For film analysts, if we have been in this professional performance for a little while, we cannot help but be struck by the fact that they choose a filmmaker who specializes in a specific type of script to lead a proposal far removed from what is his custom. In the Marvel Cinematic Universe, it has already happened with feature films Black widow and Eternals by Cate Shortland (Lore) and Oscar winner Chloé Zhao (Nomadland), and it is now time to talk about the American Jonathan Igla on the miniseries Hawk Eye (2021).
He has served as a screenwriter in six chapters of Mad men (Matthew Weiner, 2007-2015), the episodes “High Anxiety” (3×09) of Masters of Sex (Michelle Ashford, 2013-2016) and “Wear It” (1×06) by Pitch (2016-2017), a couple of Shut eye (Leslie Bohem, Joanna Kerns, 2016-2017) and the chapter “17 Unheard Messages” (1×05) of Sorry for Your Loss (Kit Steinkellner, 2018-2019); and as producer of the last three and executive of The Bridgertons (Chris van Dusen, since 2020), just like it is from Hawk Eye.
So his curriculum is made up of a sextet of dramas light years away from the kind of dangerous adventures that we usually see in each installment of the Marvel saga; both in tone and in the specific area where they take place. But the decisions of the study go through choosing talented people, or those they consider such; although they do not have a significant experience in the action that we find in superhero stories. That is why Jonathan Igla is in charge of the six episodes about Jeremy Renner’s Clint Barton on Disney Plus.
Hawk Eye is the new marvel series that you can only see on Disney +
Premiere: November 24
The weight of the past in the Marvel Cinematic Universe
The first few minutes of the opening sequence in the chapter “Never Meet Your Heroes” (1×01) from Hawk Eye They could lead us to suppose that they will not take the opportunity to offer us something forceful to start with. But, if some ignorant viewer has not noticed the details, the short show what we have next, with sequence shot included, it should clear your fears.
And not only that, but it is also insisted that The Avengers (Joss Whedon, 2012) was a turning point for the Marvel Cinematic Universe, as we already knew after Spider-Man: Homecoming (Jon Watts, 2017) and Avengers: Endgame (Joe and Anthony Russo, 2019) by the tasty reuse of events in the new plots.
On the other hand, both the previous sequence and that of the titles indicate that Hawk Eye should not be considered a simple story about Jeremy Renner’s superhero, whom we have also seen as Wood Hite in The murder of Jesse James by the coward Robert Ford (Andrew Dominik, 2007), the greatest Carmine Politosino of The great American scam (David O. Russell, 2013) or Ian Donnelly in The arrival (Denis Villeneuve, 2016), but one of origin for the future of the franchise.
The enigmas and the spectacle of ‘Hawkeye’
Then, the script by Jonathan Igla himself and with the direction of another executive producer, Rhys Thomas (Unbreakable Kimmy Schmidt), it raises U.S an adequate exercise of social credibility of characteristics very similar to those of another quite hilarious that is in Thor: Ragnarok (Taika Waititi, 2017). And they use it to suggest that certain emotional dynamics from Hawk Eye perhaps it is not far from a basic one that was proposed to us in Spider-Man: Far From Home (Jon Watts, 2019) and Falcon and the Winter Soldier (Malcolm Spellman, 2021) with Endgame To the back.
Regardless, the fifth series of the Marvel Cinematic Universe on Disney Plus gives Jeremy Renner the chance to explore in his character different attitudes and moods to the apparent continuing seriousness of the archer. And one is surprised to discover that the soundtrack of veteran Christophe Beck, which he repeats in the saga after Ant-Man, Ant-Man and the Wasp (Peyton Reed, 2015, 2018) and WandaVision (Jac Schaeffer, 2021), and the unknown Michael Paraskevas (This World Won’t Break) pays tribute to John Williams for Home Alone 2: Lost in New York (Chris Columbus, 1992).
The enigmas finally emerge; and soon they amaze us with the interesting idea that they will respond to criticism in Hawk Eye about the fact that they didn’t explore something dark about Clint Barton’s career on Endgame. In addition, the arrival of fight choreography becomes inevitable because its enjoyment is essential in the Marvel Cinematic Universe. And the closing of one of them, which constitutes that of “Never Meet Your Heroes”, reaches us with a rewarding moment really; and a hook to continue with the second episode.