Dmitri Kurkin Returning to school is given to Peter Parker hard. He, perhaps, would like to write the essay "How I spent this summer" about my busy internship at Stark Industries (in fact, the training camps of the superhero organization "Avengers"), but the code strictly forbids doing it - which of course , Is an infernal torment for a fifteen-year-old, who really wants to impress classmates. The prospect of saving the world from villains is much more tempting than preparing for a national olympiad for scholars, but there was no one to share this discovery with, except for the accidentally recognized Peter's secret roommate -. The soul demands from Spider (as condescendingly calls his protege Tony Stark) to look for adventure on a high-tech ass dressed in the ass. But Peter does not yet know that the streets of New York are filled with much more dangerous toys, the track from which stretches to an underground gun baron, nicknamed Vulture. Perhaps, with none of the heroes of his universe, Marvel in the last fifteen years - and perhaps, for all his film history - did not suffer as much as with the Spider-Man. The restart of the franchise has turned into a marmot day: after the success of the first part, it gradually grows into new characters and conflicts - and falls deafeningly under the weight of its own weight. John Watts, whose directing career began three years ago with the fan remake of the "Robocop", has a chance to remove the family curse. He began no less cheerfully than Sam Raimi or Mark Webb (together with the "Guardians of the Galaxy" and "Wonder Woman", "Homecoming" confidently enters the top three box office seasonal blockbusters), and left a reserve for himself and the writers team more. It took nothing for it: to shift the center of gravity from superhero to human, shovel the police drama in high school musical with action scenes instead of songs.
"Homecoming" highlights the main problem of Spider-Man: this is a story about the growing up of a character who, like Peter Pan, is categorically contraindicated to grow up. As soon as he grows up, he immediately turns into a Dark Knight for the poor (which was especially noticeable in the "New Spider-Man 2" that appeared three years ago). Another, no less serious problem arises from the first. "Great power = big responsibility" is an important lesson and cornerstone of Stan Lee's story, but you can not fight your forehead against this youth with an honest mirror without paying for the integrity of the film. And that and other problem the authors of "Return home" circumambulate both famously and gracefully. Superhero's dilemmas in the film serve as a backdrop for solving issues much more fundamental - and how else, if it's about graduation classes. The motivation of schoolchildren deciding who and how to enter the world of adults is spelled out as carefully as the plans of the powerful of this world. The costume of a teenager, at once experiencing a complex of very understandable problems - whether choosing priorities, popularity among peers or searching for a role model (Tony Stark as an eternally absent surrogate father) - Parker is almost more spider latex. On the proportions of power and responsibility, the creators of the film also do not forget, but explain it in more simple and, at the same time, more subtle examples, including the main choice of Peter Parker (falling out, of course, on a school party). His main antagonist Vulture is also an extremely mundane personality: not a caricature psychopath, possessed by a thirst for revenge or a desire to enslave the world, but a socialist who harbors insult to the financial elite by the very 1% who does not count with hard workers like him. Understanding "the interests of the family" makes him more like Michael Korleone and Tony Soprano than with the Joker or Doctor Doom. His success "Return home" in many respects due to point casting. Actors from Watts play more or less themselves. Tom Holland (Peter Parker), yesterday's debutant, who fell into a multimillion-dollar franchise, kicks from the suddenly overpowered superpower. The main find of the film, Jacob Batalon (Ned), who did not finish school at the time, catches his chance to touch something big. Robert Downey Jr. (Tony Stark) mostly needs to roll his eyes, as in the well-known meme, and pretend "God, that I forgot on the children's matinee and when it will end", and this is not the case with the most worn-out actor of the Marvel conveyor no problem. In Michael Keaton (Vulture) it's hard not to see the direct continuation of Byrdman from the film Inyarritu, and the cameo of Donald Glover came out of the series "Atlanta". Freely conducting the genre, the film's authors achieve what most of the high-budget projects Marvel and DC lacked. Action and scenes from everyday life in the "Return Home" flow into each other: every step of the main character will be reflected in his spider career, and vice versa - a brave deed, with which the neophyte superhero has not yet learned to cope, will have consequences in the life of Parker the teenager. Generously scattering Easter eggs for the fans, the writers do not forget to play a trick on genre cliches - like an assistant navigator, coordinating the movement of a superhero. He also has Parker, but he acts not from a secret base, but from a computer class. The humor of life has noticeably revived even the Marvel's proprietary "scene after the credits" - but at the same time "Homecoming" remains flesh from the flesh as a blockbuster, not as a razor-sharp parody.
If the "Guardians of the Galaxy", another sudden Marvel fortune, was a film about the phenomenon of the family, then "Homecoming" about the school in the broadest sense - the school of life, the process of filling cones (sometimes literal), absurd, often painful, but inevitable. And the simpler and more unobtrusive this instructive story about growing up is told, the better for its audience. Photos: Marvel Studios.
Original article: Classical musical:.
Why from the "Spider-Man" made a school comedy.