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Not so long ago, superhero films were still considered a new, refreshing change in the blockbuster sector. But the advent of the Marvel Cinematic Universe, now spanning four phases, 28 feature films and multiple serial productions, has been both a blessing and a curse for the genre. Content that had long served a niche of comic book connoisseurs suddenly made it into the mainstream. However, this circumstance also meant that the essentially wacky, quirky esprit of the templates sooner or later had to be adapted to the preferences of the general public. In other words, Marvel boss Kevin Feige was probably of the opinion that the viewing habits of cinema-goers should not be challenged too much. People began to rely on nostalgic values, created a uniform (and monotonous) aesthetic and used the episodic narrative style of television. “Anyone who hasn’t seen FILM/SERIES XY won’t understand FILM/SERIES XY,” fans often say. The individual films were robbed of their originality, everything blurred into a mass of cameos, Easter eggs and post-credit scenes that are intended to make what is to come palatable. A man who might have stopped this creative standstill: Sam Raimi. The genre master is credited with pioneering the modern superhero film with his much-loved Spider-Man trilogy in the early 2000s. The special thing regarding the series: Raimi’s stylistic idiosyncrasies, which originate from the horror cinema of the 1980s, which he himself shaped, were always noticeable and recognizable. Since then, his “Spider-Man” films have been considered the unrivaled gold standard in the comic film genre, both narratively and aesthetically. For many, the message was all the happier that Raimi should finally return following a 10-year absence from the cinema and take over the direction of “Doctor Strange 2”. The hoped-for rescue of the Marvel film does not materialize. The following text explains why the superhero blockbuster is still more of a Marvel film than a Raimi film, despite Raimi’s visible handwriting.
But first: what is it actually regarding? dr Stephen Strange just won’t settle down. The magician, who has saved the world on several occasions in the past, either alone or with the Avengers team, only wants to attend the wedding of his ex-girlfriend Christine (Rachel McAdams) before his next assignment is imminent. The appearance of an octopus-like creature has the people of Manhattan in suspense. During his fight once morest the tentacle monster, he suddenly meets a young woman whom he had previously met in his dreams. Teenage America (Xochitl Gomez) has the gift of hopping from universe to universe. Her powers are sought following by none other than Wanda Maximoff (Elizabeth Olsen), who is driven to villainous deeds by her alter ego, the Scarlet Witch. In order to preserve her illusion of self-conjured children, the powerful sorceress wants to destroy everything that stands in her way. Strange embarks on a wild ride through the vastness of the multiverse with his young sidekick. The plan: to stop Scarlet Witch’s malicious scheme and reach the normally good-natured core of the grieving Wanda.
The pre-released trailers raised hopes that Marvel oddball Raimi was actually doing his own thing. And at least stylistically you can definitely see traces of Raimi in the end result. The coloring is much brighter and poppier, scene transitions far more playful and there is noticeably more movement in the camera work than usual. The stylish gimmicks give the film a visual dynamic that is miserably lacking in the mostly blandly staged Marvel universe. To speak of a genuine Raimi, however, would be a complete lie. Two worlds meet here that simply cannot harmonize: on the one hand, Raimi’s vision soaked in crazy esprit, on the other hand, a mass-produced Marvel product. The studio clearly has the upper hand.
A fact that would only be half as sad if the film didn’t constantly try to fool you into believing that it’s more than that movie is. Behind the feigned courage to be crazy is little more than hot air. Storylines are told as standard, supposedly risky decisions remain to be expected and uninspired guest appearances have to be used once more for a lack of creativity. Even the horror elements in the final act make use of the director’s influential genre works without setting new accents. After all, you had someone behind the wheel who knows how to stage even the most routine shocking moments.
But where it says Sam Raimi, it should also be 100% Sam Raimi. Raimi has shaped the genre like no other and is condemned here to a studio work that largely binds the influential loner to the chains of the cynical Marvel system. Should we really settle for the bare minimum of creative freedom? Should we continue to accept that even great directors currently have to submit to the surviving Marvel cosmos and are hardly allowed to contribute any ideas of their own? James Gunn showed last year with “The Suicide Squad” that an idiosyncratic, creative approach to the comic medium is still possible in Anno 2021. Assuming you really let the filmmakers take the reins. Sam Raimi has created two trilogies of timeless quality with “Evil Dead” and “Spider-Man” (one can argue regarding part 3). His Doctor Strange film will soon be swallowed up and forgotten by the same pantheon of Marvel heroes. One can only hope that Raimi will soon have the opportunity to let off steam once more. In any case, the train seems to have left Marvel.