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Down these mean streets a man must come. A hero born, murdered, and born again. When a Rookie cop named Denny Colt returns from the beyond as The Spirit, a hero whose mission is to fight against the bad forces from the shadows of Central City. The Octopus who kills anyone unfortunate enough to see his face who has other plans. He's going to wipe out the entire city. The Spirit tracks this cold hearted killer from the city's rundown warehouses, to the damp catacombs, to the windswept waterfront all the while facing a bevy of beautiful women who either want to seduce, love or kill the masked crusader.
Rookie cop Denny Colt returns from the beyond as The Spirit, a hero whose mission is to fight against the bad forces in Central City.
I think we should be thankful for small mercies - namely that the creator of the Spirit, Will Eisner, didn't live to see this adaptation of his comic series. This is one of the few films I've seen where I considered walking out or demanding my money back. I didn't though and saw the whole thing through.
The problem is that I'm a big fan of Eisner and his work, but also especially of the Spirit and the qualities it possessed. And I didn't see much evidence of Eisner or those qualities in the film.
Instead what we seem to have is Frank Miller's "remake" of the strip. Almost nothing is untouched or unchanged. The film has the look of Sin City which was an adaptation of Miller's own work. I was able read that work via the local library and found that the high-contrast sparing use of colour look of the film was true to the comic originals. But this time the original isn't Miller's work - it's Eisner's and the contrast in styles is very jarring (this becomes very apparent if you stay to watch the credits - see who's artwork is up there). To a certain degree a lot of my uneasiness about the film is based on this.
In the original series (set in the 1940s), the Spirit is just "an average guy" which gets knifed, shot and knocked about a lot. In his origin story he becomes a crime fighter after being mistaken for dead when he had in fact gone into suspended animation caused by a villain's experiments. In this film it's the Octopus that experiments on him, and the result is extreme regenerative powers that seem to rival Wolverine's! This is going down a road traveled by recent Batman and Spiderman films - combine a major villain with an origin story and make that villain the cause. But just like the Batman and Spiderman comics, that isn't the case in the Spirit comic originals.
About the only thing the movie Octopus has in common with the comic version is the style of gloves he wears. Samuel Jackson's role is particularly silly but nowadays he seems to play a parody of himself and his earlier roles. In the comics, you never see the Octopus's face but here you do! The scene within the Nazi style torture chamber is particularly dumb and obnoxious - I kept on expecting Mel Brooks to walk in from behind the curtain. The other characters are slightly better.
Denny Colt / The Spirit seems like a larger than life boy scout sometimes and totally clueless the next. The opening fight scene between the Spirit and the Octopus, where they assault each other with trees, iron bars and toilet seats, sets the tone for the rest of the film. I was particularly upset with the scene were the Spirit is hanging by his coat (with his trousers down) off the side of as building. I had the feeling that rather than like The Spirit, that the director really hated the character and had made every effort to ridicule the whole concept.
Ellen - the Spirit's main squeeze - and Commissioner Dolan (her father) are done better though in this film she's also the Spirit's treating doctor. The other female characters vary in quality. Sand Serif is much like the original character though she seems to have a lot of P'Gell in her as well. Plaster of Paris, Silken Floss and Morgenstern all seem much less developed. Lorelei is presented as a supernatural aspect of Death whereas in the comics she was a one-shot character. There's a running gag all the way through about how the Spirit is irresistible to women. Fair enough and femme fatales with colourful names were the mainstay of the comics. Notably absent is Ebony White - the Spirit's long term sidekick, This is probably because in the 40s he was presented as a racial stereotype with funny speech and so on.
Despite all the differences, some things do seem the same. Apart from the over the top physical violence slapstick, the rambling plot is vaguely like a Spirit story. Also, some scenes seem to be taken directly from the original stories, like the Spirit rising up out of the water, or talking to the audience and saying that he has to bring in Sand Serif, or the dissolving cat! But all this effort seems wasted in the rest of the film with its jarring differences and failed humour.
In fact there's a number of pop culture references in the film (to Batman and Star Trek, and Crime SuspenStories) that just seem out of place. Central City is presented as an "anywhere town" of the middle 20th century and yet these references are specific and date it - to different times (the same with the young Denny and Sand being interviewed for TV).
This isn't the first film done about the Spirit - there was a TV pilot made in 1987 staring Sam Jones. I've seen that film and it seemed much truer to the original, Not surprising considering that Eisner was credited as co-script writer. There's a quote (if I remember correctly) that sums up this film: Octopus "There's shot to hell, and shot to hell, but this's ridiculous!"
