The Nature of a Hero: Epilogue II

Every time I think that this theme of the nature of a hero is finally settling itself in my head, I’m confronted with yet another example of it in everyday life, books, television…or, in this case, music.

It’s always really cool to listen to a track from a long time ago with fresh ears. A few months ago, I purchased a couple of my favorite songs by the Spin Doctors…a band whose pop-infused tracks were laden with popular culture and literary wit that always brought a smile to my face in my college days. One of my absolutely favorite songs by the Spin Doctors has always been Jimmy Olsen’s Blues. The song tracks the feelings of a frustrated secondary character in the Superman mythology, who dreams of having a relationship with Lois Lane, yet must live with unrequited love due to her relationship with Superman. Thus, Olsen resents the Man of Steel.

Throughout super-hero mythology, the normal human beings who encounter a hero in any way…whether as the potential victim saved from harm’s way, the companion, or the defeated villain…are unable to leave the encounter the same as they entered. Their lives have been forever changed by the hero, and they must choose how to respond. This song is a really interesting take on how those closest to the hero experience a very specific life-disruption, a sort of bittersweet ramification of their relationship to the larger-than-life figure who rescues those in need. This not only raises the stakes in their choice of responses to the encounter, but must also cause the hero more careful consideration of those whom they permit to become close, or those whose lives may be incidentally impacted in a negative way by their mere presence (Dr. Who’s two-part story arc, “The Family of Blood,” is a great example of this).

This is a really interesting aspect of the nature of a hero, I think. Part of what makes a hero character so compelling is when we see their humanity, and the painful choices that they must make due to the fact that they are not like the rest of us. When the hero chooses to sacrifice, he or she shows a heroic nature more profoundly. Yet, none of us think less of them when they choose to enjoy a simple human pleasure, even though it may have consequences to those around them.

Or do we? Do these simple decisions carry the same weight as life or death decisions when made by a hero? When the hero makes the choice to permit himself a romantic relationship, do the feelings of resentment caused elsewhere result in magnified results because the actions were taken by a hero? Isn’t that sort of tragic in its own right?

I’m not sure, but it’s a fascinating part of this thing to consider.

And, it makes for a really great song.

 

The Nature of a Hero: Behind the Scenes

Those most interesting conversations always seem to happen over coffee when you least expect them.

A friend of mine and I were talking about acting, and the way in which actors can become absorbed in roles to the point of the character beginning to take over. During my undergrad, my training in acting was strongly oriented toward the method-acting school of thought. I’ve experienced the very thin line while acting in which the character truly begins to come to life, and I know that sort of frightening moment when you’re balancing between keeping control yourself instead of permitting the character to take control. Those are the moments in which the performance in the most alive, but also the moments that I honestly believe are the reason that many actors I’ve known and worked with…at least ones that follow this school of acting…sort of aren’t well. Ideally, that’s why actors take breaks…sometimes long breaks…between roles. I haven’t acted in two years after my last serious role, and I remember having to take a long amount of time off after several consecutive roles during college.

Our conversation turned toward the canon of Batman films, and the tragic circumstances of Heath Ledger’s untimely demise following the filming of The Dark Knight. We talked about the discussion that circulated about how the darkly insane character that he performed so astoundingly in that film may have held too much sway over him.

Specifically in the context of super-hero films, this discussion leads to an interesting thought. The most important thing in a story is the through-line, or the overall plot arc. We talked about how difficult it would be to act a role like the Joker, but how it would be so important to do it well, because of the importance of the redemptive message contained within the film as a whole. In that way, the actor portraying the villain is embodying the nature of a hero by being self-sacrificial in order that the greater good may be told…a real-life example of how a hero places his own good below those he or she is serving.

I think that’s one of those opportunities that all of us have to be a hero, and why the inspiration of super-hero mythology is so important to us as a culture.

The Nature of a Hero, Part V

This hero thing just won’t let me go, it seems. What’s more, it keeps popping up in unexpected places, and forcing me to add to my list. Recently, Karen was doing her periodic exploration of new shows to watch and ended up with a program called Eli Stone. The show really didn’t interest me that much, although the premise is, I admit, catchy: an attorney develops a brain aneurysm like what his father had experienced before him, which gifts him with a form of precognition. He realizes that he must use his gift for good, and begins turning from the type of attorney he was in order to help others around him.

