PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTIONS: *psychological. sociological*
The second HULK telefilm proves far better thought-out than the previous entry. In this as in the next and last in the short-lived series, Bill Bixby directed from a script by TV-writer Gerald Di Pego, who never worked on the HULK TV show but did script a lot of better-than-average telemovies, starting with 1972's THE ASTRONAUT.
Following up on developments in INCREDIBLE HULK RETURNS, a morose David Banner has hit the road again, and like his TV-predecessor Richard Kimble he often gets a hard-knocks education in the ways of blue-collar life. He makes his way to a big city that seemed to be New York (though the actual filming was in Vancouver), if only because of the role the city's subway system plays in the story. Using the name David Belson, Banner checks into a dingy flophouse, unaware that the metropolis is a battleground for two opposed forces. The first is crime-boss Wilson Fisk (John Rhys-Davies), who maintains a stranglehold upon most of the criminal activity in the city, and his name is derived from a somewhat similar mastermind, the Kingpin, in various Marvel comics. The second is black-clad adventurer Daredevil (Rex Smith), who continually opposes Fisk's schemes.
This time "Belson" doesn't even have the chance to get some menial job before getting caught up in someone else's troubles. While Banner rides the subway one night, a couple of thugs assault Ellie, a young female passenger. Banner can't stand idly by, and after he gets clobbered, he once more transforms into the Hulk, as usual with no one witnessing the change. Even on a budget, the Green Goliath's scenes of tearing free of the subway car are fun, as are his flight down the tunnel. However, the Hulk barely has time to relax and re-transform before the subway cops find this nearly naked guy and arrest him on general suspicion.
The cops can't question Ellie, who's fallen into a coma from her injuries, but they do question the thugs, who trump up a story about Banner being the one who attacked Ellie, so that the former scientist ends up in the jug. Enter blind attorney Matt Murdock, who offers to defend "Belson" because Murdock suspects that the thugs work for Fisk. Banner doesn't initially want representation, and hopes that prison may finally keep his alter ego from hurting anyone.
This proves a rather short-sighted notion on Banner's part, and during his incarceration he dreams of being put on trial (thus justifying the title) and of causing chaos when he Hulks out. The nightmare results in a real-life transformation, the Hulk busts out of prison, and soon Banner is on the loose again. The mysterious hero Daredevil finds the fugitive doctor (heh), but Banner has no reason to trust the vigilante-- until the latter doffs his mask and reveals that he's met Banner before, as blind attorney Murdock.
Though Daredevil's origin is only related in conversation, it's surprisingly true to the original. Further complications include Fisk suborning Ellie, who initially supports the thugs' version of events until Fisk tries to have her killed. After Daredevil prevents the murder, the murderous mastermind lures the hero into a trap, and Daredevil's life is only saved because Banner tagged along with him. The Hulk rescues the hero, who then figures out the secret of Banner's double identity. Banner helps the vigilante recover from his injuries so that he's ultimately able to foil Fisk's schemes, even though the oily villain escapes to fight another day.
In contrast to the backdoor pilot for a "Thor series," Di Pago's ideas for a "Daredevil series" could have been at least decent. I'm doubly surprised that Di Pago captured much of the appeal of Daredevil and the Kingpin despite changing various details, for the writer had never previously worked on any project resembling superheroes, unless one counts a 1978 TV-remake of the adventure-classic THE FOUR FEATHERS. To be sure, Stan Lee-- doing his first live-action cameo in any Marvel adaptation-- advanced a telling critique of the Daredevil costume, noting that unlike the one in the comics, the all-black outfit with solid cloth over the eyes seems to broadcast that the hero is blind-- which is not something that the general public is supposed to know. That said, it's still a cool costume, and Rex Smith, previously known for his role as STREET HAWK, acquits himself ably. Bixby's direction shines in both the interpersonal scenes between Banner and Murdock and in some of the grungier parts of this faux New York City.
I dunno why they gave The Hulk that daft green wig. Lou Ferrigno actually looks like Herb Trimpe's version of Hulk even without makeup, so all they had to do was give him prominent brows and a more modest, less hippy-style wig. That's the one thing that let the series down - Hulkie didn't look like Hulkie.
ReplyDeleteAgreed, although there also seems to be something wrong with Ferrigno's face. I thought that I read that he's wearing some sort of appliance, but I can't make out what's wrong exactly. He's only seven years older than the last episodes of the series, so it can't just be age.
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