Here's my review of Captain America:
AT LAST A motion picture which addresses the eternal question: if one is trapped in suspended animation for fifty years, is it okay upon leaving to forget your old, now aging girlfriend and take up with her daughter? The answer's yes, according to 1991's Captain America, a by-the-numbers superhero flick with just enough solid action to scrape by.
The American comicbook industry was at it's highest peak during World War II, when the simplistic heroics of Superman and Captain Marvel buyoed troops and taught kids the evils of racketeering and wife-beating. When the Nazis launched their offensive across Europe, Timely Comics creators Joe Simon and Jack Kirby were given a genuine villain for the forces of good to fight against; now they just needed a hero. So they took Old Glory, made it into human form, and created Captain America.
Of course, post-World War II, Cap lost his relevence. What was the point of a superhero whose war had been won? It was only in the 1960's that Stan Lee (of course) realised that itself was a hook, having Cap frozen in time and re-awaking into the sixties. Now the previously perfect Cap would face problems he couldn't fight by hurling his shield. What would a man of old-fashioned morals do in the political and social upheval of the 1960's?
This movie version wisely uses the man-out-of-time idea as it's central premise, merely altering Cap's journey from the 40's to the 90's instead. Lame soldier Steve Rogers volunteers for an experiment to create the US army's first super soldier ("He won't be Superman," notes the General) - and it's last. He is sent into Germany to battle the Red Skull, grotesque crimson personification of Nazi evil (changed to Italian here for still unknown reasons). The Skull takes him down with ease and straps him to a missile launched at the White House. Cap just manages to knock it off course, but ends up in the Antarctic, where he remains frozen for decades. He is re-awakened during the late eighties, to discover that his former sweetheart Bernice is now an old lady, and that the Red Skull survives and is plotting against the US President. Luckily he still has his powers, his costume, his shield and the help of Bernice's now adult daughter Sharon.
A confused movie to be sure, Captain America is part superhero adventure and part low-key european tourist board advertisment. After the obligatory superhero origin of the first act, we are treated to some dull exposition updating the story from the second world war to the present day. Then the film becomes something of an 80's James Bond movie, with our hero and damsel-in-distress being chased around scenic Italian locations by thugs with expensive suits and motorbikes. While it's not the worst material ever filmed, it's a strange diversion for a supehero movie, and it's certainly no For Your Eyes Only (1981). In fact it reminds one of Condorman (1981).
The script makes few changes to the Captain America mythos portrayed in comicbooks since 1941. The main alteration is an intresting one; the scientist who turns weakling Steve Rogers into mighty Captain America did the same work for the Nazis previously, and defected when she realised they were turning a young boy into the Red Skull. She thanks Rogers for allowing her to correct her mistake.
This is an effective streamlining of events, making the creation of Cap and the Skull more believable . The audience does not have to suspend disbelief for two superhumans origins, ala Spider-Man (2002), only one, used on two people. It also adds poignancy and emotion to an otherwise routine origin. We can see Cap and the Skull as brothers (the Skull actually calls them as such) and the doctor as their mother. There is great dramatic irony in the two - one wrapped in the red, white and blue, the other the personification of Nazi evil - being brothers. This element is not overplayed, simply used to enhance the narrative.
Director Albert Pyun uses an energetic yet detached and realistic style, similar to that of 007 director John Glen. Glen directed all the 1980's Bond movies including Octopussy (1983) and The Living Daylights (1987). Pyun seems disintrested in any scenes without action, and as a result the movie is unfocussed, drowsy and almost dreamlike in quality. In many shots it's almost unclear what the viewer's attention is supposed to be upon - surely not the incredibly basic character interactions? Surprisingly the patriotic angle is not overplayed. America during WWII is presented in cliched apple pie style, with good-ole-boy maustachioed army general. Cap is, of course, an action hero wrapped in Old Glory - and Pyun knows that is enough.
Kudos goes for the handling of the Red Skull. This may very well be the first superhero movie to portray a supervillain as tragic and engage the audiences sympathies. This leads to a effectively melancholy climax as the Skull plays his piano for the last time, reminding the viewer that he was once simply an innocent young boy.