Where this becomes interesting is season 2, episode 8, in part of a story arc where Eli chooses to utilize his ability, against the advice of his mentor, to see his own future. He does so because he wants to know what will happen to him, but he deceives himself by saying that he wants to protect his brother. The consequences prove to be dire. At the conclusion of this story arc, Eli says something interesting. He says that the gift he has received (his precognition) is not his own, but belongs to the people around him. That is, the gift is entrusted to him to exercise, but he has recognized that he cannot exercise it for his own good, but must rather place the good of others above himself.

This is a program that is layered with really interesting theological content, and I think that Eli is a hero. The episode I mention here presents what I think is another element of the nature of a hero: the acceptance of the fact that the gifts and abilities of the hero are not given to that person for his/her own use, but for the good of those around him. This is why heroes become self-sacrificial; because they see that, not only are their abilities not for their own good, but that using them for the good of others can easily lead to the risk of the hero’s own life, a risk that the hero accepts. This is why the hero is the hero. The villain and even the antihero make different choices, utilizing their abilities for more selfish purposes.

What’s great about the fact that I found this element in a character such as Eli Stone is that he is an everyman character, and that he does not wear the guise of a hero at all overtly. This proves that those displaying the nature of a hero must not be costumed adventurers, but that all of us can choose to heroically deal with the evils around us. This is what makes the mythology…and the theology…of heroism so important, is because it is so inspirational.

Photo Attribution: Thomas R. Stegelmann under Creative Commons 

A Review of “The Avengers”

This was it. This was the film that I had been waiting for since last summer, the film that nearly every comic book collector and everyone raised in a childhood of reading superhero adventures was waiting for. The Earth’s Mightiest Heroes, together in one film, in a super adventure extravaganza. It has been a while since I booked tickets in advance for an opening weekend show, even for a comic book adaptation. This however, was to be the film to end all superhero films. This was The Avengers.

It did not disappoint.

Marvel Studios put into practice in the Avengers what I trust they learned through the ill-fated X-Men films. First, the film began with a collection of characters that had already been at least introduced, and in most cases thoroughly developed, in their own films. Thus, no time was needed to be spent on backstory, with the exception of some history for the Black Widow and Hawkeye, which Joss Whedon and company accomplished nicely through expository dialogue. Secondly, each character was given enough screen time to shine, not only in action sequences, but also in character development. Only a very good director can accomplish this, and I don’t think any of us expected anything less from Whedon, but it was still wonderful to witness.

The plot is relatively simple. Loki, the so-called god of mischief and Thor’s half-brother, returns from the nether-realms into which he fell at the end of Thor, this time assisting an extra-dimensional race that we don’t see (until the end, that is…stay through the credits for the hidden ending) in order to enslave the human race. Nick Fury brings together our heroes into a team in order to stop the alien invasion that threatens to destroy most of mankind and enslave whoever’s left. That’s the story arc in a nutshell, and, with respect to other reviewers who found this to be disappointing, I would point out what any comic book fan knows: this is what the Avengers do. This, in its purest form, is the origin story of the team of super heroes: an evil too great for any one hero to defeat alone, results in the heroes joining forces to save the earth. Approaching it expecting something different is to approach it asking the wrong questions.

The beauty of a simple plot is what comic book writing accomplishes so masterfully: exploring deep themes within the context of the simple story. Whedon explores our ability to trust the government that is there to protect us, a government that has its own secrets that may or may not be better in the bigger picture. He explores the ethics of a society quelling its fear by building the bigger weapons. He explores the theme of individual talents having to overcome their own ways of doing things in order to work together with others for the greater good. He explores mankind’s freedom of choice, and the innate desire to fight for that freedom against one who claims that we “were made to be ruled.” Moreover, he explores the nature of a hero, and how those heroes who swoop in to protect us from those evils up to which we cannot stand ourselves work together to accomplish what no one of them could accomplish on their own. That, after all, is the better part of half of this film: how our favorite heroes’ personalities conflict with each other and what they have to work through in order to work together.

And, in true Whedon style, there’s even a faith metaphor or two (Iron Man likening himself to Jonah was particularly fun).

