Raimi’s visionary style

Doctor Strange in the Multiverse of Madness (in all dimensions, you’ll find our review of Doctor Strange in the Multiverse of Madness), Sam Raimi’s new feature film from Marvel Studios (House, dark man), from the first images and films shown to the public, revealed an imaginative and colorful aesthetic concern that is well suited to magic caster background. Since the character’s origin story is contained in Doctor Strange (2016), Scott Derrickson (Ultimatum on Earth, Exorcism of Emily Rose), who co-wrote and directed the film, emphasized the supernatural and spiritual level in which the characters moved; a mysterious dimension in which all spellcasters could move, a mirror reality that wizards could shape at will.

If we add to this element various “physical” rules of a magical nature, such as the separation between the real and astral planes, and the manipulation of portals to instantly reach places, the result is dizzying aesthetic implant which continues to amaze despite 6 years of technical evolution of the Marvel Cinematic Universe. The sequel is no exception and indeed raises the bar even more on the artistic front, demonstrating Sam Raimi’s directing prowess on the one hand, and expressing the colorful range of possibilities that the Multiverse offers on the other hand. To highlight a strong visual impact Doctor Strange in the Multiverse of Madness however, it is necessary to make a journey that starts right from the previous title.

Doctor Strange: mirror gravity and a complex but linear wizarding world

Doctor Strange is a perfect example of what an introductory superhero movie should be, and it’s not limited to the brilliant characterization of the character played by Benedict Cumberbatch, but to the world around him.

The Marvel Cinematic Universe has always been various thematic areas (and more variables were added in step 4), such as the more classically scientific (Ant-Man, Black Panther), mythological (Thor, moon knight), space (guardians of the galaxy, Eternal), as well as magical, first expressed by the 2016 title dedicated to the Sorcerer Supreme. Derrickson entrust the Ancient (Tilda Swinton) the task is to drag Stephen (and therefore the audience) into a vast universe populated by witchcraft, magic tomes, invincible creatures, conveys contrast well between the medical rationalism of Strange (who, as we recall, was a surgeon before the superhero was summoned) and the magical-ascetic spiritualism of Kamar-Taj, a Himalayan community that initiates the protagonist into the sacred paths of the astral plane and its secrets. Throughout the film, we not only have a way to find out the aforementioned reality mirrorwhere we can witness the dizzying battles that play on gravity without the unrealistic violation of the physical laws of our world, and for the first time get close to the tools, rules and regulations that govern this magical ecosystem in parallel with our daily lives.

The aesthetic result is surprising, because, despite the appeal to the elements of fantasy, manages to maintain internal consistency without any exaggeration or coercion. As a whole, the comic book creates a completely independent reality, but at the same time connected to the Marvel Cinematic Universe, wisely changing the dogmas of our world through direction and art, managing to explain everything in a linear way.

Multiverse of madness: colorful and varied smooth journey

Sam Raimi, however, although it is clear that he studied Derrickson’s work in Doctor Strangehe took a lot more artistic and directorial freedom (as he himself stated in an interview, explaining that he had creative freedom from Marvel Studios in many ways), breaking the cohesion that made the previous film so functional and successful.

Taking a series of precautions that apparently had to take into account what happened before and after in the Marvel Cinematic Universe, the American author threw himself into the craziest and most extreme experiment in his work. Doctor Strange in the Multiverse of Madness. We can see from the fights that while they generally adhere to the rules imposed by Derrickson’s world, they find interesting and innovative uses, with visually captivating sorcery, scenes inspired by music (the duel between notes is perhaps the film’s high point) and well-contextualized violence that goes beyond the pure and harmonious magic we’ve seen so far. But Raimi’s flair is probably at its peak in characterization of the various worlds of the Multiverseeach fruit of the ingenuity and ingenuity of the director, who combines gothic inspirations with other futuristic ones, painting desolate places at the edge of the known universe, cathedrals of pure light and lush cityscapes.

If it is true that the author of the trilogy Spiderman doesn’t destroy too much what was built in the first movie, he does not follow the consistent line of world development, but he likes to load it with always different and varied elements, and this inevitably doesn’t always match what Scott Derrickson achieved. What’s left is nonetheless captivating and inspiring in a way that has never been in the MCU, but it seems to follow a philosophy that not everyone is likely to appreciate.

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