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Infinity War: Neurotic heroes and Childish cinema

The tragic dimension of the hero has vanished. is an official at the service of global stability facing a periodical global annihilation

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Infinity War: Neurotic heroes and Childish cinema

A hero, opined Ralph Waldo Emerson, is one who is "immutably centered." On contrary, superheroes made by pop culture and more recently by cinema present in a ostentatious way decentered traits, affected by numerous and toxic neurosis that lead to confusion between ir obsessions and values that y claim to defend. The different sagas of superheroes have managed to distill saturation of characters ' disorders in an addictive endless tale and a fabulous source of benefits. But it is more: The Batman, Superman, Iron Man or Captain America aspire to be structured in a contemporary mythology built on psychological dysfunction and digital technology.

The hero of classical mythology sought and found his identity, veiled by chance or by animosity of gods, in a test or proof of value revealing ir true nature. The superheroes exploited by new Black Pope Disneyano (Kevin Feige) are required to exhibit ir powers, as in a cosmic circus, by enemies whose power is heightened in each new film, but y will never have enough strength to destroy m. Its tragic dimension has vanished; They are only officials at service of global stability that periodically have to cope with a figurative annihilation coming from outside, much more unreal than destruction from within that propitiate figures like Trump. The Celebrated Avengers: Infinity War (hereinafter, A: IW) responds to this conceptual Falsilla. And it is also a confirmation that commercial cinema progresses adequately and sadly towards a dangerous childishness. First, because it replaces healthy imagination with negligent fantasy. Everything is cooked in front of spectator, without ellipses or inferences, in way of those restaurants where y kill fish on table of diner. Second, by childishness of tragedy, debtor of fatum and of inevitability of loss and of death, crushed like indiscernable paste in Almirez of psychology: The evil and Malthusian Thanos sacrifices his adopted daughter but pays in Ducas mortal , at Concha Piquer, price of a decision that has not been imposed on him, as if he were forced to Átrida.

It is hard to define: IW as a film, although it has managed to be best premiere of story (519 million in its first weekend). The total absence of relevant planning that exceeds or transcends argument, suffocating weight of digital scenarios, actor sleepwalking, bombardment by saturation of protagonists and absence of space and film Time itself They turn film into a screw more than one series made in Feige.

The saga is fatally precipitated into disorder and degradation of characters. To Multiproduct Avengers it is possible to apply same magisterial analysis that made Juan Benet of painting construction of tower of Babel of Brueghel. The communion of language, as in Babel, has disappeared; In film Surplus A: IW (as in previous two) re have been mixed languages and discordant tones to annul any unit of purpose. In short, superfans (to such gods, such worshippers) have 13 endless products programmed up to 2022 to intoxicate.

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