- Building a buzz for Spidey 3 -- if a little is good, a lot is better.
The credits also reveal the names of writers Michael Chabon (Pulitzer Prize for the novel The Amazing Adventures of Kavalier and Clay, about old-time comic-book scribes) and Alvin Sargent (adapted-screenplay Oscars for Julia and Ordinary People), who love Spider-Man not just when he's fighting the bad guy, but when he's wrestling with himself. Imagine -- a superhero movie in which the most meaningful battles are waged within the guy wearing the costume. It's remarkable how, throughout these two movies, the makers of the Spider-Man franchise haven't lost sight of creators Stan Lee and Steve Ditko's original vision of an ordinary guy who's "not too handsome, not too glamorous, not too graceful, not too muscular," as Lee wrote in 1974's The Origins of Marvel Comics.
Spider-Man 2, again directed by Sam Raimi, would have been unimaginable without Tobey Maguire, who was nearly replaced by Jake Gyllenhaal due to injury. He's the perfect Peter Parker/Spider-Man, exuding a sort of wide-eyed sadness throughout a film that's as much about his unacknowledged love for Mary Jane (Kirsten Dunst) and his guilt over the death of Uncle Ben (Cliff Robertson) as it is his feud with the increasingly hostile Harry (James Franco) and his battles with old pal Doctor Otto Octavius (Alfred Molina), a mad scientist with four metallic tentacles fused to his bulky frame. Maguire's the only guy for the role, because he possesses that rare mixture of vulnerability and potency; you're always afraid this superhero will snap in half.
Where Peter was yee-ha giddy with the discovery of his newfound powers in the first film, he's crushed by the weight of responsibility that comes with them in its far superior successor. His doubt even causes his powers to fail him on occasion -- his webs don't spin, his fingers don't stick to walls -- which makes him chuck his costume into a trash can. Giving up Spider-Man, he believes, will allow him to be with Mary Jane, now a successful actress on Broadway in The Importance of Being Earnest. Indeed, playing Cecily, Mary Jane gets to deliver the line that defines her tortured relationship with Peter: "I hope you have not been leading a double life, pretending to be wicked and being really good all the time." The writers have lifted a plot point from Superman II -- in which Clark becomes mortal for Lois -- and cleverly expanded it.
Alas, it's impossible to play a normal guy in love when there's a madman on the loose in New York City. Molina's Doctor Octopus makes for a horrifying bad guy: With "smart arms" that drive him bonkers, he kills for thrills, toying with his victims like an infant throwing dolls around a nursery. Yet he's also a hard guy to hate: Spider-Man's enemies always begin as Peter Parker's friends or mentors, surrogate fathers for a kid raised by an uncle whose death he partially caused. They're also scientists, whose descent into villainy is sparked by a noble endeavor that goes horribly wrong. During their first meeting, a friendly encounter between student and would-be teacher, Octavius even lectures Peter about how intelligence is not a privilege, but a gift to be used "for the good of mankind." He likes the kid, and Molina gives Octavius considerable warmth and charm; knowing what's coming makes their scant moments together as friends all the more poignant.
The first Spider-Man was charming, but also a touch tedious -- the curse of the original story. The sequel's far more ambitious, from its use of music to its thrilling action sequences to its sly references to the comics to its long but never dull stretches, in which Doc Ock disappears altogether; it's a two-hour epic, sprawling but never messy and moving without ever turning maudlin. You will even forgive the movie its handful of false endings, because the movie doesn't feel long enough; the sequel's sequel will not arrive soon enough.