(True, Spider-Man has no mouth, and Peter Parker barely opens his-the words slip out through a reluctant slit.) The film tells Spidey's origin story-who Peter Parker is, who Aunt May ( Rosemary Harris) and Uncle Ben ( Cliff Robertson) are, how Peter's an outcast at school, how he burns with unrequited love for Mary Jane Watson ( Kirsten Dunst), how he peddles photos of Spider-Man to cigar-chomping editor J. I understand why it's immobile (we're looking at a mask), but I'm not persuaded the movie could simply ordain that the Green Goblin's exterior shell has a face that's mobile, and the character would become more interesting. He's handicapped, too, by his face, which looks like a high-tech action figure with a mouth that doesn't move. He, too, looks like a drawing being moved quickly around a frame, instead of like a character who has mastered a daring form of locomotion. The other super-being in the movie is the Green Goblin, who surfs the skies in jet-shoes. He looks like a video game figure, not like a person having an amazing experience. Spider-Man as he leaps across the rooftops is landing too lightly, rebounding too much like a bouncing ball. Remember the first time you saw the characters defy gravity in " Crouching Tiger, Hidden Dragon"? They transcended gravity, but they didn't dismiss it: They seemed to possess weight, dimension and presence. And then there's a scene where he's like a kid with a new toy, jumping from one rooftop to another, making giant leaps, whooping with joy. He learns how to spin and toss webbing, and finds that he can make enormous leaps. The movie shows him becoming aware of these facts, but insufficiently amazed (or frightened) by them. He was scrawny yesterday, but today he's got muscles.
He had the powers of a spider and the instincts of a human being, but the movie is split between a plausible Peter Parker and an inconsequential superhero.Ĭonsider a sequence early in the film, after Peter Parker is bitten by a mutant spider and discovers his new powers. As a reader of the Spider-Man comics, I admired the vertiginous frames showing Spidey dangling from terrifying heights.
Within the ground rules set by each movie, they even have plausibility. The appeal of the best sequences in the Superman and Batman movies is that they lend weight and importance to comic-book images.
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