The first of a three-part analysis of Marvel’s The Avengers or Avengers Assemble or Los Vengadores, or whatever name it was released under where you live.
“These people shouldn’t be in the same room, let alone on the same team. And that is the definition of family.”
Most people came to The Avengers as fans of Iron Man, and the glut of not-quite-as-good Marvel films that have followed it. A lot came as fans of Avengers comics, whether Stan Lee’s or Brian Bendis’. Me? I came to it as a fan of Joseph ‘Joss’ Whedon.
For me, at least, it’s fascinating to observe all the choices made by Mr Whedon (even though it’s impossible to know what part each of the army of people – and it truly is an army, as anyone who has sat all the way through the credits will attest – is responsible for all the choices and elements that make The Avengers work, who really had control. So for the sake of ease, let’s refer to all the invisible people – not the actors, but the producers, cameramen, special effects people, best boys – all the people who exist only behind the camera, as “Joss Whedon”. It’s a handy amalgam).
It’s through that lens we’ll be examining the film – starting at its opening which, having dived straight into the sci-fi-fantasy elements, brings them immediately to earth. To a top-secret SHIELD base in the US desert base, being more specific.
And so, that spark of supernatural – which, let’s be honest, with its slightly naff alien baddie and questionable physics, is a bit of a hard sell – grounds itself in the familiar reality of this militaristic set-up. All the bases, helicopters, jeeps, tight-fitting leather uniforms and dark muted colours place us in a comfortingly recognisable genre – the post-9/11, post-24 military blockbuster. For the first ten minutes or so, The Avengers is essentially a Craig-era Bond film.
The message is clear. This is the world that is going to be hanging in the balance – our own. (Or, at least, the modern cinematic version of it).
But then there’s that pesky supernatural spark I mentioned, which earths in plot terms, too, in the form of Loki (Tom Hiddleston), Thor’s Big Bad and Thor’s little brother. Being a magic-stick-of-deadly-blue-energy-wielding alien god, he’s the one element that’s out of place in this world, and genre. Accordingly, his arrival overturns it, literally and bombastically – as SHIELD’s highest-tech, most-prolifically-satellite-dished base collapses into sand in a matter of minutes.
Again, there’s a clear message – not only is Loki a big threat, but his very existence disrupts the natural order of the world he’s in (reminder: our world). Even Daniel Craig couldn’t stop this one. We’re going to need something new.