Regurgitating the “Iron Man” synopsis seems like a moot point, but baby Jesus knows we love to be redundant, so let’s give it a shot for those that might not know all the nerd particulars of this Marvel comic book character.
Robert Downey Jr. plays the carefree, billionaire, industrialist, playboy and genius Tony Stark. He’s an boozing, irresponsible Lothario and one of the most brilliant minds on the planet and he’s used his many charms and IQ points to become one of the most prominent arms dealers in the United States (he’s seen on the cover of “Rolling Stone” in an early set-up piece meant to illustrate his ubiquitous popularity – even to a younger generation, no doubt due in part to his colorful quotes). To further the cocky point, he’s seen gambling in Vegas when he should be accepting an award for his contributions to “peace.” His war profiteering industry is one he’s born into and doesn’t ever think twice about until he’s captured in Afghanistan by insurgents after trying to ostentatiously show-off new weaponry (the original comic-book setting was Vietnam, but obviously the filmmakers are trying to make the story contemporary).
In captivity (after a thrilling action-packed assault opening), Stark (RDJ) learns that he’s survived a near-death experience thanks to the incarcerated professor Yinsen who’s helped heal his shrapnel-damaged heart with cheap, ad-hoc technology (played by actor Shaun Toub, the brief role and fantastic performance is key, sewing resonating and clutch seeds for the evolution of Stark’s character). The insurgents force Stark to build more weaponry for them, but instead he and Yinsen build his escape plan – the Iron Man Mk I suit – a crude and large gray metallic suit that isn’t pretty, but gets the job done.
Stark barely escapes his captors, but Yinsen isn’t so lucky, sacrificing himself so the inventor can flee in the final critical moments of their jailbreak. It’s during these moments the mogul begins to understand what his weapons have wrought and arc of moral responsibility begin to take hold.
Does this sound ridiculous to you? Cause we can understand if it does, but the execution of all this (not to mention the rest of the film) is crafted in a top-notch believable manner.
Stark returns to America a transformed man; physically, emotionally and psychologically (the fact that director Jon Favreau has somehow deftly conveyed the physical and psychic toll he’s endured in 30 minutes only further illustrates the adroit filmmaking at hand). Notice the language, this is the voyage for someone who transforms from a wealthy jackass into a moralistic hero (and again, the assured storytelling building blocks foreshadows the militant righteousness the character begins to convey later in the comics).
Back home, Downey Jr. decides to publicly claim that Stark Industries will move away from weapons-making into scientific fields of research and the shit hits the fan as the companies stock plummets, the stockholders loose faith and the company man Obidiah Stane (played by a brilliantly amiable Jeff Bridges) has to do damage control claiming the billionaire is suffering from post-traumatic syndrome and everyone should not panic about any grand proclamations.
In the meantime, RDJ is asked to lay-low so the controversy can die down and it’s during this downtime that he sets to work on his classic “Iron Man,” armor. The filmmakers inject both humor, lightness and credibility by making this period a plausible learning curve of trial and error. Stark’s kitchen-sink workshop is also a convincing mix of lo-tech wrench and elbow grease and hi-tech holograms and computers. At every turn the film wisely tries to ground itself in some sort of conventional reality which makes every step along the way that much more enjoyable. He’s aided by Gwyneth Paltrow, who plays the dotting, attentive and strikingly beautiful Pepper Potts, RDJ’s ever-so-faithful assistant and Terrance Howard, another long-time loyal ally from the military.
Some thrill-seeking, some vigilantism, some Afghani revenge and a personal double cross set the stage for the inevitable big set piece against the villain, Iron Monger.
The film is so strong it bucks two standard dictum’s: one that the first edition of any super-hero movie can’t be that exciting because so much backstory must be dispensed with and secondly, that without a ton of explosive moments you can’t possibly satisfy the super-hero nerd fans desperate to get straight to the action as soon as humanly possible. “Iron Man” has just a little (or as much, depending on your p.o.v), action as Ang Lee’s “Hulk” does, but the solid realization behind the Tony Stark story is so flawlessly and carefully presented that no one’s going to complain (or even notice).
Downey Jr. is the snappy, witty RDJ we’re accustomed to, but not insufferably so, and he always hits the needed emotion notes. Favreau’s direction is smart, economic and assured. The pacing is patient, the origin is dealt with efficiently, but never shortchanged and the suspension of disbelief is easily achieved (even girls are going to like this, no really).
“Iron Man,” should be the blueprint for all super-hero’s hence forth: a strong director that can handle character and action, a top-notch cast and a probable script with dramatic character arcs (the thrills will always speak for themselves; this is all easier said than done of course). “Iron Man” is about a flawed man who has a change of heart – both literally and figuratively – in case audiences don’t get the metaphor and it’s an evolving humanistic ride as much as it’s a thrilling one. Morevoer, it’s rock solid moviemaking that will impress the laymen and have the hard-to-please nitpicky fan over the moon. [A]