Are superhero movies killing traditional screen… | Little White Lies

Opinion

Are super­hero movies killing tra­di­tion­al screen acting?

28 Apr 2018

Words by Manuela Lazic

A group of superheroes walking through a forest, including a large green character, a man with a beard, and others in colourful costumes.
A group of superheroes walking through a forest, including a large green character, a man with a beard, and others in colourful costumes.
As tent­pole block­busters expand and evolve, actors are hav­ing to flex their per­for­mance mus­cles in dif­fer­ent ways.

When 21st Cen­tu­ry super­hero movies start­ed to become the gigan­tic mon­ey-mak­ing enter­pris­es that they are now – back when our beloved Tobey Maguire was Spi­der-Man— they mined a for­mu­la: they focused on a sin­gle hero’s ori­gin sto­ry and allowed a par­tic­u­lar actor to bring his or her tal­ents in to con­tact with a leg­endary role. This haz­ardous, unique fric­tion worked two ways: it cre­at­ed the poten­tial to revive inter­est in a for­got­ten but clas­sic char­ac­ter while giv­ing new, young actors a stur­dy plat­form to show off their skills.

Typ­i­cal­ly, super­hero movies have rise-and-fall-and-rise char­ac­ter arcs, and a mix of action and dra­ma as the hero faces the phys­i­cal chal­lenges and moral respon­si­bil­i­ties that come with great­ness. There is also a sub­text of instant celebri­ty (as Peter Park­er became Spi­der-Man, so did Tobey Maguire). Yet a lot has changed in 16 years, and the con­se­quences for actors are not as pos­i­tive as they might seem.

The most notice­able dif­fer­ence between ear­ly 2000s and cur­rent stu­dio cin­e­ma is tech­no­log­i­cal. VFX advances have crowd­ed out ana­logue charms and brought cin­e­ma back to its ori­gins as pure spec­ta­cle. Vir­tu­al spaces and char­ac­ters look more and more real­is­tic, even if they aren’t fool­ing the eye just yet. Per­for­mances strug­gle to com­pete with aston­ish­ing com­put­er-gen­er­at­ed visu­als: Doc­tor Stranges world-bend­ing pow­ers are by far that film’s most enjoy­able aspect. Worse yet, actors get drowned under pix­els: fol­low­ing James Cameron’s lead, the char­ac­ters in Steven Spielberg’s Ready Play­er One are seen most­ly in their online avatar versions.

What fur­ther nar­rows the win­dow for actu­al phys­i­cal per­for­mance in such films is, as the pro­mo­tion for Infin­i­ty War indi­cates, their ensem­ble men­tal­i­ty. Bring­ing var­i­ous char­ac­ters togeth­er to cre­ate con­flicts means that each actor’s respec­tive screen time is reduced – and the lit­tle of it that remains is ded­i­cat­ed to abstract dis­cus­sions of moral dilem­mas and glib one-liners.

Also, the films get longer and longer as they mul­ti­ply. Even­tu­al­ly, as this new cohort of super­hero movies coa­lesces into one large soap opera unfold­ing over count­less episodes – which the X‑Men movies have always been – they will be our sole real­i­ty, swal­low­ing the entire­ty of our expe­ri­ence, Ready Play­er One-style. We are our­selves liv­ing inside a crossover event.

As super­hero movies con­tin­ue to mar­gin­alise per­for­mance and stan­dard­ise act­ing style, how can the con­tin­u­ous migra­tion of count­less first-rate actors to the ranks of either the Avengers, the Jus­tice League, the Sui­cide Squad or the X‑Men be explained? Why would Scar­lett Johann­son, Oscar Isaac and even Paul Rudd devote large chunks of their careers to films that trap them in cos­tumes? At this point, it’s hard­er to fig­ure out which major actors haven’t been in super­hero movies: Daniel Day-Lewis? Den­zel Wash­ing­ton? Tom­my Wiseau?

What makes such cast­ing announce­ments feel at once like career oppor­tu­ni­ties and sell-outs is the fact that many of these actors first broke out mak­ing either mid-bud­get and inde­pen­dent fea­tures or appear­ing on sig­nif­i­cant tele­vi­sion pro­grammes. After study­ing at the pres­ti­gious Juil­liard and secur­ing some sol­id sup­port­ing roles, Isaac demon­strat­ed his tal­ent play­ing the emo­tion­al­ly com­plex title char­ac­ter in the Coen broth­ers’ Inside Llewyn Davis. His schoolfel­low Adam Dri­ver imposed his fas­ci­nat­ing­ly dis­turb­ing act­ing style on HBO’s Girls before reunit­ing with Isaac in The Force Awak­ens.

