The multiverse is the emerging conceptual force in a number of cinematic worlds, especially the MCU. But what the hell is it? The Successity Blog investigates.
The “multiverse” at its simplest is a concept whereby numerous parallel universes exist at the same time with various differing iterations of reality, some nearly the same, some wildly disparate.
Once the secret of doing so is discovered and learned, characters can “hop” between universes in the multiverse through portals which may be more or less stable. These characters can be determined to do good, or hell bent on doing evil, and of course must be prepared to meet other iterations of themselves (e.g. Spiderman – No Way Home).
The way in which the multiverse works, however, can vary wildly between film to film. And if you think Marvel has a monopoly on the multiverse, then think again.
I discuss below two recent movies whose premises rely on the multiverse:
Dr Strange in the Multiverse of Madness
Premise: Dr Strange (Benedict Cumberbatch), himself able to traverse the multiverse, encounters a girl with similar powers. He asks Wanda Maximoff (Elizabeth Olsen) for help, but she double-crosses him, the multiverse is engaged, and chaos ensues.
Opinion: The trouble with Multiverse of Madness is it is so self-referential to its prequel and to other MCU movies that it is extremely hard to understand for those not imbued with an in-depth knowledge of previous MCU films and their characters. It may be this that led to a lukewarm reception from the critics, which has nevertheless failed to dent the film’s $500 million performance at the worldwide box office as at 10 May 2022 (all the while excluding China and Russia let’s not forget).
For myself, I enjoy Marvel movies, but I am not an aficionado, and I found myself just about able to follow the plot and stay in line with the characters.
The strengths of the move for me were, first, Benedict Cumberbatch’s strong performance as Dr Strange: He carries the film like the front axle of a road truck. For me, what was most impressive about it was that it was a performance about as far away as you could get from The Power of the Dog, and confirms his reputation as a strong, versatile actor willing to take risks.
Secondly, Sam Raimi’s direction was magnificent. His camera spirals and swoops in the numerous fight scenes, and the CGI is never too oppressive.
At times the film has the feel of an Art-house movie: for instance, when a thin cloud of red vapour blows over a pristine white ice field; and when – in an almost Disney-esque moment – Strange (battling himself in another universe) imbues the notes on a piano score with life and corrals them into defeating his bad self.
Dr Strange in the Multiverse of Madness is a must see for anyone wanting to understand better the secrets of the multiverse.
Everything Everywhere All at Once
If you think Multiverse of Madness is “strange” and chaotic, stand by for an even wilder ride in Everything Everywhere All at Once.
To my mind the great triumph of this movie is that it is unredeemably weird without alienating its audience. Indeed, in the screening I was at the audience sat transfixed.
Somewhere between Inception and Dr Strange, but without a crime to solve or ae evil superhero to conquer, and instead (bravely) with an emotional tangle to resolve, this film has to be the nearest thing to surrealism that mainstream cinema will allow.
Premise: Evelyn must wrangle with the IRS, organize a Chinese New Year party, run her laundromat, contemplate a divorce with her husband and battle with her alienated daughter, all at once.
In the midst of this Evelyn is informed she is the last hope of the multiverse and that she must learn to negotiate its portals – and quickly.
Opinion: The way the portals operate in Dr Strange is actually quite ordered and predictable – rings of fire opening step-through doors to another universe. Once you know the secret. But the Dr Strange multiverse seems quite reluctant to give up its secrets.
In Everything Everywhere All At Once there’s no such predictability. Portals are opened by doing something strange – from chewing gum to telling the IRS lady “I love you” to inserting a huge statuette up your bum.
And there is no orderly “stepping through” – Evelyn is ripped from one multiverse to the next and she never knows what she might find – on one extreme she is a famous singer; on another she is being attached by two enormous floppy dildos – on another everyone’s fingers are made from hotdogs; on another she is in a lifeless universe where she and her daughter are rocks in a desert.
In these worlds, once the portals of the multiverse get going, it seems that the merest cynical raise of an eyebrow is enough to tear you through them.
It's crazy, and breath-taking.
To my mind the “two Daniels’” direction is excellent, and they do a fantastic job of rendering coherent such a potentially incoherent movie. Equally, they stage fight scenes that would rival John Wick in their bravura and absurdity.
But to my mind the editing stands out most as a tour de force. It is rapid and jagged and unrelenting. It is the making of the film. The continuity deserves a mention too. In such a wild here-and-there- film continuity is crucial, and I didn’t catch much.
As with Dr Strange, there is a sense at the end that the multiverse will return to balance. But who knows when next Evelyn might be called from her laundromat to save everything?
Takeaway
Two very fine but differing explanations of the multiverse and how it works. These are both movies well worth seeing, but neither is for the faint hearted.
It will be interesting to see if a new Chinese character called Evelyn creeps into the Marvel Cinematic Universe sometime soon.
Watch this space.
Comments