One of the most beautiful ‘lies’ in Marvel Comics was the invention of the Multiversean idea that served both to give free rein to riskiest creations (The Ultimates) as for resurrect superheroes fallen in combat, who returned to take focus in the vignettes without having to give more explanations. The coexistence of these different realities became a good source of income and a showcase for new talent.
So starting from that successful business model, MCU has been adapting stone by stone the concept to its films, opening an infinite range of possibilities: from the appearance of new versions of familiar superheroes, Some of us will see here that will cause astonishment, at the return of legendary figures lost after the snap of Thanos.
On that edge of the impossible moves the latest film from the Marvel factory that, with Sam Raimi at the head of the project, opens the Multiverse to the viewer in an entertaining and educational way, because the first success of the American director has been to translate such an abstract idea into an understandable story. It is true that since the first Doctor Strange (2016) the foundations are being laid and that Spider-Man: No Way Home surprised with the fusion of realities by bringing together in a single tape the three official Spider-Man (Holland, Maguire and Garfield), but it is in the multiverse of madness where this concept shows its enormous creative potential, that will surely be squeezed in future installments of Marvel. Who wouldn’t want to see Robert Downey Jr. as Iron Man again, even if it was another universe?
The film reclaims the figure of Doctor Strange as one of the great icons of Marvel cinema after Thanos and that is largely due to enormous work by Benedict Cumberbatch, one of the greatest talents in today’s cinema. The British once again demonstrates how well the levitation cloak suits him and offers various registers of his character depending on the reality to which he adheres. On this occasion, her antagonist is Wanda Maximoff, the Scarlet Witch, who has gone mad due to the loss of her supposed children, a story that is taken from Avengers Disunited (Bendis, 2004), but whose origin is not very clear in the film if not Wandavision has been seen.
More Marvel than Raimi
Elizabeth Olsen also signs a remarkable job, although it is not a film in which the actors, except for Benedict, have a decisive weight. The commitment to a high pace, Marvel’s trademark, leaves little room for personal brilliance. The scene changes and the relentless action trap the viewer in a story that promised to give more of itself. It is true that Sam Raimi leaves its mark on the Multiverse of madness, but everything within well-defined limits by the production company. There are recognizable elements of his cinema such as the presence of fantastic creatures, the appearance of the dead or the call to the most sentimental side of the spectator. At first it had been sold as a film that bordered on the horror genre, but nothing further, it is true that there are some scares and some disturbing-looking monsters, especially for the little ones in the house, but not by a long shot is it presented as entertainment that arouses fear in the viewer.
Visually it has some brilliant moments, especially those that have to do with travel between different dimensions, but as a whole it is a fairly dark and conservative film in the use of planes. There are many fight scenes, perhaps too many, and they are also not resolved with the brilliance and originality that we saw in the first installment. of the sorcerer supreme. In what does separate itself from the rest of Marvel productions is that it has a touch of ‘free’ violence far above the rest, in addition, the sly air of the latest installments has been reduced, with a less constant presence of jokes. for the soundtrack Raimi has had his trusted composer, Danny Elfman, that builds a remarkable work, although that identification with a classic group is missing, as it happens with Iron Man (AC/DC) or Thor (Led Zeppelin).
Despite the fact that Raimi obscures the story, he has been unable to take it to his field, perhaps because of the enormous burden of integrating it into the entire Marvel ensemble. If something shines above all, it is the excellent work of Benedict Cumberbatch, who has managed to turn a second line figure in the comic into a first sword of the Marvel Cinematic Universe. The film is entertaining, risky at times, but inferior to the one Scott Derrickson signed in 2016. Its more than two hours of duration pass in a sigh, although after an impressive start, one of the best of the film, it enters a certain valley until the story picks up the rhythm of Marvel productions.
Post-credits scenes from Doctor Strange in the Multiverse of Madness
In this case, the first one is quite relevant because it opens the door to the fusion of two worlds, Avengers and Mutants, that in the comic have been a resource explored on rare occasions. As for the second, it’s a funny joke to the post-credit scenes. The joke is appreciated… even if you have to wait several minutes watching the signs go by.