Giv­en the dif­fi­cul­ty of not only break­ing out but also mak­ing a liv­ing as an actor, such detours to fran­chis­es may be explained as a way for per­form­ers to sim­ply put food on the table, after years of strug­gle. And as most auteur film­mak­ers – such as Jim Jar­musch, who Dri­ver worked with on Pater­son – have to work with min­i­mal bud­gets and offer tiny salaries to their cast, super­hero movies are also per­haps the best com­pro­mise for actors who still want to make art films from time to time. Many British expats first cut their teeth on UK pro­grammes and films as well, includ­ing Get Out star Daniel Kalu­uya on Skins. He too imme­di­ate­ly entered the super­hero dimen­sion after this film’s suc­cess and appeared along­side anoth­er star of inde­pen­dent cin­e­ma, Michael B. Jor­dan, in Black Panther.

Mid-bud­get auteur cin­e­ma and cre­ative tele­vi­sion are the sources from which block­busters vora­cious­ly gob­ble up promis­ing actors. Gift­ed film­mak­ers like Ryan Coogler and Lena Dun­ham have helped to put these per­form­ers on the map. After years of bit parts, Michael Shan­non rose to fame via his col­lab­o­ra­tion with direc­tor Jeff Nichols, whose high­ly orig­i­nal dra­mas demar­cate him in a land­scape sat­u­rat­ed with much big­ger pro­duc­tions – often super­hero movies. Each new Nichols film, regard­less of its qual­i­ty, offers a show­case for Shannon’s talent.

Daniel Kaluuya’s is a par­tic­u­lar case: a word of mouth smash like Get Out derived most of its acclaim from its director’s smart approach to the theme of racism rather than cast­ing. Kalu­uya, even though he had been work­ing con­sis­tent­ly for ten years and was the lit­er­al face of the film, earned fame by proxy. His per­for­mance was notable most­ly for how it helped anchor Get Out’s con­cept and its intel­lec­tu­al underpinnings.

In the 1990s, when the recipe for suc­cess­ful super­hero movies hadn’t yet been per­fect­ed (Tim Burton’s Bat­man was a unique spec­i­men), Amer­i­can auteur cin­e­ma had more space, and so actors did as well. Before Tobey Maguire, there was Jer­ry Maguire, itself a kind of super­hero movie and such a pow­er­ful show­case for Tom Cruise that the poster was sim­ply a close-up of his face. The 1990s also belonged to anoth­er Tom – Han­ks – whose pleas­ant­ly nor­mal fea­tures belied his ver­sa­til­i­ty. Whether play­ing a gay lawyer dying of AIDS, a men­tal­ly chal­lenged man lit­er­al­ly mak­ing his­to­ry, or a prison guard with a blad­der infec­tion, he had the range and grav­i­tas to attract large audi­ences to non-genre fare.

Today, actors don’t get a chance to become as big as Cruise or Han­ks – at least not in the same way. Mid-range, char­ac­ter-dri­ven films have been pushed into a cor­ner by block­buster behe­moths, and are now too small a mar­ket to allow per­form­ers to evolve sole­ly in that space. Tele­vi­sion pro­vides an alter­na­tive route, and often more free­dom to explore the craft (after catch­ing our eye on Mad Men, Eliz­a­beth Moss is stick­ing to TV with The Handmaid’s Tale). The all-pow­er­ful super­hero movies, mean­while, are the only true path­way to world­wide star­dom à la Cruise (whose own for­ay into a Mar­vel-style joint-fran­chise with The Mum­my was dead on arrival).

The solu­tion for actors deter­mined to keep devel­op­ing their craft while remain­ing famous is to try and strike a one for them, one for me” bal­ance. After get­ting noticed in inde­pen­dent fea­tures like Winter’s Bone and then explod­ing with the Hunger Games fran­chise, Jen­nifer Lawrence has found a fre­quent indie col­lab­o­ra­tor in David O Rus­sell, who direct­ed her to an Oscar in a showy role in The Sil­ver Lin­ings Play­book.

Nev­er­the­less, this strat­e­gy doesn’t come with guar­an­tees: despite being one of the high­est paid actress­es today, Lawrence couldn’t moti­vate audi­ences to see either moth­er! or Red Spar­row – films sold, Jer­ry Maguire-style, large­ly on the star’s face and charis­ma. In a time when Hol­ly­wood relies on the suc­cess of films cost­ing sev­er­al hun­dred mil­lion dol­lars to make, cre­ativ­i­ty is neglect­ed for sure­fire gain, and no sin­gle movie star can be as big as the crowd­ed con­stel­la­tions of crossover universes.

Read our review of Avengers: Infin­i­ty War

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