by Allison Sapiro
On April 10, Netflix released its latest original series, much to delight of Marvel fans everywhere. “Daredevil,” the newest member of the Marvel Cinematic Universe, premiered to high praise and glowing reviews from critics and audiences alike. The blind vigilante is well-known in the comic world, and has been previously brought to the big screen by Ben Affleck in a misstep best left in the dust.
This series of 13 episodes stars British actor Charlie Cox (“Boardwalk Empire,” “Stardust”) as the masked crime-fighter. Cox brings subtly and charm to the role, keeping his eyes downcast and distant while still connecting with the audience.
Showrunner Steven S. DeKnight has created a show that portrays the dark side of crime fighting, and the difficulties of one man going against a corrupt system. Both Daredevil and his alter ego Matthew Murdock must fight the forces of evil on the streets and in the court system, respectively. What Murdock can’t do by the books as a lawyer, he takes care of as Daredevil, who doesn’t pull punches (a move he learned from his boxer father). As the opening credits remind us, justice is blind, and so is Hell’s Kitchen’s new hero.
Unlike Iron Man or Captain America, Daredevil isn’t fighting to save the world or battling aliens alongside a god. He is just a guy who wants to keep the people in his city safe. When asked if he had a plan, if he knew what it was that he was fighting for, he said he is “just trying to make my city a better place.”
“Dare” to be dark
Daredevil is not a campy, light-hearted caped superhero from the 70s. The show, like many superhero adaptations these days, is not afraid to cross into the dark and gritty, spilling lots of blood and digging deeper than the simple hero-versus-villain trope. Daredevil struggles with his morality and teeters on the edge of becoming like the men he is trying to stop. Wilson Fisk, the bald-headed villain with a heart, even tells Daredevil that they are alike, a fact Daredevil denies venomously. Murdock seeks council from the local priest, and as a devout Catholic, tries to find the balance between protecting his city and saving his soul.
The fight scenes, choreographed by fight coordinater Philip Silvera, are violent and bloody. The punches look real, and the pain radiates across the screen, as even our masked hero suffers some scrapes and bruises. Most impressive of the numerous fight scenes is the one shot in one take. Thanks to the magic of Steadicam, and 12 hours of staging and rehearsal, the five minute fight, a stunt normally employed by serious dramas on cable networks, at the end of the second episode is a work of beauty and gives the audience an idea of how long and draining a fight can be. The scene shows that the showrunners mean business and that they see themselves on the level of “True Detective” and “Breaking Bad.”
More to come
Daredevil’s days of crime-fighting are far from over. Less than two weeks after premiering, Netflix has already announced plans for a second season in 2016. The online streaming service also has on its plate several other Marvel projects, including “A.K.A. Jessica Jones” and “Iron Fist.” Those two characters, along with Luke Cage and Daredevil, will also be teaming up for “The Defenders.”
The Marvel Cinematic Universe, a three phase plan that includes dozens of movies TV shows, starting with “Iron Man” in 2008, continues with “Avengers: Age of Ultron,” in theaters May 1.
