Why The Iron Giant is one of the most powerful… | Little White Lies

In Praise Of

Why The Iron Giant is one of the most pow­er­ful super­hero movies ever made

10 Feb 2016

Words by Tom Bond

A large, hulking robot with a smiling metallic face, wielding powerful weapons, stands against a vibrant orange and yellow sky.
A large, hulking robot with a smiling metallic face, wielding powerful weapons, stands against a vibrant orange and yellow sky.
Brad Bird’s soar­ing 1999 ani­mat­ed fea­ture taught us that true hero­ism is much more than quips and spandex.

At first glance, The Iron Giant seems like an easy film to pigeon­hole. It’s a kids’ clas­sic in the most tra­di­tion­al sense, with a brisk 86-minute run­ning time that charts the grow­ing friend­ship between a boy and his met­al friend who fell from the stars. If you were feel­ing ungen­er­ous you could call it E.T. with a robot. But beyond that decep­tive­ly sim­ple syn­op­sis there’s a sto­ry that actu­al­ly adds up to one of the most authen­tic and pow­er­ful super­hero films ever made.

If The Iron Giant is real­ly a super­hero film, then it’s notable for hav­ing one of the most unusu­al ori­gin sto­ries around. Based on the 1968 novel­la, The Iron Man’, by British poet Ted Hugh­es, the film shares the same ini­tial premise of an iron man who feeds on met­al befriend­ing a young boy named Hog­a­rth. After that though, things get very strange. In the book, the iron giant learns to live in har­mo­ny with the locals until a strange being named the Space-Bat-Angel-Drag­on” crash-lands on Aus­tralian soil demand­ing food. The iron giant chal­lenges it to a test of endurance where the two of them have to with­stand the heat of the sun and burn­ing petrol respec­tive­ly, a test which our hero even­tu­al­ly wins.

When Brad Bird and Tim McCan­lies adapt­ed the sto­ry for the screen – with the exec­u­tive pro­duc­er input of The Who’s Pete Town­shend – they took this rather psy­che­del­ic ene­my and turned it into some­thing much more appro­pri­ate for the film’s 1957 set­ting: the Red Men­ace. Cold War para­noia is every­where in Rock­well, Hogarth’s home­town, switched across the Atlantic from Hugh­es’ native UK. An ear­ly glimpse of the giant prompts one of Hogarth’s class­mates to whis­per the telling words: It’s prob­a­bly been sent by for­eign ene­mies to take over the coun­try. We should bomb it to smithereens before it does.” Like so many oth­er super­hero comics and films, the con­sen­sus from mankind is that what is dif­fer­ent should be feared.

While most peo­ple are ter­ri­fied of the inquis­i­tive met­al-munch­ing giant, Hog­a­rth is one of the few whose curios­i­ty out­weighs his trep­i­da­tion. He ven­tures out at night from under the watch­ful eye of his over­worked sin­gle moth­er – the clear­est sim­i­lar­i­ty yet to E.T. and the Amblin spir­it – and res­cues the wan­der­ing giant, keep­ing it hid­den in his barn. The pair talk – the giant voiced by a mono­syl­lab­ic Vin Diesel as echoed from inside a water tow­er – and hit upon the defin­ing mes­sage of the film and all super­hero sto­ries: does your nature define you?

Hog­a­rth shows his com­ic col­lec­tion to the giant, point­ing out Ato­mo, a met­al men­ace” bear­ing an unmis­take­able resem­blance to him. The giant’s anx­ious eyes say it all: am I evil as well because I look like him? Instead, Hog­a­rth com­pares him to Super­man, with his sim­i­lar ori­gin sto­ry: Sure, he’s famous now, but he start­ed off just like you. Crash-land­ed on Earth, didn’t know what he was doing. But he only uses his pow­ers for good not evil.”

The giant doesn’t even demon­strate any super­pow­ers until late in the film, when his true nature reveals itself. He has a self-defence mech­a­nism where the sight of even a toy gun makes him retal­i­ate with lethal force. It’s part of his pro­gram­ming, but it near­ly kills Hog­a­rth when the two are play­ing in a scrap­yard. The more gen­er­ous part of his nature leads the giant to save two chil­dren falling to their death, but in doing so he reveals him­self to the towns­peo­ple and attracts the atten­tion of the US army.

They launch an assault on the giant, but only suc­ceed in push­ing back any sen­tience he had and turn­ing him into a ram­pag­ing killing machine, replete with lasers and machine guns wip­ing out any­thing that threat­ens to attack. He’s only defend­ing him­self, but his true nature is destroy­ing the town, and even­tu­al­ly it leads a reck­less offi­cer to launch a nuclear attack.

Build­ings crum­ble and cities are lev­elled as a mat­ter of course in most super­hero films, but their destruc­tion rarely feels mean­ing­ful or scary. Here, direc­tor Brad Bird makes the impend­ing anni­hi­la­tion of one small town feel more impor­tant than any num­ber of end-of-the-world threats. As the mis­sile drifts into the atmos­phere, the iron giant proves he’s a true super­hero, abil­i­ties or not. He flies to meet the mis­sile head-on, remem­ber­ing Hogarth’s words: You are who you choose to be,” and utter­ing his response – Super­man…” – right before the moment of impact.

The Iron Giant doesn’t roam the film’s Maine coun­try­side in bright­ly-coloured span­dex or thwart an evil villain’s plot to destroy the world. Unlike the quip­py pro­tag­o­nists of Marvel’s high-octane block­busters he bare­ly utters a word – just 53 in the whole film – but at heart he rep­re­sents one of the most authen­tic por­tray­als of hero­ism ever seen. The Iron Giant is a reminder that whether you’re born with super­pow­ers or not, your orig­i­nal iden­ti­ty doesn’t define you. You are what you choose to be.

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