All Pictures: Paramount Pictures
Gotterhammung at Marvel: Kenneth Branaghs "Thor"
A hero, blond like Siegfried, innocent like achill, muscle-packed like hector. A woman, smart like Athena, as Helena and bravely like Padme. An aging godfather, a brotherwoist, Bose Frostriesen, a pretty complicated world – exactly: What if not about the Late Seventy Trash spectacle "Battle stars Galactica" you have to think here? And auber that the frosttries are a bit of human than the cylons, actually lacking only a hammer and a few Viking helmets – and finished Thor, the latest comic superhero mapping spectacle in the cinema.
Once upon a time there was an old wise father who had two sons… No, you have to drive out all the pathos to all the pathos, this story dunn is like Elfenhaar: In the Gotterhimm Asgard is the Holle. Less, because after years of cold peace, the Bosen Frostriesen of Jotunheim raise and – in vain – try to stare Odin, rather because Heizsporn Thor (Perfect-Musculos as a Tumber Blonder Hune: Chris Hemsworth) does not calculate kill, but with the frosttries Fight searches.
Not only he is not on his brother Loki Hort – "We Should Not Be Here" -, But worse that he simply behaves saudus and throws his father Odin impudence to his head, which he does not want to let himself: "You are an Old Man and a Fool." So Odin deprived of his super-force, throws the super-thor-hammer away and sends the boy to the vertebrate on the campground to overcome self-criticism and learn from the Erdlingen. Whether it was true, it was just in the US South-West to send to the Border Country of New Mexico of our Days, it’s right.
But at least he encounters this way of a Weather and Auberrishist researcher played by Natalie Portman, who can grab him a little under his arms. Only in the end can the young, arrogant hero, if he has become stuck and the right to return home from exile, had to earn, even actually on the throne.
After it has shaked properly in the first act, a much too long, boring intermediate gelabere and -getue, which will not be interested anyway, who voluntarily goes into the movie. Then, in the last quarter it is back again, with predictable output.
Shakespeare’s Street Credibility
The coarse surprise at the film adaptation of the Marvel Superheldomics "Thor", The first time appeared in 1962 is the director: from Kenneth Branagh ("Henry V.", "Hamlet", "Frankenstein"), known as actor ("Harry Potter and the chamber of terror", "Commissioner Wallander") And director rather unfinished, uninspired Shakespeare films – no: "Frankenstein" is not from Shakespeare! -, Did not just have a movie for mass audience expected and quite nothing about the rather thought-poor Nordic hammer god.
Actually reminded "Thor", When family problems are held here on the Gottery’s sky, as well as in individual figures on the large playwright of modernity: especially Odin, played by Anthony Hopkins, acts like a King Lear of the Schondelt. Branagh:
The central history is about a prince and of whether he will give a good king or not. That awakens memories "Henry V.". The question of the throne sequence also introduces itself in Hamlet. In addition, Shakespeare uses old myths of other Volker. Shakespeare has used the Greeks and the Romer.
What you’re going to miss completely here is Shakespearees Street Credibility, its Volksman and his humor. This is a film that takes terribly seriously seriously in figures and dialogues, which is extremely pathetic, and that’s exactly why every real tragedy is missing completely. Branagh must first be a different view:
Some people meant in the beginning: "Is not too much eyeway and fantasy in the marvel world? This is not good." I said: Hort times, in Hamlet everything turns around the visit of a spirit. Macbeth hangs on the stoutening work of three witches, the Marvel still steals for his Thor stories and actually come from the Nordic Language World. Elves fly around the world in "Midnight dream". Here I finally have a canvas on which I can show a bit of it.
The Ode Gotterspiebertum is counteracted by the set design: full of pomp and stylistic breaks, full of exaggerations and flavoring, the whole thing is more like an Icelandic brothel, as a superhero film that takes seriously: there are crystal rainbow bridges here, there are rusts like at "Scooterball", There are retrofuturistic buildings, and a bit "Flash Gordon"-Atmosphere.
A new mythology
Otherwise, this is also a bit psychopathologically complained by father problems and brotherwoid, but comparatively a lightweight. The only heaviness of Thor is the hammer. He meets Mjolnir and comes as a Bummerang always back to the thrower. But only Thor himself can pick him up. At some point he manages that, meaning Loki to the Tullius destructive of the Comic series.
It’s no less than a new mythology: What once were the gods are today, in the mail metaphysical, consumer-society wraps, the superheroes. And the new god sky is called Marvel Comics. In this universe, the new gods were born to dozens. And here the InvestmentBank Merrill Lynch sat down its casino money ($ 500 million) "Everything about ten": Ten superheroes, ten movies.
What one wanted was money and gods, and so marvel hammered from his inventions always new films. An equally fascinating, as provocative project; An exploration in ethics and asthetics. And a coarse rewriting program. The planning conviction of a necessary but just possible humanization of human life conditions has disappeared. Branagh’s worldview, if you want to take her seriously, is one "Two-unit": Everything means at the same time his opposite.
Conclusion: A movie that is better than expected, but what can you expect? So that’s right, which sometimes quickly and often bombastically comes, but neither cinematically, nor as cultural text has something to offer. Just a symptom of film concomity. And the 3-D technology is all the rest again.
Battle stars Galactica with Hornern on the helmet
