‘Spider-Man: No Way Home’, the three exhilarating levels of spider man | Culture


Never a word completely outside of everyday conversations, and in principle ascribed to a science as distant as astrophysics, will have had such a narrative influence and, why are we going to fool ourselves, such a commercial vision. Marvel has achieved this with the term multiverse: it is said to be the group of parallel or alternative universes in which the events have happened in a different way from our official universe. This, first brought to the publishing market by the great house of comics throughout its literary history, and now within its cinematographic universe, has opened up immense narrative possibilities from the mix of its infinity of characters and stories.

Hence in Spider-Man: No Way Home, third installment of the series of films about Spider-Man starring Tom Holland, its creators have been able to afford the luxury of composing true fictional (and metafictional) fireworks around the three series composed to date: the trilogy of productions starring by Tobey Maguire and directed by Sam Raimi, between 2002 and 2007; the subsequent revival, with two titles starring Andrew Garfield and directed by Marc Webb, between 2012 and 2014; and these three with Holland, commanded by Jon Watts from 2017 until today. Without forgetting, of course, the presence of the character in the saga Avengers However, the fact that the very particular compendium almost needs a master’s degree for its structural understanding does not prevent No Way Home be great entertainment, be narrated with some clarity, and have exciting characters and actions.

Watts, forged in advertising and video clips, and almost a stranger to the cinema until his arrival in the Marvel universe, has returned to the saga its original youthful spirit. In fact, his three films, at least in the most everyday part of their plots, are still high school comedies in which the character’s inner conflict is certainly special: his internal struggle, effervescent and without trauma, to continue having fun in great with his friends and with the girl he loves and who loves him, while trying to save the world from the villains that haunt him.

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No Way Home it is far more ambitious than its two predecessors. Of course, without losing its joyous party air for kids, both in the definition of its characters and in its dialogues and in its plots. Sympathetic and free, and full of surprises, the new installment never strives to be important based on bombast, but through its spectacular presence and a story that can be summarized in a phrase about youth fame: that the whole planet Knowing the identity of Spiderman has put an end to Peter Parker’s chances of leading a spontaneous and natural life with his friends and his girlfriend, and even his desire to enter college. A conflict that can seem devoid of substance when it is the opposite: there is nothing more important than wanting to live your life in freedom at 17 years old.

The essentials of No Way Home, action comedy full of metalinguistic winks, it can have up to three levels of reading: for comic book fans, great connoisseurs of the characters, their interrelationships and the damn multiverse (or blessed, depending on how you look at it); for those of us who think that Marvel’s cinematic globality is more irregular than its staunch think, and that along with excellent titles, creative and artistic chestnuts that are difficult to defend are creeping in; and for the last generations of children who get close to his spirit for the first time. And in the three levels of reading it comes out very well.

SPIDER-MAN: NO WAY HOME

Direction: Jon Watts.

Interpreters: Tom Holland, Zendaya, Benedict Cumberbatch, Marisa Tomei.

Gender: superhéroes. EE UU, 2021.

Duration: 148 minutes.

Premiere: December 16th.

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George Holan

George Holan is chief editor at Plainsmen Post and has articles published in many notable publications in the last decade.

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