Death of a Superhero – Film Review

Director: Ian Fitzgibbon

Starring: Thomas Brodie-Sangster, Aisling Loftus and Andy Serkis

Distributor: Bavaria Film International

Have you ever noticed that, when you go to see an Irish film, there is, inevitably, a sense of Irishness always permeates throughout the atmosphere? It’s very distinctive and seems almost impossible to escape from. Even a film like this years Grabbers, a bizarre sci-fi/horror/comedy still retains the very foundations of Irish identity (albeit via the depiction of the craic and binge drinking). Well, Death of a Superhero is different. It still has that powerful Irish character running through it, but it also sprinkles it with some Hollywood magic to add some flavor to an already exceedingly impressive film.

The movie opens with the same intensity of The Dark Knight or possibly Hellboy. The soundtrack is grim but exhilarating. All we see are credits inter-cut with what appears to be someone painting furiously. Eventually the camera pulls back to reveal a young man drawing a magnificent comic book figure on a public window. Once finished, he disappears into the metropolis of central Dublin. But this is not the Dublin we know. This is comic book Dublin. It’s dark, grim and full of hidden menace.

At least, that’s the initial impression. Shortly after, realism takes the foreground, but that sense of the hyperreal, that Sin City vibe, it never really goes away. It lurks in the shadows. The entire film is a jigsaw puzzle in which the pieces all fit, but none of them match. And that atmospheric clash infuses each scene with a poetic beauty that resonates with it’s equally moving story.

The young man in question is Donald Clark (Brodie-Sangster), a 15 year old boy dying of cancer. As he struggles with his own mortality and his marital relationships, he vents his fears and emotions through his artistic creations, namely the exploits of a hardened superhero. His primary concern is the matter of love and/or sex. This is clearly expressed in his sketches, a psychoanalytical wonderland, which leads to him crossing paths with Dr. Adrian King (Serkis).

The performances of the central actors are powerful, memorable and mesmerizing. Thomas Brodie-Sangster is almost unrecognizable as the wraith-like Donald. He has come a long way from the wide-eyed cherub from Love, Actually. He plays his character straight, his facial expressions doing most of the work. In a film such as this, he is given a wide range of emotions to work with, and he portrays each of them very believably. As he keeps himself emotionally detached from everyone, any break in his sober demeanor requires significant passion. This is achieved, not just by his performance, but by excellent direction also.

Andy Serkis, meanwhile, reminds us all why he is such a well respected actor by turning a seemingly minor role into a show stealing performance. As the eccentric therapist (“I thought you were gay…no offence or nuthin’, just a vibe”), he initially bears all the qualities of the quirky confidant, who takes Donald under his wing and helps him get a new lease on life. However, there is an added layer of depth to his character that we aren’t quite privileged to see, but we know is there. A slight grimace here and there indicates that this is a man in pain, but, as a therapist, he is not the one we should be focusing on. If there is a problem with the film at all, it is that we don’t get to see more of his character, or hear more of his story.

Finally, Aisling Loftus deserves a mention for putting a fresh spin on the now canon manic dream pixie girl. Considering the tone of the film, that type of character really shouldn’t be able to function. But in a character molding scene, her character, Shelly, states “That’s my problem. Can’t stop talking, say whatever I’m thinking”. It sounds like standard dialogue, but it strikes a chord and allows her quirky attitude a lot of leeway in some of the more surreal scenes. She is an oddball, but through Donald’s eyes, we see beauty.

And that is the central hook of the film, and the reason it functions so well. What is important to him is emphasized visually for us. When conversing with other cancer patients, they come across as one-dimensional. He doesn’t want to be reminded of his illness, so it rides in the backseat of his mind while sex and his drawings take center stage. The depiction of the villains in his comic universe, the Glove and Nurse Worsey, are illustrations that emphasize, not just his creative genius, but also the subconscious preoccupations of his hazy mind.

Overall, Death of a Superhero is a very human story seen through the eyes of someone who wants to be cool. The clash of visual styles is exquisite, but the fact that it has such an engaging plot to keep the momentum of the film going is a real triumph. Excellent performances all around, the supporting cast even manage to inject some humor into an otherwise grim story. Paired with last months What Richard Did, it seems that Irish cinema is quickly becoming a creative force to be reckoned with.

Score: 5/5

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