Sam Raimi’s greatest strength as a director has always been his sincerity. Although there is certainly a degree of humor in his maximalist style, he obviously respects the cinematic iconography that preceded him—enough, at least, to draw inspiration from it, expand upon it, and make it his own. Nowhere is this more evident than in Darkman, which combines tropes from Golden Age comic books, Republic Pictures serials, and Universal’s classic horror movies into the definitive thesis on the pulp superhero genre—think The Phantom meets The Phantom of the Opera.
Liam Neeson is perfectly cast as the title character. Tall and reasonably muscular (compared to such absurdly pumped-up action stars as Schwarzenegger and Stallone, anyway), he’s convincing as both a mild-mannered scientist and a vengeful vigilante; while he initially appears lanky, awkward, and unassuming, a simple wardrobe change (crumpled fedora, tattered raincoat) lends him an intimidating build and uncanny silhouette. The fact that his facial features are so frequently obscured by bandages and latex prosthetics makes his voice a vital asset: deep, rugged, and guttural, his booming vocalizations amplify his commanding screen presence. His expressive eyes are just as essential, clearly conveying his unfathomable rage and anguished loneliness—often simultaneously. Sinister and sympathetic in equal measure, his magnificent performance evokes the tragic monsters (e.g., The Invisible Man, Frankenstein, The Wolf Man) of yesteryear.
Of course, no actor can truly excel without a proper stage; fortunately, Raimi provides the ideal visual framework, painting a world of moody shadows, atmospheric smoke, and bold compositions. It isn’t a flawless experience: like many blockbusters of the period, it owes an enormous debt to Tim Burton’s Batman (right down to sharing composer Danny Elfman); additionally, the disjointed story occasionally feels secondary to the spectacular stunts and explosive pyrotechnics (the central antagonist is especially underdeveloped). Nevertheless, Darkman is undeniably fun—a relentless rollercoaster ride in the same spirit as Evil Dead II and The Quick and the Dead.
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