In the Critics this week

Ryan Gilbey on Steven Spielberg's Lincoln, Douglas Hurd on David Hannay, George Saunders interviewed and Kate Mossman discusses Les Misérables.

In the Critics section of this week’s New Statesman, Ryan Gilbey reviews Steven Spielberg’s upcoming release, Lincoln. Gilbey praises screenwriter Tony Kushner for his creation of a “fine-grained procedural drama” that is abundant with “unique structural and linguistic strengths”. Spielberg doesn’t go without praise, though, particularly where  the portrayal of slavery is concerned. Gilbey notes that this is a significant improvement on his 1997 brush with the subject in courtroom drama Amistad. Daniel Day-Lewis’s performance as the 56-year-old president Abraham Lincoln is “genuinely mesmerising” with interesting comparisons drawn with the younger Lincoln depicted by Henry Fonda in John Ford’s 1939 Young Mr Lincoln. Gilbey picks up on the questionably unintentional continuity between the characters, and the “baked-in wisdom and joyfulness” that is clear in both actors’ portrayals. Despite painting an “intimately gruelling” picture of the civil war, Spielberg achieves a kind of “magisterial grandeur” in the film’s cinematography.

In Books: Douglas Hurd reviews Britain’s Quest for a Role: a Diplomatic Memoir from Europe to the UN by diplomat David Hannay (“We shall need plenty of new Hannays if the opportunities of this century are not to be thrown away”); Maragret Drabble discusses John Burnside’s collection of short stories, Something Like Happy (“His characters are are reconciled to being almost happy when most alone”); Bang! A History of Britain in the 1980s by Graham Stewart is reviewed by Stuart Maconie (“It is a largely consuming book, crammed with detail, anecdote and juxtapositions”); John Sutherland on Lara Feigel’s The Love-charm of Bombs: Restless Lives in the Second World War (“An innovative exercise in this genre”); and Helen Lewis gives her opinion on Navel Gazing: One Woman’s Quest for a Size Normal by Anne H Putnam (“There are barely any characters other than the author and her stomach . . . it’s a one-woman-and-her-body-show”).

In the Books Interview, Sophie Elmhirst talks to George Saunders about his latest novel, Tenth of December. Saunders says: “When you bring morality up in relation to fiction, people think you’re propagandising and that, I think, is totally anti-art”.

Elsewhere in the Critics: Kate Mossman sings the praises of the film adaptation of the musical Les Misérables; Rachel Cooke is unimpressed by the second series of Borgen on BBC4; Antonia Quirke discusses the power of Radio 4’s Open Country; and Leo Hollis talks design at Missorts art project in Bristol.

Steven Spielberg with Daniel Day-Lewis at the recent premier of film Lincoln. Photograph: Getty Images
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Marvel has moved past the post-credits teaser, and it's all the better for it

Individual stories are suddenly taking precedence over franchise building.

The lasting contribution of 2008’s Iron Man to contemporary cinema comes not from the content of the film itself, but in its Avengers-teasing post-credits scene featuring an eyepatch-sporting Samuel L. Jackson. While post-credits scenes were not invented by Marvel, their widespread adoption in other blockbusters is a testament to Marvel using them to titillate and frustrate.

Fast forward nine years and Marvel’s direction has significantly altered. Having moved to a three-film-a-year structure ahead of next year’s climactic Infinity War, their two releases this summer have featured less explicit connective tissue, using post-credits scenes that are, in typical Marvel fashion, self-reflexive and fun – but this time with no teases for films to come.

Where previous Marvel Cinematic Universe (MCU) films have trailed characters donning superhero mantles, confrontations to come, or more light-hearted team ups, Guardians of the Galaxy Vol. 2 decided to lovingly poke fun at Marvel grandmaster Stan Lee, leaving him stranded on a godforsaken space rock in the outer reaches of the stars. Spider-Man: Meanwhile Homecoming targeted filmgoers who had stayed until the end in expectation of a tease, only to receive a Captain America educational video on the virtues of “patience”.

That isn’t to say that connective tissue isn’t there. Marvel seems to be pursuing world building not through post-credits stingers, but through plot and character. In the past, teasing how awful big bad Thanos is ahead of the Avengers battling him in Infinity War would have been done through a menacing post-credits scene, as in both Avengers films to date. Instead Guardians of the Galaxy Vol. 2 uses character as a tool to explore the world at large.

Nebula’s seething rage is, rather than just a weak excuse for an antagonist’s arc, actually grounded in character, explaining to Sean Gunn’s loveable space pirate Kraglin that Thanos would pit his daughters, her and Gamora, against each other, and replace a part of her body with machine each time she failed – and she failed every time. It’s effective. Thanos’ menace is developed, and you feel sympathy for Nebula, something Marvel has historically failed to do well for its antagnoists. Her parting promise – to kill her father – not only foreshadows the events of Infinity War, but also hints at the conclusion of a fully formed arc for her character.

In the high-school-set Spider-Man: Homecoming, the stakes quite rightly feel smaller. The inexperienced wall-crawler gets his chance to save the day not with the galaxy at risk, but with an equipment shipment owned by Iron Man alter-ego and billionaire inventor Tony Stark hanging in the balance. While such a clear metaphor for widespread change in the MCU might be a little on the nose, the set-up is effective at plaing the film at street level while also hinting at overall changes to the structure of the universe.

Stark gifting Peter a new (and oh so shiny) suit is a key set piece at the end of the film, whereas in 2015's Ant-Man’s Hope Pym inheriting her mother’s own miniaturising suit it is relegated to a teaser. Peter’s decision to turn it down not only completes Peter’s transition past seeking the approval of Stark’s unwitting father figure, but it also leaves the Avengers in an as-yet unknown state, still fragmented and incomplete after the events of 2016’s Civil War. To anticipate Spider-Man joining the Avengers proper is to anticipate the forming of the team as a whole – keeping our collective breath held until we stump up for tickets to Infinity War.

With this happy marriage of the macro and the micro, individual stories are suddenly taking precedence in the MCU, rather than being lost in the rush to signpost the foundations for the next instalment in the franchise. It’s a refreshingly filmic approach, and one which is long overdue. To suggest that Marvel is hesitant to overinflate Infinity War too early is supported by their refusal to share the footage of the film screened to audiences at the D23 and San Diego Comic Con events in recent weeks. Instead, the limelight is staying firmly on this November’s Thor: Ragnarok, and next February’s Black Panther.

Stan Lee, at the end of his Guardians of the Galaxy Vol. 2 post credits scene, cries, “I’ve got so many more stories to tell!”, a hopeful counterpoint to a weary Captain America asking “How many more of these are there?” at the end of Homecoming. With Disney having planned-out new MCU releases all the way into 2020, entries in the highest-grossing franchise of all time won’t slow any time soon. We can, at least, hope that they continue their recent trend of combining writerly craft with blockbuster bombast. While the resulting lack of gratuitousness in Marvel’s storytelling might frustrate in the short term, fans would do well to bear in mind Captain America’s call for patience.