Martin Carr reviews the two-episode premiere of Marvel’s Hawkeye...
Penned by Jonathan Igla, a writer on Mad Men and producer of Bridgerton, Hawkeye feels like a return to form for Marvel. Introductions are slick, call backs offer context and Jeremy Renner finally gets the spotlight. For more films than most people care to mention Hawkeye has been relegated to the back row. A bit part player in an action-packed melodrama, wrapped up in superhero garb and literally watching everything from a distance. At least In the opening double bill which streams from tomorrow on Disney+, there is a sense that this series is looking to redress that balance.
In a perpetually expanding multiverse this entity continues to accumulate history. Over the course of numerous films and television shows Marvel has turned internalised homage into an artform. Avengers: Endgame, WandaVision and Black Widow are just recent examples of the form being employed to execute this narrative sleight of hand. One that continues to be effective, as the opening minutes of Hawkeye prove all too well.
The first thing to leap out from Hawkeye is its desire to establish tone. This is comedic and warm yet tinged with mild threat. Time is spent reacquainting audiences with Hawkeye, by including extended scenes of family outings in a snow dappled Manhattan at Christmas. There is a cringeworthy reminder of past glories through song and dance, while Hawkeye himself wears the ravages of combat through hearing loss and PTSD. These moments are not only effective in illustrating the human cost of conflict, but also imbue him with an essential humanity. However, many people will argue that Hawkeye is not really there for the eponymous hero, but serves only as a platform to introduce Kate Bishop.
For her part, Hailee Steinfeld makes an immeasurable impression in the first two chapters. Plucky, athletic and empowered from the ground up, this arrow tooting female archer is an all-action adrenaline shot from the get go. Ably supported by Vera Farmiga as her mother Eleanor, Hailee Steinfeld delivers a nuanced character study with comic book pretensions. Her enthusiasm as Kate Bishop feels fresh, is fuelled by enthusiasm and ensures everything remains light, even when things go south.
Convoluted plot points hinge on a case of mistaken identity, while the eventual meeting between Clint and Kate comes across as organic rather than orchestrated. At this early stage, Hawkeye is too busy dropping fanbase Easter eggs within scenes to make any plot progress, which is unfortunate. However, since things move along quickly and the chemistry between them is so good, that ceases to matter right now.
Action set pieces are solid, character actor cameos establish potential parental friction, and come those end credits everything is in place. Not only is this encouraging since Hawkeye has limited time, but it implies that Marvel have learned some lessons. This may not have the invention of WandaVision, or that phase four feeling of Loki, but Hawkeye does finally offer Clint Barton his time in the sun.
Martin Carr