1 - background: I haven't read the Spirit comics, but I did read a lot of comics growing up and I've always wanted to check them out. I know that Frank Miller became friends with creator Will Eisner in the latter's final years, and the Miller comics I've read (just a bit of his early work) are kinetic and bold, and do some interesting critical examination of the nature of superheroes, a theme that wasn't all that common in the 1980s. So you might think that Miller would be a good choice to adapt Eisner's work, on the surface of things.
2 - to see or not to see? I've got nothing against superhero films in principle, and I've liked several in the last few years - both Batman films, all of the X-Men and Spider-man films; I probably liked Iron Man the most of any of the recent wave. Still, few have been memorable, none have prompted a revisit yet, and The Spirit didn't get good advance reviews at all. So I was hesitant. But hey, neither did Speed Racer another glossy heavy CGI-dependent box office flop, and I ended up loving that. So...off I went into the frigid last night it was playing theatrically here.
3 - the good It's wintry in The Spirit also, and the first reel or so establishes a fairly intriguing, designy comic-book city as we see the eponymous hero in silhouette rush over buildings, down fire escapes, etc. The comic-book graphics are of course reminiscent of the Miller's "Sin City" though they aren't used in any kind of coherent or consistent way here. Gabriel Macht seems to have been chosen for this role for his deep and growly avenging-superhero voice - very reminiscent of Batman, Wolverine or Clint Eastwood - and his chest, which he displays as often as any of the bevy of babes that are the other main attraction. Lots of gorgeous female flesh on display here - and believe me, that's the appropriate phraseology - including Scarlett Johansson, Paz Vega and especially Eva Mendes. They look spectacular, and I'm not going to knock the acting, because there wasn't much of it called for - even from Samuel L. Jackson as the villain and mirror of our hero, The Octopus. The film certainly got more lively when Jackson was on screen, but he still seemed like he could have played this role in his sleep.
4 - the bad I walked out of the theater at 9:00 PM certainly that it was at least 15 minutes later; no way was this film only 108 minutes (and less than 100 discounting the lengthy Miller-graphic credits). Though as I said, the first reel was rather promising with cool graphics and quick fight scenes that were punchy and funny and just cartoonish enough, the movie settles into a leaden pace within 20 minutes and rarely takes off again. The graphics/photography seems changes styles within and between scenes - B/W silhouette animation, silhouette with color, semi-visible backgrounds, close-to-conventional photography, etc - with little rhyme or reason, so that the visual appeal rapidly becomes empty and meaningless, and Miller just has no idea how to shoot a scene and make it interesting. Camera movements are simple and unimaginative, the man hasn't gotten much beyond point-and-shoot, except that he has a mega-budget so shots at least look competent and are often lit interestingly enough - though I doubt Miller deserves the credit for that. The musical score is bombastic though not really annoying, and it comes and goes - sometimes there are lengthy scenes with no music and just the corny and soporific dialog to get through and I'm just waiting for the next scene, get on with it.
There is no sense of time or place about the world here. Now this isn't necessarily a bad thing - Blue Velvet for example seems at various points to belong to the cabaret world of the early 30s, the early rock-n-roll milieu of 1960, and the contemporaneous 1986; but David Lynch seems to be creating his world for a purpose, and the various moods and textures of the characters, sets, cars, all work towards an unearthly and surreal nightmarish world that is all his own. In The Spirit it seems utterly random - characters dress out of the late 40s, or the 20s, or now - they carry cell phones - they drive 1940s cars - they speak in contemporary slang but throw in occasional phrases from the distant past - etc. It seems arbitrary and meaningless, to the point where I wouldn't have been surprised if someone had pulled out a phaser or a lightsaber at the climactic battle - and in fact one of the nubile young women does more or less just that. The city, too, has no real personality despite the many times The Spirit evokes his love for it - it just feels like sets, CGI, whatever is useful at the moment to move the story along. It isn't any city, or Central City, it's no city, no place.
5 - the ugly The film is a fetishist's delight, it's like a feature-length Kenneth Anger film filled with Nazis and ropes and leather and silk - but it's also a male fantasy seemingly unconscious of its misogyny, the women are little but bodies to be ogled at, and every one of them seems to want our hero - and clearly contemptuous also of any fans out there of Eisner's work who actually hoped for something resembling their hero. Like I said above, I haven't read the comics, but I've read some of Eisner's realistic later work and I just can't believe that anyone capable of writing A Contract With God would have created anything that would look much like this sloppy, witless, leaden mess.
Here's hoping that this was enough of a flop that Frank Miller never gets to make another film.
The Spirit is mannered to the point of madness. There is not a trace of human emotion in it. To call the characters cardboard is to insult a useful packing material.
