Review

Review Date: 22-June-03
Spoiler Rating: Low
Juju Judgment: Juicy

The Hulk (2003)

First off, let's establish what "The Hulk" is not: it's not a superhero movie, an adventure film, or a rousing, action-packed summer lark. It's not for kids, and should have no connection whatsoever with Happy Meals. Unlike most of its thematic cousins (the Batman, Spider-man, and X-Men films, for example), "The Hulk" is completely devoid of humor and a sense of fun (except for one brief cameo at the very beginning). Instead, it's a very dark movie about injustice and emotional pain, a movie that equates childhood trauma with genetic, molecular damage for which the most natural reaction is repression or rage --- both of which will get you in trouble. This movie made me want to knit my brows, squirm with discomfort, and have a good cry. Did I enjoy it? Not really. Will I remember it? Most likely. Wavering between a judgment of "Just OK" and "Juicy," I chose the latter solely because "The Hulk" is unlike anything I have seen before and left a strong impression of its texture and gloom.

As most people know at least roughly from Marvel comics or the old TV show, the story concerns a researcher named Bruce Banner (Eric Bana) whose DNA is altered so that when he becomes angry, he turns into a huge green violent thing referred to as a Hulk (thus giving new meaning to the term "mad scientist"). This remarkable abnormality is a matter of interest and distress not only to the mild-mannered Bruce and his estranged paramour Betty Ross (Jennifer Connelly), but also, in the film version at least, to their fathers; for it turns out that years ago little Bruce's life was doomed by the fanaticism of his old man and the militant rigidity of Betty's. Feared as a monster and hunted as a specimen without regard to his humanity, Bruce/Hulk represents not so much anger as the injustice of the world, the frustration and unfairness with life that everybody feels, only intensified. His story echoes the age-old tragedy of bad things happening to a good man, where innocence and decency seem to have no sway. Love offers relief, but it's fragile and hard to grasp; rage is justified and cathartic, but its power cannot break the bonds of fate.

As directed by Angst, I mean Ang Lee, "The Hulk" is the most true-to-form of the big screen, big budget adaptations of comic book heroes to date. He employs an interesting mix of split screens and varied wipes to mimic the panels of a book, and his sparse use of music (only during action, never during talking) suggests the weight and focus commanded by bubbles of dialogue. This is also the most overtly nerdy comic book movie so far, rife with images of science labs and gadgetry and cool biology stuff like blood and exploding frogs, as well as a big action sequence at the end that plays like a video game. Although Lee's very deliberate attempt to create a visually unique picture goes overboard (at over two hours long, the film might have benefitted from a few less shots of test tubes and lichen), it is still the movie's strongest point and effectively emphasizes the story's nightmarish, fractured journey of psychological discovery and dynamic despair.

The cast of "The Hulk" is consistently good at representing the various stresses and yearnings of Bruce Banner's experience. Australian star-to-be Bana, the most well built geek on film, smolders with a quiet glower and muted phone sex voice, while Connelly manages to appear smart, brave, and desirable even though she doesn't have much to do but worry and cry. Nick Nolte seems entirely in his element portraying Banner's crazy father, the source of all his trauma, and Sam Elliott is masterfully gruff and commanding as General Ross. As for the movie's real star: the Hulk, though well done, doesn't outshine his CGI rival Gollum (from "The Lord of the Rings"), but it's interesting that both are used in the same way, as grotesque creatures that elicit pity because they are distorted manifestations of traits found in each and every of us.

"The Hulk" progresses from one big downer to another, so that even the bang-'em-up, shoot-'em-up scenes convey more sadness and frustration than excitement; this is a film for people who like their action served up with a serious dollop of psychological drama. (Which isn't to say that it's terribly well written or intellectual: the final verbal confrontation between Banner and his father, for example, makes no sense in the context of the plot and feels like an overwrought, stagy therapy session). Still, Lee and his crew are onto something here, sounding beyond all others the dark depths of the soul where the Batmans and Wolverines of the fantasy world reside, men who have suffered much and use physical force to combat the pain and confusion of the psyche. Folks looking for something to go with popcorn and licorice ought probably to wait for the next action flick; but those wanting something compatible with a slug of bourbon might be tickled pink (or green) for "The Hulk."

Copyright © 2003 The Jujube (M. I. Kim). All rights reserved.