(Welcome to Road to the Endgame where we review all 22 films of the Marvel Cinematic Universe and ask: "How did we get here?" Edition: Iron Man 3 brings personal style to the MCU, even when it stumbles in place.
After six films that ended with an unprecedented crossover, the Marvel Cinematic universe arrived. Avengers set a new standard for older blockbusters, although anxiety went forward (for skeptics, and, apparently, for studio executives). The first personal exhibition of Iron Man after the Battle of New York was aimed at returning the audience to more, as well as setting Marvel's ability to tell new stories. In essence, she had to dramatize the transition from the world Avengers while she was completely in it.
Simply put, the question Iron Man 3 was answered, "What's next?" Will Marvel come to a rivalry with the performance of his first team? Well, no. Again, it may not be necessary. Iron Man 3 does not remind anything Avengers. In fact, it almost has nothing to do with Iron Man and Iron Man 2 although it has ̵
She has a unique sense of identity .
Black to Basis
Outside the unusual skew inclination in Tor (and some stand-alone, silent drama in The Incredible Hulk ), Captain America: The First Avengers Perhaps it was the only movie "Phase 1" to depart from the visual attributes of the genre . You can thank Joe Johnston The Rocketeer for this, but not every movie Marvel has the luxury of the adventure season sandbox.
Even The Avengers who delivered some of the most beautiful blockbuster performances of this decade did not make much use of the visual narrative until the final battle. Her main attacks of the third act worked because they transformed character into action; for example, a long-lasting liquid, where for the first time the struggle of avengers in tandem. One of its inactive scenes, where the subtext was expressed visually – a silent walk by the Captain of America through an unfamiliar world – was cut out of the movie .
Marvel films mostly rely on direct dialogue to deliver emotional information. Iron Man 3 however feels like the first record in the series, where cinematographers gained visual space. Finally, the end result was not, according to critic Matt Zoller Seitz, "product with the movie."
Despite the studio notes, he was forced to adhere (for example, to replace his female villain with a man). one to sell more toys Iron Man 3 is a film by Shane Blake through and across. His tonal sequence entirely depends on its history. Black often puts his movies around Christmas, because he feels that the holiday "represents a bit of stutter during the days of silence in which we have a chance to evaluate and retrospectively our life." Stark (Robert Downie Jr.), he is one in remote Territory of Tennessee, distant from Happy Hogan (John Favreau) and Gwyneth Paltrow, the loved ones whom he put in danger. Armor to avoid a remote cave. Here, for the first time in the series, he is forced to find a way out of his isolation without the help of his costumes. The stage relates to Stark thinking about his decisions, and on his post- identity, as is the case of the person of Iron man. The film is not entirely adjacent to landing when it comes to these topics, but it finds an exciting impulse in how it articulates them.
Black and cinema John Tol ( Thin Red Line, Cloud Atlas ) departs from the bright palette The Avengers to give a darker record, both visually and emotionally. The whole movie feels cold even before Stark stuck in the snow. Cold lighting determines the texture of each space, and muted design tones are interrupted only by deep-red explosions. The film is insatiable, and characters must always come out of the shadows
In several scenes the camera watches instead of sympathizing. We see Pepper Potts meeting with Aldrich Killian (Guy Pearce) through Hegan's eyes as he sits distantly, passing Stark's information over the phone. Black, like Hogan, is watching people, and the visual design is constantly preventing Stark from connecting with others. After the attack on Stark, he forcibly throws out his story and goes for thousands of kilometers. Physically and emotionally, he could not be more distant.
Liquid cinema, in conjunction with Blake's fluidity and dialogue (script was written jointly by Drew Pierce) gives Iron Man 3 a clearly "cinematic" texture – that is, one largely dependent on audio visualization, which is not subject to dialogue to convey meaning – the kind that some films Marvel may claim. Downie Jr. stresses the matter with his dry mind, as always, and his emotional connection becomes necessary for the iron man to (re) define himself in relation to other people.
out of observation exercises only at the right moments. Her point of view shifts when P.T. comes to the fore. The frame closes with it with a furor, until everything we can see or feel is panic. Iron Man 3 is the most powerful one when it examines the psychological consequences of Stark, although, unfortunately, there is also a moment when this life-history thread is accidentally discarded.
Nothing was from New York
Tony Stark was once known as an alcoholic superhero Marvel – Demon in a bottle (1979) – his most instrumental story – and although the hero's alcoholism never finds its way to movies, the nature of drug addicts Stark manifests itself in various forms. In Iron Man 3 his dependence consists in the creation of protective armor, and it is intensified by trauma.
Clinical psychologist Dr. Andrea Lemtemeni claims that Stark's symptoms can in fact be interpreted as a post-traumatic stress disorder or PTSD. It seems he manages four key factors for diagnosis:
- Avoiding Potential Anxiety Injury, which lead to anxiety.
- Hyper-excitement (he awoke 72 hours when the movie begins).
- Bright memory through dreams and
- Functional violations of personal relationships.
More appropriate, Tony Stark is also more vulnerable to PTSD than the average person, due to what Lethamendody calls "redistribution." Stark experiences and is traumatized from the first scene in "Iron Man" . His car was bombarded with shrapnel in his chest, he was abducted and tortured, and he was drawn into the violent conflict by the rest of the series. Armor of the Iron Man is the same as the symptom, unlike PTSD victims, sleeping with guns at the bed (Stark even calls one of his suits in a dream). Armor of the Iron Man, each of which is created for different conditions. 42 nd which Stark operates remotely from his working space, even began to replace him in his interaction with Potts. He was frozen at a time when he flew through a wormhole over New York, and his technology was exhausted,
The film dramatizes the symptoms of Stark's apple. A distant, remote camera is for sale for quick scaling and awkward closures when his anxiety raises his head. Visual shifts feel inevitable; The eye becomes another wall closer to Stark, like we, viewers, weave and push his psyche, invading his personal space and his most traumatic memories.
The Stark Experience in The Avengers is collectively referred to as "New York." This, coupled with his vindictive, self-destructive attitude to the indefinite Middle Eastern terrorist Mandarin (Ben Kingsley) mentions America's own post-9/11 political tenor, although not a real end, despite the potential for military paranoid exploration.
However, Stark's special road to restoration is worthy of attention to an interesting continuation. In the context of Marvel's common universe, his arc in this film implies a rejection of the history of his own origin, and his journey to this means the transition from events . To the extent that Iron Man 3 defines an Iron Man beyond his costumes, this also applies to the definition of this great story outside of his most recognizable moments.
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