MICHAEL O. ALLEN

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Iron Man

Iron man and 'darkies' . . .

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I saw the film “Iron man” with my 7-year-old and 10-year-old sons. I cautioned them beforehand that they should be mindful of who is cast as villains in the film. It was an inadequate, half-hearted gesture. Half-hearted not because I did not believe what I was telling them, but half-hearted because, first, I let them see the film and, second, because I should have educated them better about villainy and values.

posted May 20, 2008 4:43 pm

At TomDispatch, Nick Turse touched on what I began to, inadequately, tell my kids.

Tomgram: Nick Turse, Irony Man

Back in the mid-1990s, in my book, The End of Victory Culture, I wrote the following about the adventure films of my childhood (and those of earlier decades):

“For the nonwhite, annihilation was built not just into the on-screen Hollywood spectacle but into its casting structures. Available to the Other were only four roles: the invisible, the evil, the dependent, and the expendable…. When the inhabitants of these borderlands emerged from their oases, ravines, huts, or tepees, they found that there was but one role in which a nonwhite (usually played by a white actor) was likely to come out on top, and that was the villain with his fanatical speeches and propensity for odd tortures. Only as a repository for evil could the nonwhite momentarily triumph. Whether an Indian chief, a Mexican bandit leader, or an Oriental despot, his pre-World War II essence was the same. Set against his shiny pate or silken voice, his hard eyes or false laugh, no white could look anything but good.”

Having spent a recent evening in my local multiplex watching the latest superhero blockbuster, Iron Man, all I can say is: such traditions obviously die hard (even in the age of Barack Obama). The Afghans and assorted terrorists of the film, when not falling into that “invisible” category — as backdrops for the heroics or evil acts of the real actors — are out of central casting from a playbook of the 1930s filled with images of Fu Manchu or Ming the Merciless: Right down to that shiny bald pate, the silken voice, the hard eyes, and that propensity for “odd tortures.”

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Iron man and ‘darkies’ . . .

By HomepageNo Comments

I saw the film “Iron man” with my 7-year-old and 10-year-old sons. I cautioned them beforehand that they should be mindful of who is cast as villains in the film. It was an inadequate, half-hearted gesture. Half-hearted not because I did not believe what I was telling them, but half-hearted because, first, I let them see the film and, second, because I should have educated them better about villainy and values.

posted May 20, 2008 4:43 pm

At TomDispatch, Nick Turse touched on what I began to, inadequately, tell my kids.

Tomgram: Nick Turse, Irony Man

Back in the mid-1990s, in my book, The End of Victory Culture, I wrote the following about the adventure films of my childhood (and those of earlier decades):

“For the nonwhite, annihilation was built not just into the on-screen Hollywood spectacle but into its casting structures. Available to the Other were only four roles: the invisible, the evil, the dependent, and the expendable…. When the inhabitants of these borderlands emerged from their oases, ravines, huts, or tepees, they found that there was but one role in which a nonwhite (usually played by a white actor) was likely to come out on top, and that was the villain with his fanatical speeches and propensity for odd tortures. Only as a repository for evil could the nonwhite momentarily triumph. Whether an Indian chief, a Mexican bandit leader, or an Oriental despot, his pre-World War II essence was the same. Set against his shiny pate or silken voice, his hard eyes or false laugh, no white could look anything but good.”

Having spent a recent evening in my local multiplex watching the latest superhero blockbuster, Iron Man, all I can say is: such traditions obviously die hard (even in the age of Barack Obama). The Afghans and assorted terrorists of the film, when not falling into that “invisible” category — as backdrops for the heroics or evil acts of the real actors — are out of central casting from a playbook of the 1930s filled with images of Fu Manchu or Ming the Merciless: Right down to that shiny bald pate, the silken voice, the hard eyes, and that propensity for “odd tortures.”

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Father & Son

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My 10-year-old wants to see this and, although it’s rated PG-13, I’m not only gonna let him, I’ll go with him if he’ll have me (I think he prefers to go with his friends).

The Washington Post wrote it up today:

Nerve Of Steel: To Pull Off the Making of ‘Iron Man’ Took Some Transformative Powers By John Anderson, Washington Post Staff Writer, Thursday, May 1, 2008

NEW YORK–Not all superheroes are created equal. Some have X-ray vision. Some are born to great wealth. Some are deemed worthy of two major Hollywood features in less than five years (the Hulk). And others are, well, Iron Man. He’s not Superman, he’s not Batman, he’s not even Spider-Man . . . “or Hulk or X-Men or Fantastic Four,” admits director Jon Favreau. “You could really go down the list till you get to Iron Man.”

Somewhere in the vicinity of the Mighty Thor, maybe?

“Yeah, that’s in the ballpark.”

And yet . . . and yet . . . “Iron Man,” Favreau’s armor-plated action-adventure epic (which arrives in theaters Friday), is perhaps the most anticipated feature of the ever-earlier summer movie season, a roboticized tent pole with more handicaps than a stakes race at Pimlico. The hero is obscure, the star is too old, the studio’s game plan is brand new and the director is anti-special effects (“anti-CGI, definitely”). Still, the sense is that the movie’s already a blockbuster, that success is a fait accompli.

“We’re in a kind of pre-victory lap,” jokes actor Robert Downey Jr., whose casting as “Iron Man’s” inventor/weapons manufacturer Tony Stark lit up the Internet when first announced. It is, on the surface, a long-shot casting call. But it’s also Downey’s insouciant charm and dry wit that will be the not-so-secret ingredients of any “Iron Man” windfall.