Shattered bones, bursting wounds , bursting heads: In Marvel's first Netflix series " Daredevil " it's too brutal and bloody. Because it must be so. Because anything else would not be true to the abyss that awaits us in this part of the Marvel universe.
Senses
Daredevil does not have to face any alien invaders, power-hungry gods or destructive mobs of killer robots. Others in the Marvel Universe are responsible for that. Avengers members like Iron Man, Captain America and Thor. The masked superhero instead has to deal with human and drug trafficking, child abduction, corruption and murder. With all the things, then, which do not require any supernatural beings.
The only supernatural encounters come in the form of little references to the Marvel Cinematic Universe, in which not only the movie adventures of the Avengers, but also the events of "Daredevil" series are located. And this is featured in the form embodied by Charlie Cox as the title character, who lost his sight as a child, but since then, has gained sharpened senses, by which it can perceive its environment to superhuman manner. Which is extremely handy when he beats the hell out of opponents in his Hell's Kitchen neighborhood in New York. Or even as he works as a lawyer under his real name Matt Murdock and can hear when listening to the heartbeat whether his clients tell the truth or lie.
Unvarnished brutality
That being said, "Daredevil" has the fierce, hardheaded realism of crime series such as "NYPD Blue," "The Shield" and "The Wire" in terms of atmosphere and staging obviously committed. The action largely takes place in the streets, in dilapidated buildings and dreary offices. The hero is a man driven, who is threatening to lose their own humanity in the course of his grueling, seemingly hopeless struggle. The grounded, uncompromising approach also corresponds to the staging of the action scenes: Instead of the effect charged spectacle, which is otherwise known from the Marvel Cinematic Universe, "Daredevil" has hard, form-fitting combats of rawness and brutality. Among the highlights of the first confrontations are a rotated without apparent cut fight sequence in which Daredevil reaches his physical limits, as he deals with multiple enemies as long it takes until each of them is on the ground. To rotate the ambitious scene as a single, long shot, is by no means an end in itself, but rather, to make noticeable the increasing exhaustion of the hero formally for us viewers. Matt Murdock can not battle his way in pleasing rhythm cut to a music clip - he wants to stay alive, he is struggling through a struggle that does not allow an interrupt. Even in the form of a cut.
In any case, the battered body of Matt Murdock says far more about the hero, as is common in the action genre. We always have the scars of past struggles in mind, see the adding new wounds and the blood seeping from his body. As the needle pierces the flesh and the thread in its wake, when he turns to his allies Claire Temple (Rosario Dawson) so he can be patched up again. That Daredevil despite his superhuman senses is physically just as vulnerable as anyone else, is not a mere assertion, but is clear to us with all due drama. How seriously the series takes its own premise and its heroes, shows up as strongly as the emphasis of his physical infirmity with almost any aspect.
Big Bad
This afterall, makes "Daredevil" - at least in the first five episodes that were shown to the press so far - a show that gets everything right. The ensemble is staffed with excellent Charlie Cox and Rosario Dawson and Elden Henson as Murdock's law firm partner Foggy Nelson, Deborah Ann Woll as their client Karen Page and Vondie Curtis-Hall as idealistic reporter Ben Urich. And then there's the Big Bad of the first in this series of interlocking 13-episode seasons: The ruthless crime boss Wilson Fisk aka the Kingpin, who is also in the comic soruce material the arch-enemy of Daredevil, and Vincent D'Onofrio is so fascinating and threatening in his portrayal that one is constantly spellbound by his dark aura.
"Daredevil" shows once again what an unerring sense the architects of the Marvel Cinematic Universe have for their heroes - regardless of whether it is expensive blockbuster action movies, fun space opera or even gloomy series. Starting from the selection of Netflix, which allows the kind of explicit violence, which is appropriate given the substance, but in the form unacceptable within the major US networks, up to the show runners of the series. With Drew Goddard, who was initially responsible for the design and Steven S. DeKnight, who then took over the helm, two authors at work that have demonstrated their talent for complex genre series already on "Buffy the Vampire Slayer" and demonstrate that they can bring the necessary sensitivity for a dark material like "Daredevil".
If the series is this persistent in quality, it could do for the audiovisual arts what Frank Miller's Daredevil interpretation in the 80s did for the comic arts: You could pave the way for the superhero genre into regions where no abyss seems too deep not to tell on appropriate unsparing manner thereof.