Whedon uses the exploration of powerful themes to develop the characters that we all came to the movie to see. And the characters do develop: Captain America begins the loyal soldier who reluctantly accepts the hesitation of his colleagues. Iron Man sacrifices his own stardom to become a team player. Bruce Banner moves past his own fear to work for the greater good. I’d go on, but I’m not into giving spoilers. All of the hidden nuggets of story that tie all of the previous movies together are unified nicely by Whedon here, by the way, and I’m sure there are going to be more visual goodies that you just can’t see on the first viewing but that will become obvious when I watch it again.

As expected, Whedon’s writing is snappy and complete with witty moments of comic relief that somehow avoid (with an exception or two) the cliche humor that can so easily trap a big action film. And, speaking of action, the special effects were breath-taking (Iron Man having his own armor catch him in mid-air sound interesting?), and the fight sequences that occur between our heroes as they work past themselves to become a team are quite literally the stuff of legend (want to know what happens when Mjolnir strikes Captain America’s shield? Or if Thor and the Hulk go toe-to-toe? Yeah, I thought so…). If you think that’s great, then wait until the aliens from the other realm invade Manhattan (where else would a huge-scale battle with the Avengers take place?) and the Avengers hold the city, cohesive as a team, complete with firefights, archery, aerial dogfights, the Hulk swatting spacecraft from the skies, and the heroes that you wouldn’t expect to receive the most screen time saving the day, leaving half the city laid waste in the process. This makes the Transformers look like lightweights, but is never overwhelming.

Speaking of the Hulk, incidentally, Mark Ruffalo turns in an outstanding performance as the only new actor in the group…arguably better than Edward Norton did in the Hulk’s own film. To accompany this, the new CG Hulk is even complete with Ruffalo’s facial features. Robert Downey Jr., Chris Hemsworth, Chris Evans, Scarlett Johanssen, and Samuel L. Jackson each perform beyond expectations as they reprise their roles, and while I didn’t think that Jeremy Renner looked the role of Hawkeye, he rounded out this all-star cast with flourish.

All in all, whether you are a super-hero fan or not, if you’ve enjoyed any of the previous Marvel films at all, this movie will be worth your ticket price. The audience in the show we attended applauded on several occasions. This is not another huge action film. It is the exploration of super heroes at its finest. And, it is a promise that those heroes will return to save us again in the future, because, as Fury so eloquently and simply summarizes, “we’ll need them to.”

The Nature of a Hero in Captain America

The series of my retrospectives before seeing the Avengers this weekend, along with my marathon geek-fest of movie watching this week, concludes with Captain America: The First Avenger.

For a more detailed synopsis, here’s what I wrote after first seeing the movie last summer. We know the story: Steve Rogers wants to be a soldier to fight in the war against the evil of the Nazi regime, but he can’t because of his physical ailments. After multiple denials, he is given a chance because of his courage to participate in an experimental “super soldier” program. The treatment he receives at the hands of Dr. Erskine transforms Rogers into a physical powerhouse with the abilities to enact his courage, and he ultimately becomes an icon of freedom, Captain America.

Rogers demonstrates as aspect of the nature of a hero that we haven’t seen in any of the Avengers to date: he epitomizes the fact that everyone, at some level, wants to be a hero. And, while the Red Skull is partially correct during their first encounter in saying that they are much alike, he is also missing a critical point: the Red Skull wanted the power bestowed by the super-soldier serum for his own gain. Rogers wanted the power to stop evil from overtaking the world. While the desire to be a hero may be driven by selfish motives as it universally occurs in the human experience, Rogers experienced this desire with nothing but purest of motives.

This characteristic is summarized by Erskine early in the film. The person who is born with great power often doesn’t respect it, because he didn’t have to work for it (as we saw with Thor).  The person who has to work for it understand and respects great power, and is capable of exercising it with compassion. Rogers has waited a good part of his adult life for the chance to be a hero, but he doesn’t view what he does as being a hero. He is merely performing what he sees as his duty, because (in his own words) he doesn’t have the right to do anything less. What is perhaps most heroic about Captain America is that he is, in his own perception, “just another kid from Brooklyn.”

That’s all of the retrospectives, and I’ve now watched all of the films in order to build up for this weekend. We have tickets reserved for the Avengers tomorrow afternoon, and I can’t wait to tell you my reactions! Have you seen the movie yet? Tell me what you thought (but no spoilers, please)!

Photo Attribution: popculturegeek