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About Iron Man
Downey’s acting is enthralling and surprising. He doesn’t act like other superstars: he misses the mental heaviness and gravity that most superheroes possess. Tony Stark is based on the character Downey has developed throughout many films: he’s rebellious, eccentric, self-deprecating, and smart. Jon Favreau made a brave move by allowing Downey to perceive and communicate the sense he does while using all that gear. He certainly would not have signed Downey if he didn’t want that. Downey is so at ease with Tony Stark’s words, and it sounds so natural pouring from him that the script nearly appears to have been inspired by his personality. The purpose of most films in this style is to produce larger and better weaponry. Tony Stark’s desire to disarm is somewhat uncommon.
“Iron Man” seems not to realize how somber most superhero films are. If the dialogue contains humor, the superhero is frequently assumed to be oblivious of it. If there is any broad comedy in the narrative, it typically comes from the antagonist. Nevertheless, in “Iron Man,” we are sometimes left wondering how earnestly even Stark considers it. He’s nonchalant on the verge of catastrophe, irreverent in the presence of tragedy. Another unique aspect of the film is that the antagonist is neither a scheme nor a spy organization. Instead, that is the current truth in our own universe: Armaments are rising faster than we can regulate them.
Instead of reciting clichés, he becomes a superman who can analyze, rationalize, and form moral judgments. The film’s spectacular effects are primarily responsible for its success. Something is hammering, hammering, or laying rubber while no one is talking. Tony and Obadiah’s armored robotic garments would overshadow weaker performers than Downey and Bridges; it’s remarkable how much those two massive iron men appear to represent the men within them. Of course, whatever they do is crazy, but they appear to be doing everything, not the attire.