The Avengers (sorry, “Avengers Assemble”) was a great film; don’t tell me otherwise. Not only was it the culmination of one of the most ambitious big-budget cinema experiments of the last decade, bringing together four separate IP’s each with their own film series into one place, but it was a triumph of effective characterisation and of emotional investment with all characters on all sides. Loki was the perfect bad guy, Nick Fury the perfect badass leader-figure, the individual Avengers each played their role fantastically and Agent Coulson was just the icing on the cake. Couple that with a solid, well-written plot and one of the most epic and well-done action sequences I’ve ever seen put to film, and it all became a veritable rollercoaster of a good time. Sometimes, films just aren’t meant to be deep artistic explorations, and are never destined to be Oscar-winners, and Avengers was the best example of that.
However, once the dust had settled some started to voice their concerns as to what the sheer magnitude of the film would mean to the Marvel canon. The film had barely been released when Marvel announced plans for Iron Man 3, Thor 2, another Captain America and, somewhere along the line, an Avengers 2 as well. But… where can you really go from Avengers? How can the world face a bigger threat than Loki (the ‘he escapes’ trick is only going to work once, and you just know there’s going to be an Avengers 3 whilst they still make as much money as they currently do) and a horde of marauding aliens, and how could each individual superhero now start facing up to problems that wouldn’t have a massive ‘oh wait why not call in all my superhero buddies’ plothole running straight through the middle of them.
Iron Man Three (apparently the symbol ‘3’ has gone out of fashion for all non-advertising purposes) is the first Marvel film to have to face up to these challenges, and goes about doing so in two ways. The first is to very explicitly state early on that our chosen bad guy, The Mandarin, is very much the US government’s problem rather than one for the world in general, and Tony Stark gets involved for personal reasons. The other is to redefine Tony Stark’s role as a character. This is, arguably, a relic of Iron Man 2; after handing control of Stark Industries to Pepper Potts, Tony Stark is no longer defined by his company’s achievements and behaviour. In this film, Potts’ romantic influence has led him to abandon the flashy partygoer side to his personality too (although, in a nice twist, it is this very part of his old self that has come back to haunt him here), and all that is left is Tony Stark as Iron Man. But this is an Iron Man with no baddies to fight, who spends his days tinkering with the metal suits that have come to define him as a symbol rather than a person, and who still suffers from flashbacks of the last time he had bad guys to face and ended up falling half-dead through a wormhole in space. Indeed, the incident and the way it has changed the world of the Marvel characters is a key centrepoint of the film, the phrase ‘after New York’ uttered with every inch the gravitas used when discussing events such as 9/11. All three Iron Man films have had to work hard to give the ‘genius billionaire playboy philanthropist’ a challenge to face up to by disabling to some degree, but whilst the first two crushed his physical capabilities Iron Man Three is all about his internal demons- a smart move that works extremely well thanks in equal measure to Robert Downey Jnr.’s abilities as an actor and Shane Black’s directorial skill.
However, what makes Iron Man Three a really good film rather than a mediocre one with an interesting premise is what’s built around this. Take, for instance, The Mandarin; my research tells me that in the comics he was almost a caricature of a James Bond baddie, with various magical laser powers, but Ben Kingsley’s version here is an unnervingly real mix of all America’s post-9/11 fears. A cross between an oriental Osama bin Laden and Batman Begins’ portrayal of Ra’as Al Ghul, he is able to strike anywhere without warning and to devastating effect, frequently taking over American airwaves despite all government attempts to stop him. He feels like a genuine threat, something that no amount of Iron Man firepower can take down, and it is worth noting that in this film more than any other, Tony Stark faces up to his problems outside of the Iron Man suit; another nice touch on the character-building front. I would love to say more about this character and the film’s other bad guy, the smooth, dangerous Aldritch Killian (Guy Pearce- oh come on, like you weren’t going to work out in the first five minutes he was a bad guy), but feel I can’t d so without giving away some major spoilers. Awesome spoilers though they would be, I’m just gonna have to let you enjoy them.
It’s also nice to see Pepper Potts finally start to pay back all the slow building of her character the previous two films have done; Gwyneth Paltrow’s character started off in the first film as little more than a device left in because Comic Said So, but her upgrade to CEO in number two reflected her increasing depth and importance as a character. Now, she is the key driving force of the plot and of Stark’s character development, playing both sides of the ‘damsel in distress’ coin, and even gets a chance towards the end to make her own submission to the film’s badassery meter. Which, by the way, is fantastic; every action sequence is supremely well-paced and directed and made to feel all the more awesome thanks to our emotional investment in those involved. Plus, it’s got Robert Downey Jnr. and Jarvis, so you know you’re gonna get a few good laughs along the way.
The one thing I do find somewhat strange about the film is the way it ended. The last scene wrapped up plenty of loose ends and seemed to show Tony Stark at peace with himself, providing a lovely sense of closure to the whole thing. Except that this isn’t going to be an end; we already know there’s an Avengers 2 coming along, and these things are making too much money for this to be the last Iron Man (unless Marvel show a surprising degree of artistic integrity). Whilst the closure felt lovely, whoever has to direct the next one is going to have an awful job trying to write Iron Man out of this hole in a way that doesn’t feel horribly clichéd or just plain weird. Still, that’s for another time; for now, just go and see this film, and have a great time doing so.