and so anyway it turns out that the best thing about Brick Mansions (2014) is not that it has a piece of good old-fashioned Jean-Claude Van Damme-style hasty exposition about the origins of Lino to explain why someone with a French accent lives in a Detroit ghetto (and then dubs David Belle badly anyway), nor that a film so vastly inferior to its source, Banlieue 13 (2004), has the audacity to insist that ‘different methods can produce the same result’, but that it helped answer a question posed by the old episode of Orange is the New Black I saw just before it – yes, it is actually possible for something to be more depressing than a Tori Amos tribute band…
To be honest, I’d forgotten there was a new Fantastic Four movie coming out until the trailer appeared yesterday.
My memory was lagging behind in other ways, too. For the life of me I could not figure out why they’d cast Michael B. Jordan as Ben Grimm/The Thing.
I mean, he’s so skinny.
My mistake. They’ve actually cast Jamie Bell, and I’m good with that.1 Jordan is playing Johnny Storm/Human Torch. There was, tediously and of course and now dimly remembered, some kerfuffle about the casting of an actor of colour in a role of pallor. The usual racist bullshit tweeting and trolling. It seemed to die down pretty quickly, especially after Jordan, caught off guard, snapped back ‘You’ll all come see it anyway’. Which is not quite a Neil Patrick Harris well, duh moment, but not bad on the fly.
My confusion about who was cast as who does actually make a kind of sense. Because the Thing – although perhaps not quite as obviously as The Hulk – was always one Marvel’s black buck stereotype superheroes.
The Hulk is inspired by Dr Jekyll and Mr Hyde, and Hyde is clearly racialised in Robert Louis Stevenson’s short novel from 1886, and even more so in the 1932 adaptation starring Fredric March, in which Hyde clearly signifies some kind of simian negritude. (It is always worth remembering that the multiple trials of the Scottsboro boys – a case more typical than exceptional – were dragging on through the first half of the 1930s, even as Dr Jekyll and Mr Hyde, King Kong, James Whale’s Frankenstein, Erle C Kenton’s Island of Lost Souls and other fantastical American racial fantasies were appearing in cinemas.)
The Thing builds more obviously on the combination of buck stereotype and proletarian image with which Whale imbues Mary Shelley’s creation (building on her description of Frankenstein’s apocalyptic vision of his creations breeding and producing a new posthuman race that will displace aristocratic privilege and white hegemony) and which he explicitly and sympathetically develops in Showboat when Paul Robeson sings ‘Ol’ Man River’.
Jack Arnold’s Creature from the Black Lagoon is a close relation. The appearance of this archaic fishman can easily be interpreted in terms of racist caricatures of African/Afrodiasporic peoples. Something of his melancholy aquatic courtship of Kay, her whiteness emphasised by her dazzling white swimsuit, is carried forward into the sequence in The Fantastic Four (2005) when Ben’s engagement is called off. The racist imagery of the black buck as sexual monster/monstrously sexual it evokes – his finger is just so big he can’t get it into the tight little engagement ring – falls somewhere between unfortunate and hilarious.
And of course, early in his comics career Luke Cage, Power Man – later spoofed, a little unfairly, by Milestone Comics as Buck Wild, Mercenary Man – subbed for the Thing in the Fantastic Four, and soon after had his own side adventure in Latveria with Doctor Doom.
So like I said, my confusion makes a kind of sense. But nonetheless, I am curious about my own unreflective assumption that Jordan was playing the Thing, while also profoundly untroubled by him playing Johnny Storm, a character with plenty of potential (as Chris Evans showed, albeit whitely) to be just another ‘one of those Tom Slick brothers that think you can get by on good looks, a wink and a smile’ (as Black Dynamite‘s Gloria might put it).
The one thing I dread however – partly because over the years I have seen so much awkward, straight-to-video exposition justifying Jean-Claude Van Damme’s Belgian accent to American ears – is the painful scene explaining how come Johnny’s sister, Sue, is white.
I mean, deep down there is a part of me that does actually want to see it, and be appalled by it. But we really could do without it.
It’s not like this is Pleasantville out here.