It’s rare for Deutsche Post to dedicate a stamp to a trademarked character, owned by a foreign company at that, with that company’s name prominently placed. But on July 7, they did just that. According to the press release (German), the Spider-Man stamp is part of a new superhero series in which two stamps per year are going to be released, each with a different character.
Last month they also issued a Smurfs stamp, but that seems to belong to a different series called “childhood heroes”. Its design is different too, with neither Peyo’s nor the original publisher’s name visible. (The copyright info at the Deutsche Post website reads: “© Peyo -2022- Lic. I.M.P.S. (Brussels)”.)
Also remarkable about the Spider-Man stamp is the way in which the character is rendered, both the drawing style and the classic blue-and-red costume, which perhaps looks unfamiliar or at least old-fashioned to many comic readers (and moviegoers) today. Then again, the press release says that the stamp is meant to celebrate Spider-Man’s 60th birthday and explicitly mentions Stan Lee and Steve Ditko, so that old-school look may be intentional.
Unfortunately, Andrew Garfield isn’t Tobey Maguire. Sadly, Emma Stone isn’t Kirsten Dunst. Regrettably, the Lizard isn’t the Green Goblin. And it’s a pity that James Horner isn’t Danny Elfman.
It was daring, to put it mildly, to release The Amazing Spider-Man only five years after Spider-Man 3. Many filmgoers still remember the Sam Raimi trilogy well, and are well able to compare it to Marc Webb’s reboot. There was no way that The Amazing Spider-Man could come off well in this comparison, and indeed it turned out to be inferior to the 2002 Spider-Man in every aspect. (However, I’m aware that some other reviewers apparently like the new film better, so this might be a matter of taste.)
That being said, ASM raises the question whether it makes sense to reboot a film franchise shortly after three previous films of that same franchise in the first place, or, generally, what to make of the endless torrent of sequels and remakes that Hollywood pours out. That topic has been extensively discussed for years, but at the cinema, the bleakness of the situation dawned on me with full force, when I got to watch not only Spider-Man 4 but also trailers for Madagascar 3, the Total Recall remake, Bourne 4, Prometheus a.k.a. “Alien 5“, Twilight 4.2, and Christopher Nolan’s third Batman film. The only original advertised film (yes, there were a lot of trailers) was, if I remember correctly, Brave.
And yet, people don’t seem to mind to spend their money on films they’ve basically already seen before time and again. Box Office Mojo reports ASM‘s worldwide gross at 521 million dollars, which is more than twice the production cost. So while economically this self-plagiarism makes sense, it strikes me as a sign of a creative bankruptcy of the US film industry. The immediate effect of the apparent popular demand for such films is that they run in the theatres for months, thus blocking the screens for more original but less commercially promising films that are dropped after a week (if they make it to your town at all).
To end this review on a more positive note, not everything was bad about ASM: Webb’s film reminds us that, with Gwen Stacy and the Lizard, there are two classic characters in the Spider-Man comics that were neglected in the Sam Raimi films but whose stories might be worth to be told, possibly in a film. But they deserve to be told well. Maybe another time.
Rating: ● ● ○ ○ ○