The Spirit is based on a 1940s newspaper strip of the same name by American comics writer Will Eisner [1917-2005]. It was adapted for the screen by comics artist and screenwriter Frank Miller, best known for his Sin City comics. Ellen Dolan (Sarah Paulson): The daughter of Commissioner Dolan, in her pre-war appearances she tried to win the affection of The Spirit by getting into trouble which required The Spirit's assistance. After the war, the relationship evolved with a romantic affection between the two strongly implied. In later years (in November 1950), Ellen ran and won the role of Mayor of Central City.
Commissioner Dolan (Dan Lauria): The Police Commissioner of Central City, he met The Spirit on his first adventure and although knowing that The Spirit was Denny Colt was under orders to apprehend The Spirit for the first few months. Although Dolan's first name was always given as "Eustace" in all his post-war Spirit tales, he was called "Diogenes" by his sister-in-law in one pre-war story.
The Octopus (Samuel L. Jackson): The Spirit's arch nemesis, The Octopus never showed his face in the stories but readers could always identify the character by the distinctive gloves he always wore. A master of disguise, The Octopus was involved in the epic fight with The Spirit which left Denny Colt blinded.
Checklist of appearances
14 July 1946 - "The Postage Stamp"
17 November 1946 - "Return to Caramba"
1 December 1946 - "The Portier Fortune"
6 July 1947 - "Wanted - Mortimer J. Titmouse"
10 August 1947 - "Sign of The Octopus" aka "Klink Versus The Octopus"
17 August 1947 - "The Picnic"
24 August 1947 - "Showdown with The Octopus"
28 December 1947 "Umbrella Handles"
25 January 1948 - Montabaldo"
1 February 1948 - "El Espirito"
1 August 1948 - "The Eisner Travel Agency"
31 October 1948 - "Hallowe'en Spirit"
5 December 1948 - "Stop the Plot"
26 December 1948 - "Will Eisner's Almanack" (cameo)
4 February 1951 - "Showdown with The Octopus" (reprint)
11 February 1951 - "Octopus Back in U.S.A."
18 February 1951 - "To The Spirit with Love"
25 February 1951 - "The Portier Fortune" (revised reprint)
18 March 1951 - "Darling Unmasks The Octopus"
15 July 1951 - "Heat" (cameo)
22 July 1951 - "Hospital Zone - Quiet"
25 November 1951 - "I Hate The Spirit Because Contest" aka "The League of Liars" (cameo)
Lorelei Rox (Jamie King): Although only appearing in one story, the tale of Lorelei Rox was one of the most memorable appearances of a femme fatale. Singing a hypnotic song that mesmerizes her victims, this statesque woman almost caused The Spirit to come to grief.
Sand Saref (Eva Mendes): First created as a character for the John Law comic, Sand Seref is shown as having known Denny Colt as a child as well as knowing that he is now The Spirit. Usually ending up on the opposite side of the law from The Spirit, she works in espionage.
8 January 1950 - "Sand Saref"
15 January 1950 - "Bring in Sand Saref"
26 February 1950 - "Blood of the Earth"
12 March 1950 - "The Jewel of Gizeh"
19 March 1950 - "Carrion"
26 March 1950 - "The Island"
9 April 1950 - "Rescue"
10 December 1950 - "Snowbound"
14 January 1951 - "Rife Magazine" (cameo)
12 August 1951 - "The Foxtrot Poll"
3 February 1952 - "A Man Named Nero"
20 July 1952 - "Marry The Spirit"
The Spirit (Gabriel Macht): Police Officer Denny Colt was thought dead and buried at Wildwood Cemetery after a gunfight in which he is covered in some experimental chemicals. Returning to life he assumes the guise of The Spirit and wages a one-man war against crime and injustice. Although he has no superpowers, The Spirit is able to take practically an endless amount of physical punishment. It is also suggested that the chemicals in which he was doused in have prolonged his life. Huevos rancheros is a popular dish eaten for breakfast in Mexico. Basically it's composed of a couple of sunny side up eggs over a couple of corn tortillas with hot tomato or chili sauce poured over them, served with beans and cheese. The reason why the clones are called that is uncertain, possibly only for comical reasons as well as the Adios Amigos clones at the end. In Spanish slang, huevos refer to testicles, so it could be some form of reference to them as being badasses (hot temper and big... huevos). Other than Frank Miller adapting this film, and the visual style used for both films, there are no connections. To get the 12 rating, George Miller needed to make some modifications: three cuts were made plus one digital modification. This is also the version shown in movie theaters. The uncut version was released by Lionsgate on DVD and Blu-ray disc, is rated 15 and it's called "Extended Cut". a5c7b9f00b
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