The action sequences of Captain America somehow contain the problems of both Teenage Mutant Ninja Turtles (1990) and Batman Begins (2005); many of them are simply too dark, and many of them are also cut too fast. The end result is numerous rapid shots in which the viewer can make out something in perhaps every third one. Cap's opening attack on the Red Skull's base in a perfect example; the audience simply cannot see where our hero is in relation to the villains, or where exactly the villains are. Then Cap blows up a truck - where did the truck come from? And so on. This approach spoils a similar brawl in an abandoned underground base. The film attempts tension by showing characters sneaking around in the dark. Problem is the audience doesn't know which characters they are, or how close they are to each other, until a punch is thrown.
However, it's not all bad. The saving grace of Captain America is the action sequences. You will get the rare chance of seeing a grown man throw a table at two women. Cap's (better lighted) opening battle with the Red Skull captures the epic drama of such an iconic confrontation, there's genuine excitement as they clash. Cap hurls his shield at the Skull, who catches it - uh oh - and hurls in into the concrete. Then the Skull leaps from the walkway he's poised on and mocks his foe as the red, white and blue hero rushes towards him. Even though the Skull seems a little too keen on the knee -to-the-stomach movie, it's a bruising smackdown and even the shot of Skull throwing Cap through the air works. Not only is this the best sequence in the film by a wide margin, it's amongst the most atmospheric in any comicbook adaption. It achieves a balance so many films of the genre fail at - the villain is a genuine threat to the hero, is better than him - but not so much better that they're not well-matched.
The two clash again during the finale, and throw more punches than the entire Rocky saga. There's a sense that Cap, still in his prime, fighting the Skull, now middle-aged, is less than fair - but who cares? And let's not forget, it's just good to see the superhero and supervillain having a prolonged battle. The rapid editing suddenly becomes very effective in two sequences of the Skull blasting machine gun fire at Cap, as shots of Cap racing to grab his shield for protection and the Skull letting loose are cut so far they are almost merged together. It's short, creative moments like this that elevate Captain America beyond it's reputation.
One of the major reasons for Captain America's obscurity is the lack of stars. The most well-known actor amongst the cast would be Ronny Cox, the evil head of OCP in RoboCop (1987). Then we have Ned Beatty, Otis from Superman (1978). Darren McGavin played the title role in X-Files-inspiring cult 70's TV show Kolchak: the Night Stalker. SKim Gillingham has been seen in both Friends and Seinfeld. Bill Mumy is mainly known for the sci-fi TV series' Lost in Space and Bayblon 5, and has also worked on The Flash, Superboy, Ultraman (!) and Batman: the Animated Series.
Dolph Lundgren, who had already played the Punisher, was reportedly lined up for the role of Captain America. He had everything except his nationality - Swedish - going for him. Ultimately, the role was given to Matt Salinger. To his credit, Salinger genuinely does seem to have stepped out of the 1940's, and maintains a boyish sense of wonder and quiet awe at everything that happens. However, this has to be put aside when playing a superhero, and especially a gung-ho, commanding superhero such as Captain America, and while effective enough, Salinger never quite convinces as the shield-slinger. He effectively gains the audiences sympathy but never has the presence required. All in all, this is a below average Captain America. You feel inclined to agree with the Red Skull when he shouts insults at him.
To phrase it differently, the manner in which Salinger plays Cap he does very well, he just chose the wrong manner.
The Skull however is a standout performance. A truly effective supervillain, he is both convincingly diabolical and believably human. Scott Paulin effortlessly commands every scene he appears in, with a majesty that would have done well to study as Doctor Doom.
It's hard to dislike Captain America. It's fuzzy, low-key and unfocused, the action scenes are sometimes impossible to understand, most of the the cast could have been people from the street, and the title character appears too little. But it has heart, it has costumes taken straight from the comicbooks, it has two great clashes between Cap and the Skull, and it has a commanding villain in Scott Paulin. The script is decent enough that a good director could have made a good film.
Although considered by many to be amongst the very worst the genre has to offer, it's certainly superior to the likes of Generation X (1996), The Guyver (1991), and Spawn (1997) - y'know, the really crap ones. Captain America does atleast capture a sliver of the mood of the 1960's Marvel comicbooks, the 'adventure first, melodrama second, logic a distant third' approach of Stan Lee's work.
Is it good? No. Is it fun? Occasionally. Imagine having a dream about the star-spangled shield-slinger, fighting low-key thugs in sunny Italy. And then waking up and only remembering vague images. That's the effect of Captain America.
..... but it's the best we have at the moment.
