Fantastic Four (2005): A Retro Superhero Romp
Charming, harmless, and utterly unserious, Fantastic Four (2005) directed by Tim Story is pure entertainment, especially for younger audiences. It’s a lighthearted take on the superhero genre, and while sequels and prequels might follow the trend of X-Men and Spider-Man by declining in quality, this initial installment holds its own. The film’s appeal might be strongest for American audiences, tapping into their nostalgia and cultural familiarity. For others, it’s a guaranteed way to avoid boredom.
The Marvel comic about four ordinary Americans who venture into space and return as mutants debuted in 1961, coinciding with the era of space exploration. The Fantastic Four, like their own version of cosmonauts, are imbued with both relatable human traits from popular TV shows and an unwavering belief in a bright future, resulting in a quirky aesthetic. The early 60s marked a peak in global optimism, fueled by advancements like plastics, synthetic fabrics, and the birth control pill. Fantastic Four embraced this futuristic vision, granting its characters extraordinary abilities. They could burst into flames and fly like rockets, turn invisible, possess superhuman strength, and boast unbreakable physiques. This wasn’t horror; it was a celebration of progress, making the comic a massive hit.
Embracing the Past
Today, with fewer illusions, the filmmakers wisely avoided recreating the 60s aesthetic literally. Instead, they crafted a stylish homage, utilizing modern technology to enhance the retro feel.
The special effects subtly enhance the “future world” of the 60s for a modern audience. Reed’s (Ioan Gruffudd) malleable face, Sue’s (Jessica Alba) invisible bikini, and Johnny’s (Chris Evans) soaring flights are charming touches that wouldn’t have been possible in older films, yet they don’t overwhelm the screen with CGI. Ben (Michael Chiklis) is deliberately clad in obvious latex, rather than a realistic rendering of “The Thing.” The space station feels relatively modern, but the camera angles and staging evoke the past, mirroring the film’s overall aesthetic – lots of wood, “constructive” furniture, and stunts reminiscent of early Bond films. The relatively unknown cast members are chosen to resemble the stars of the early 60s who might have played the Fantastic Four if today’s technology had been available. You can see echoes of a young Jane Fonda, Rod Taylor, Richard Chamberlain, Yul Brynner, and Warren Beatty. While some might find this approach dated, vintage is currently in vogue.
A Lighthearted Take on Superheroics
This reluctance to drastically modernize the comic allowed Tim Story and his screenwriters (Michael France (Hulk), Mark Frost (Twin Peaks)) to retain the strengths of 60s storytelling. The characters aren’t just defined by their powers but also possess relatable psychology. Johnny’s banter with Ben is genuinely witty, and the love triangle between Reed, Sue, and Victor (Julian McMahon) is light enough to avoid the need for “relevant” sex scenes. The plot, despite the presence of another Iron Mask-esque villain, doesn’t reference Anakin Skywalker but instead playfully explores the battle between good and evil. The “good” mutants save people, reform a not-so-“good” mutant, and defeat the “bad” guy, but it’s all lighthearted and leaves room for more. “It’s all just beginning” is the film’s underlying message.
However, the lack of genuine mystery is a common issue with stylizations. It immediately labels the film as “not for adults” and prevents viewers from fully immersing themselves in the story. Questions like how Johnny can reach the temperature of the sun without destroying the Earth, or how Ben, as a rock-like creature without ears, can romance a blind woman (Kerry Washington), are best left unasked.
Ultimately, this isn’t science fiction; it’s anti-science, rooted in a fairytale like The Wizard of Oz, much like Spider-Man.
But as a stylized comic book adaptation reminiscent of the 30s or 60s, it’s a perfectly enjoyable example of the genre. Simply put, it’s fun.