aside more than artistically valid, but disastrous from the standpoint of collections, intellectual ambitions and formal sophistication of 'Hulk fired by Oscar winner Ang Lee in 2002, Marvel, and with the contemporary Iron Man has embarked on a successful path of production, acting to restore virginity to one of the film among its most precious jewels in the crown and leaves the Green Goliath inspiration and dynamism at 24 frames per second of the Frenchman Louis Leterrier, a pupil of the most capable of Luc Besson.
Since the engaging opening credits, which tell a handful of minutes in the genesis of gamma-Emulator Mr. Hyde, the intent is clearly to pay homage to the wonder and pathos that made the fortune of the TV series (1978-1982) starring Bill Bixby in the troubled role of nuclear physicist Bruce Banner and bodybuilder Lou Ferrigno, overflowing from his trousers ripped and always too short in the giant perennial angry with the world.
Banner is a refugee for five years in a favela brasiliana e qui prosegue le sue ricerche per sopprimere il mostro che gli lacera carne e vestiti ogni qualvolta si arrabbia o è in preda a forti emozioni. La vita scorre in qualche modo serena fra esercizi di respirazione e un lavoro presso una fabbrica di bibite. La parvenza di normalità è però destinata a dover tornare a fare i conti con la dura realtà di un uomo in fuga: lo scienziato si ferisce e una goccia di sangue va a infettare una bottiglia di un lotto destinato a New York. Qui, un anziano signore (Stan Lee, il benemerito “papà” di gran parte dell’universo Marvel, nella consueta apparizione in un cinefumetto da un personaggio da lui creato) beve e si sente inebriato da una forte scarica di energia.
Tanto basta to get back on track, General Ross and rekindle the never-forgotten love between Bruce and Betty Ross, daughter of the soldier who made the capture of the Hulk for military purposes its only reason for living.
should we admit it: the trailer seemed to be having to watch a mere blind following of barrel between the Titans and gunfire and explosions, while they deafen the ears, leaving the other free to engage the brain in completing the shopping list for the weekend.
Fortunately, Edward Norton at the Studio offers the opportunity to make changes to the script and those already accustomed director and, by its nature, this type of tasks, not denied and will avoid excessive drift adolescence. In addition to offering (after having declined the offer at the time of Ang Lee) yet another brilliant performance as Bruce Banner in a more lucid about his condition a voluntary outcast from the civil forum, that assembly, if necessary, not But pulling back: in one of the most dramatic scenes we see the scientist, after a transformation, wandering half-naked and dirty in a street steeped in poverty in Brazil to the tune of The Lonely Man , the melancholy theme of the TV series. He sits, exhausted, and it is so battered by a child begging to move. That definitely does not sail in the gold.
Louis Leterrier, who with Danny the Dog had already dealt with kinetic fury tempered by moments of warm sweetness the theme of man-beast, he realizes with The Incredible Hulk a film that might not be a masterpiece, but decided that stands out in its first references to King Kong , so as to assume a remake not stated (see the touching sequence with the giant jade and Betty in the cave while a storm rages outside, with the Hulk at some point, fearful of lightning, roaring all his anger against the sky - rather than transparent metaphor for humanity that does not require a height of about three feet and hands and feet disproportionate to foam green with rage, often their own fault -), And a staging that does not shame to focus on the only feeling the love, so it's worth shouting now every ounce of his strength against that part of a science infected by mad war by the name of Abomination: "Hulk smashes."
Originally published, with certain modifications, the Levant in the newspaper in June 2008.
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