It’s been almost two weeks and Hancock has grossed almost $350 million, so it’s time to start the academic discussions — with spoilers, of course (anyone who wants to avoid knowing the “twists” should discontinue reading now). Maybe it’s just the film scholar in me, but I have been desiring a good analysis of the film’s allegorical meaning since viewing the less-than-perfect superhero movie last week. While others may feel that the movie is hardly worth reading into (especially over-reading, as I’ve always felt my M.O. to be) or that it’s too obvious that the first half is really about the role of the U.S. as a superpower, I’m nevertheless eager to figure it out.
Basically, I’ve been wracking my brain trying to understand where the allegory goes, or was meant to go, once Charlize Theron’s character is introduced as Hancock’s super-powered wife. Does she somehow fit in with or in response to Hancock’s representation of America (the patriotic name, the eagle emblem on his uniform, etc.)? I’m still at a loss, but I’ve come up with 5 possibilities (some a lot less likely than others) for what screenwriters Vincent Ngo and Vince Gilligan intended for her character to be.
- The United Kingdom - So sue me if part of my reasoning is inspired by Theron’s role on Arrested Development, in which she also seemed to be harboring a secret from beau Jason Bateman (if only Hancock had stolen Jeffrey Tambor from Hellboy II, it could have been considered a reunion), but if Hancock represents America, then Mary (Theron) is some other superpower, right? I don’t recall any hints that she signifies the Soviet Union, so she must be a stand-in for the British. Is her desire to be a housewife representative of a desire by the British to no longer be a world-stomping empire? Is Mary’s defending of the French boy a nod to Britain-France relations in contrast to U.S.-France? But then is the movie also saying that the UK and the U.S. are less powerful when united together? History would say otherwise.
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I get suspicious when a movie becomes famous for its twist.
Sure there’s the kind of twist that makes you want to watch the whole thing over again right away (like in The Sixth Sense, Memento, and A History of Violence). But when the best running gag in a movie is the character doesn’t like to be called an “asshole,” you can’t rely on a twist to give the film more juice.
Hancock hits a point where you can practically feel the filmmaker say, “Oh shit, this is going nowhere, so we better surprise them.” And then the twist comes with the subtlety of saying “Oh by the way, I forgot to mention…”
M. Night Shyamalan has become the master of the BTW twist. “Oh by the way, Samuel L. Jackson’s a bad guy,” (“They called me Mr. Glass!” Scary.) “Oh by the way, this Village is in modern times.” And now Peter Berg pulls a Shyamalan: “Oh by the way, Will Smith and Charlize Theron have been married for 3,000 years.” (Any reason for 3,000? It’s longer than shit, but just shy of eternity?)
So, the twist goes like this:
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