Spells, sorcerers, and spectacle – a way to sum up the unique Marvel entrant in their roster that boasts of nothing short but being spectacular. Never being one to shy away from challenges and always looking for ways to turn comic book characters into real-life superheroes yet again pushing the boundaries of what they can offer.
Doctor Strange – the creation of Stan Lee and Steve Ditko is brought to life by Scott Derrickson who has also woven the screenplay alongside Jon Spaihts and C. Robert Cargill. It stars the likes of Benedict Cumberbatch, Rachel McAdams, Mads Mikkelsen, Benedict Wong, Tilda Swinton, and Chiwetel Ejiofor to name a few.
The film introduces us to Stephen Strange (Cumberbatch), a conceited and self-centered neurosurgeon who prides himself on being the best in his field. He soon falls from grace when he is involved in a car crash that leaves his most prized possession, his hands with constant tremors. Immobilised, Strange finds himself in a downward spiral, one that pushes his fellow doctor and ex-girlfriend (McAdams) away.
Desperate for a cure, he lands up at the steps of the Ancient One’s (Swinton) Mystic Arts sanctum who takes him under her wing with gentle persuasion from Mordo (Ejiofor), a Master of the Mystic Arts and one of her disciples. He meets Wong (Wong), another Master and disciple whom he enjoys teasing not long before being drawn into a centuries-old battle with danger looming overhead thus leaving him grappled with some tough choices to make.
Being Marvel’s first step onto the path of spells and spirituality, the introductory scene sets the stage for the film to follow. Marvel, as we all, know is the benchmark when it comes to CGI and does not disappoint in this instance. Crisp, clearness, and attention to detail are the trademarks of the CGI that shines through in every film of theirs with no expenses to spare. The perfect alignment with which geometrically shaped spells, conjured out of thin air, are a delight to the eyes. A testament to the dedication and creativity that Marvel strives to bring in their every film, was the reconstruction of the town in Hong Kong, which had to be shot twice to achieve the required effect. A first for the studios who are known for their final fight sequences that leave a trail of destruction in its wake.
Their depiction of flawed characters with promising developments is one that should not be dismissed. By the end of the film, Strange has grown to be a better person than he is earlier yet undertones of him being cocky are still visible. This can be attributed to the fact that humans are not completely virtuous at the core and change for us is disconcerting. Even after we have turned over a new leaf, certain unconstructive traits do stick with us.
Cumberbatch being a versatile actor carries the role of an egotistical narcissistic convincingly with some drawing parallels to his portrayal of such a character before albeit different backgrounds. His chemistry with Wong brought comedic relief leaving the audience wanting more, which they hope can be built on in the upcoming films. Ejiofor’s rendering of a devoted disciple, whose inclination towards order and the Ancient One comes crumbling down as he is left feeling betrayed by the very person whom he admires, is a feeling we all resonate with. Swinton steals the show when she graces the screen with her presence. However, feathers were ruffled as her character was whitewashed because the comics depict an Asian man for the same.
Another bone of contention that the audiences have is the underutilization of McAdams and Mikkelsen. These strong and fierce actors who have displayed their acting prowess in an assortment of films, as well as TV series, are not given sufficient screen time and structured characters. Though McAdam's character may further be explored in the sequel, Mikkelsen as Kaecilius had no montages to his name barring the occasions where his background story was narrated verbally. Marvel should have devoted necessary screen time to flesh out Mikkelsen's character as his and Cumberbatch’s were antithetical to each other.
Likewise, they are yet to break free from the usage of their stereotypical lens. When Strange arrives in Nepal, the colour of the camera lens shifts to a dull murky yellow – a label that many filmmakers of the West use to portray a developing or underdeveloped nation to highlight the differences between them. It is however interesting to note that filmmakers of such nations do not believe in showing their countries through such a lens.
Nevertheless, an accomplishment that can be added to the studio's cap is their ability to bring superheroes to life that earlier could only be found between the pages of their comics, a hardship that their counterpart still struggle with. The efforts to bring childhood characters to the silver screen help the audience relive memories as their cherished crusaders unfold in front of their eyes.
