The texture of a superhero is the essence of decision making. The interesting progression of “Spiderman: Far From Home” operates in the realm of naivete. Having done interviews for the original Spiderman films from Sam Raimi but never really watching Andrew Garfield’s version, Tom Holland’s approach is one almost of innocent bewilderment which in turn gives him a sense of awe. One of the most affecting moments in an earlier “Avengers” film is when Holland looks at Robert Downey Jr. as Tony Stark as he is disappearing with a questioning line. But that establishes such a structure that perhaps earlier Spiderman films didn’t have: a connection to others and a larger world. This is likely what will fuel the Black Widow film with Scarlet Johannson since it will bring that essence of story and time to that film. Here the idiom that perpetrated the entire Sam Raimi film is pushed in the background but still rings clear: “with great power comes great responsibility. In trying not to give too much away, Tony Stark, not Iron Man, looms heavily over decisions here…and even perceptions. It is an interesting approach especially when decisions involve “Edith” and aspects of instinct and conscience.
The basic plot without giving too much away is that Peter Parker just wants to be a regular guy and go on a class trip to Europe to tell MJ (played by Zendaya) that he really likes her. While the banter between him and her and, by extension, his best friend and his perspective girlfriend for the trip works in a comic romantic comedy way, the stakes are not that thick, which is alright. The realization is that “Far From Home” nicely plays much lighter than, of course, the “Avengers” films which within their structure have a very dark core while still playing to mainstream structure. Here the threat is paradoxical in a way but one that is unexpected in one way but not in another. During an interview I did with Jake Gyllenhaal for “Stronger” a couple years back, he referenced that he always found it hard to play a superhero (and it seems he had been offered others) that weren’t real per se. That is why the progression here is an interesting exercise (which is all I can say). Any other discussions of heartbreak, destruction, expectation, subversion or transcendence will give away too much but the film does include all of these without becoming too, in a word, tragic. And that is a good thing. Especially when Jon Favreau can bring some fun comic relief without impacting or altering what the story is truly about.
By Tim Wassberg