative storytelling bolsters Hulk
beyond the usual confines of the summer blockbuster; he uses his distinct filmmaking style to emphasize the tragic circumstances
surrounding the Hulk's emergence. And he achieves a rare synergy between actor and CGI creation, allowing the audience
to become involved in the storyline rather than distracted by the computer wizardry on display.
As mentioned, the storyline has been re-invented so-to-speak, as the screenwriters develop Bruce Banner (Eric Bana) as
a victim of his darker persona rather than a test subject gone wrong. His disheveled father, David Banner (Nick Nolte),
experimented on his own DNA code before Bruce was born, resulting in Bruce's vulnerability to radiation, something that
is particularly dangerous since he works as a scientist at the Berkeley Nuclear Biotechnical Institute. His ex-girlfriend,
Betty (Jennifer Connelly), works by his side on a secret project that has her father, General Ross (Sam Elliot), interested
in its military possibilities. When Bruce is exposed to a lethal dose of radiation, he doesn't die, instead surviving the ordeal
with only a now active darker side that shows itself when he loses his temper. Thus the Hulk - a tall, green giant that that
is nearly invincible - is born, and David's experiment has proved successful, at least from his point of view.
That is the bare bones version, but there's so much more going on here. Both Bruce and Betty, whose strained relationship
with her father compels her attraction to "emotionally distant men," must confront their fears in relation to their fathers'
past sins. In a way the film is about their search to obtain closure for pasts that haunt them. In Bruce's case, a terrible
childhood memory must be explained completely by David's re-emergence in his life. Even though Bruce explains to Betty that
"when it happens, when it comes over me, when I totally lose control, I like it," his anger comes from a place that can only
be tempered by the realization of his father's maniacal plan.
And then there's Ross, who wants to destroy what he fears is a threat to national security, and Talbot (Josh Lucas), a greedy
corporate executive, who wishes to harness the Hulk's strength for monetary purposes, that stalk the Hulk's every move.
Lee crafts his picture with this triumvirate-like vision of the Hulk's violent yet protective (of Betty, who can control him)
persona. Bruce eventually realizes that the key to his dilemma is where it all began - with his father. And, of course, Betty
is there to keep the Hulk from destroying the entire military ensemble that has targeted him.
Lee draws inspiration from classic monster tales such as Dr. Jekyll and Mr. Hyde, The Bride of Frankenstein, and most
importantly, King Kong, which resembles the monster on the run from the military but subdued by his love interest.
And like Kong, the Hulk uses rage to suppress the fear that spurs his actions. Lee understands the Jekyll/Hyde dilemma
that confronts Bruce, and he uses these elements to add depth to a character that probably would have been constructed
as a carciature of other superheroes in a lesser director's hands, such as a Michael Bay. Lee crafts his films with the central
character's emotional resonance in mind, producing competent narratives that have impact on the viewer. It's this foresight
that drives Hulk's multi-faceted character study.
Yet Lee also departs somewhat from his somber-oriented cinematography for a more kinetic, comic book feel, with split
screen scenes and sequences that resemble comic book construction. Lee knows his audience isn't the Sense & Sensibility
or The Ice Storm crowd, and appropriately morphs his usual style for a more eye-popping quotient, without betraying his
own directorial roots. Hulk could be a difficult picture for some teenagers to understand, simply because they aren't exposed
to quality filmmaking very often. The bombastic silliness of an Armageddon has been replaced with a thoughtful instrospective
piece on a person's ability to confront and conquer the darker portions of their psyche.
Lee has also chosen his cast wisely. Eric Bana, who burst onto the scene with his frightening performance in Chopper, gives
needed depth to Bruce's split personality. Jennifer Connelly's experience with similar characters in A Beautiful Mind and
The Rocketeer lends credence to her work here as the confused but strong-willed Betty. And Nick Nolte's fine performance
as Bruce's psychotic father is truly scary. They are able to infuse a certain purpose to the proceedings here, something that
is almost always absent summer blockbusters.
It will be interesting to see how Hulk stacks up against similar past superhero epics at the box office because of its art house
sensibilities. But even if the film is financially disappointing, Universal Pictures should be applauded for having true interest
in how a picture is made, rather than just why it is made. With directors like Ang Lee at the helm, the
summer blockbuster could become something to get excited about once again.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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