Iron Man | Little White Lies

Iron Man

02 May 2008 / Released: 02 May 2008

A red and gold armoured superhero with outstretched hand, in front of a mountainous landscape.
A red and gold armoured superhero with outstretched hand, in front of a mountainous landscape.
Jon Favreau’s Iron Man ticks all the box­es of the com­ic book geek pleaser.

Jon Favreau’s Iron Man is full of visu­al flash and dash, boasts a sly sense of humour and an actu­al flesh-and-blood per­for­mance from Robert Downey Jr as the tit­u­lar superhero.

Robots fly, stuff explodes, girls pout, evil is best­ed, good tri­umphs. And it all hap­pens under sun-dap­pled skies in beach­side man­sions filled with fast cars and hot women, where every­thing – women includ­ed – has the soul­less sur­face tex­ture of pol­ished marble.

This is the world of bil­lion­aire arms deal­er Tony Stark (Downey Jr), whose com­pa­ny, Stark Indus­tries, is mak­ing the world a Safer Place™ by fun­nelling ever more out­landish instru­ments of death to the Amer­i­can gov­ern­ment. But when Tony is rude­ly awak­ened to the true cost of his busi­ness by a gang of Arab ter­ror­ists, he resolves to do some­thing to right his wrongs. Look out bad guys: Iron Man is born.

Iron Man is what an above aver­age block­buster looks like these days: more human than Spi­der­man, more con­trolled than Trans­form­ers, and with a more pro­found sense of its own absur­di­ty than either Bat­man or Superman.

But Iron Man is much more besides. It’s a seduc­tive fan­ta­sy of pow­er at a time when Amer­i­ca has nev­er felt so emas­cu­lat­ed. Here is a vision of Amer­i­ca as it wish­es it was, with the pow­er to do what it wants, when it wants and where it wants. This is uni­lat­er­al­ism as it should have been: where democ­ra­cy real­ly can be fired from an elec­tro­mag­net­ic hand can­non, and the unwashed tow­el­heads might actu­al­ly look grate­ful for a change.

While offer­ing, on the one hand, the appar­ent­ly lib­er­al sen­ti­ment that arms deal­ing is bad (and it’s not real­ly arms deal­ing per se, just a lack of cor­po­rate over­sight), with the oth­er, Favreau presents a deeply con­ser­v­a­tive ide­al of unchecked aggres­sion and the eman­ci­pat­ing spec­ta­cle of vio­lence. The intox­i­cat­ing con­nec­tion between pow­er, mon­ey, pol­i­tics and man­hood couldn’t be more obvi­ous if Stark’s suit had a giant iron penis dan­gling between its legs.

It’s also wil­ful­ly naïve, per­haps just plain offen­sive, in its pre­sen­ta­tion of a ter­ror­ist’ threat stripped of any his­tor­i­cal, reli­gious or polit­i­cal con­text. These are the ter­ror­ists of George Bush’s fever dreams: incom­pre­hen­si­ble, ahis­tor­i­cal, out­side the par­a­digm of cause and effect. They are, effec­tive­ly, just ver­min to be squashed beneath an iron jackboot.

Of course, Hol­ly­wood block­busters can’t afford to be polit­i­cal­ly lib­er­al because they’re bankrolled by cor­po­rate Amer­i­ca. And nowhere is this more obvi­ous than Iron Man’s relent­less cav­al­cade of prod­uct place­ment that’s more like flick­ing through the ads of a lux­u­ry lifestyle mag­a­zine than watch­ing a film.

It’s not that Iron Man lacks cre­ative endeav­our. Downey Jr is a charis­mat­ic lead and Favreau is a com­pe­tent if unin­spired direc­tor. It’s just that, well, why should the bar be so low? Why shouldn’t a block­buster just try, a lit­tle, to be smart? Why does the sound­track have to evoke the blar­ing met­al music of America’s Afghanistan cam­paign? Where is its sense of irony? Of pro­pri­ety? Of his­tor­i­cal context?

It’s telling that we use almost any term to describe these pic­tures – block­busters, tent­poles, prod­ucts, fran­chis­es – except what they are, or at least should be: cin­e­ma. It’s what we all love, and we love it because it excites us and makes us think and opens our eyes and gives us a sense of won­der about the lim­it­less pos­si­bil­i­ties of the world.

Why can’t sum­mer films do that too, instead of set­tling on the sea­son like a dead weight? Like a great, crush­ing lode­stone. Like an emp­ty iron suit?

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