Poor Ang Lee. His 2003 adaptation of the Marvel Comics character, Bruce Banner aka the Hulk, has been the target of hostility and contempt from comic book fan for the past six-to-seven years. After Universal Pictures had released Louis Leterrier’s adaptation back in 2008, many had declared his film superior to Lee’s movie. But after recently viewing the 2003 movie, I do not believe I can agree with their assessment. Mind you, I am not claiming that Lee’s film was better than Leterrier’s. The 2008 film possessed certain aspects that Lee’s movie lacked. But I also believe that the 2003 film possessed traits that were certainly lacking in the later film.
"THE HULK" was basically an origins tale about how a genetics researcher from Berkeley, California became a massive, green-skinned creature named the Hulk. Ironically, this tale began years before his birth. In one of the most original and chilling opening credits sequences I have ever seen, the movie revealed how his father David Banner, a genetics researcher for the U.S. Army, was conducting experiments on himself to improve human DNA. The Army, represented da Lieutenant Colonel “Thunderbolt” Ross, learned of his experiment and ordered it shut down. Nothing came from Banner’s experiment at first. But he managed to inadvertently pass his mutated DNA to his son, Bruce. The sequence ended with Banner causing a massive explosion of the facilities' gamma reactor, and accidentally killing his wife during an argument with her about Bruce. Banner ended up in a mental hospital for nearly three decades.
With his father in a mental hospital and his mother dead, Bruce Banner was sent into foster care and adopted da a family called Krenzler. Thirty years later found Bruce as a genetics researcher at the università of California in Berkeley. One of his colleagues happened to be Betty Ross, General Ross’ estranged daughter and Bruce’s ex-girlfriend. After saving another colleague from a Gamma radiation explosion, Bruce’s altered DNA (now affected da the radiation) led him to manifest into a green-skinned monster - ”a hulk” - whenever he Lost his temper.
When I had earlier compared ”THE HULK” to the 2008 film, "THE INCREDIBLE HULK"; I was not trying to be diplomatic when I had stated that neither film was superior to the other. I honestly believe this. If there is one thing that the 2008 film can boast about was that its action sequences were superior to the ones found in Lee’s film. The Taiwanese-born director had a bad habit of shooting a good number of his action scenes from a long distance angle. This seemed very apparent in one sequence that featured the U.S. Army’s attempt (led da General Ross) to kill the Hulk, following the latter’s escape from a desert military facility to San Francisco. There were times when I found it difficult to maintain an interest in this particular scene. Another sequence I had problems with featured Bruce/the Hulk’s final confrontation with his genetically altered father, who had become a powerful electrical being. Frankly, it seemed nothing più than a vague display of CGI special effects against a dark backdrop that damn near made it impossible to watch their fight with a clear eye. One sequence that almost caught my attention featured the Hulk’s battle with David Banner’s mutated Cani that had been sent to kill Betty. I say “almost” because I thought the fight had lasted longer than necessary. And I simply could not get excited over Bruce’s fight with a trio of Cani that looked like something from the 1994 film, ”THE MASK”.
Where ”THE HULK” reigned supreme over ”THE INCREDIBLE HULK” was its story and strong characterizations. Quite frankly, it possessed più depth and pathos than the 2008 film. The movie managed to delve into Bruce’s childhood horrors, which had led to his tendency to bottle up his emotions. His personal demons also revealed how this trait had affected his past relationship with Betty and help contribute to the Hulk’s manifestation. Another interesting aspect of the movie was the father/child theme that seemed to dominate its story. Not only did both Bruce and Betty suffer from damaged relationships with their respective fathers, their past romance and continued Amore for each seemed to be regarded da David Banner and General Ross as potential threats. And both men seemed incapable of resisting an urge to manipulate and control their children’s lives.
Ang Lee managed to gather an impressive cast for his film. I believe kudos should have gone to Eric Bana for his on-spot portrayal of the emotionally repressed Dr. Bruce Banner. The Australian actor did an excellent job of delving into his character’s emotional psyche, yet keeping it all in check in order to reveal Bruce’s difficulties in expressing himself. Jennifer Connolly gave a subtle performance as Betty Ross, Bruce’s ex-girlfriend and fellow geneticist. She ably managed to portray Betty as a woman frustrated da Bruce and her father’s penchant for emotional repression; and also torn da her Amore and loyalty toward Bruce, and her fear that only her father’s military resources can save him.
Sam Elliot was top-notch as the intense and paranoid General Ross, who seemed più interested in branding Bruce as a danger to his daughter and the Establishment, due to the latter’s family connections. ”THE HULK” marked the secondo movie in which I heard Elliott used a growl to mark his character’s intense nature. And I hope that he never uses it again. In a rare performance, Josh Lucas portrayed minor villain Glenn Talbot, Bruce and Betty’s former colleague that left the U.S. Army to unisciti the private sector for più cash. Lucas did a first-rate job in portraying Talbot’s venal and smarmy nature without going over the top. His character also had one of the oddest death scenes in film history.
Two actors portrayed Bruce’s father, Dr. David Banner - Paul Kersey and Oscar nominee Nick Nolte. Kersey portrayed the young Dr. Banner, whose obsession with improving human DNA in the film’s mesmerizing opening credits ended up having major consequences for his family – especially his son. I am amazed at how Kersey managed to convey such a strong presence with very little screen time. It was a damn good thing Lee cast Nick Nolte in the role of the older David Banner, because Kersey struck me as a hard act to follow. However, Nolte gave what I believe was the best performance in the movie. He certainly did an excellent job in conveying Banner’s continuing obsession with his original experiment. Yet, thirty years in a prison managed to unhinge Banner’s personality, making him even più obsessive. He also acquired a possessive attitude toward Bruce’s Hulk alter-ego, viewing the latter as his true son. Nolte not only beautifully captured this aspect of the scientist’s personality, but also the latter’s hostile view of Betty Ross, and an increasingly hostile attitude toward the military industry complex and society at large. This hostility was openly revealed in what I can only describe as a fascinating speech that dripped with contempt.
Frederick Elmes did an excellent job in photographing the movie’s settings of Berkeley, San Francisco and the Nevada desert. I also have to commend visual effects supervisor Dennis Muren for a diviso, spalato screen technique that allowed Lee to cinematically mimic the panels of a comic book page. I thought that was truly inspired – especially in the scene that featured Talbot’s death. At Industrial, Light and Magic, Muren also supervised the movie’s CGI effects – especially the computer generated Hulk. The interesting thing about this movie’s Hulk is that his facial expression seemed più varied than the expressions of the 2008 version. However, I was not that impressed da Muren’s design of David Banner’s ”hulkish” dogs. They struck me as something from 1994’s ”THE MASK” - a little too cartoonish for my tastes.
In the end, ”THE HULK” is a well-written movie with interesting characters. I find it only marred da questionable action sequences. If Marvel Entertainment ever decide to combine this movie’s characterizations and depth with the action sequences from ”THE INCREDIBLE HULK”, it would have one hell of a movie on its hands.
