A Letter to Jon Favreau: The Iron Man 2 That Should Have Been

* Please note: This blog post contains extensive spoilers! If you have not seen Iron Man 2 yet, do not read this post. Instead, go see the movie! Then come back here and enjoy.

Dear Jon Favreau,

First of all, let me start by saying that I am a big fan of yours. Swingers was absolute genius, and Iron Man was an astounding film that introduced the world to mature superhero movies in a new way. I also want to say that I'm a fan of Justin Theroux too. While I don't know much of his work, I do know that Tropic Thunder is probably the funniest film I have seen... ever.

Second, I am completely aware of the fact that my opinion really doesn't matter, and that you'll likely never even read this letter. I'm not anyone of influence (I've only got four people following this intermittent blog, and I'm not even sure those four people read it) and I don't have any significant achievements under my belt. My only possibly relevant experience were several years of acting in high school and college plays and several failed attempts at playwriting and screenwriting. I'm no expert, no accomplished actor/writer/director. I'm just a fan of the Iron Man films, passionate about movies and television, and an aspiring screenwriter with enough time on his hands to write a lengthy letter to you that you will never read. (Though please email me if you like any of my ideas and want to pick my brain for future films!)

And before I really begin with my critique and feedback, let me also say that I realize how difficult your job is, that you did a really good job on the film, and that it is much easier for me to sit here and criticize your work than it was to make the film.

That said, we need to talk.

The first Iron Man set a very different tone for superhero films. While Batman Begins had already put superheroes in a realistic world, it strove for serious crime drama, and other superhero films like the Spider-Man films went for the lighter tone of the 1960s Stan Lee comics. Iron Man presented a middle ground - a more mature, sophisticated, and intelligent take on fanboy fantasies. It wasn't a film that tried to be high art but it also wasn't a simple popcorn flick aimed at pubescent geeks. It was an adult superhero film that drew both teenage boys and adults of all ages who appreciate a good film with great direction, superior acting, and a realistic story that cut the schmaltz and low-ball tricks. The story was focused on one man's rebellion and redemption, and that character's arc drove a story filled with wit, humor, action, heart, and even political undertones. You didn't cater to the lowest common denominator - you raised the bar and brought people there. You took superhero films in a new and fantastic direction.

Now, I don't like agreeing with critics when they dole out lukewarm reviews to movies that I'm really rooting for. Like all fans, I want people to say the movie is "amazing!" and "mind-blowing!" and "better than the first!" - and personally, I want them to say that it is artistic, intelligent, or at least well-done. When they say it's not as good as the first, I assume their expectations were just too big. And when they say it isn't as dark as other superhero sequels, I dismiss them as misguided on what a sequel can or should be.

But to be honest, I've got to agree with the critics this time around: Iron Man 2 was a good film but not a great film. It fell short - of expectations, of the original, and of excellence.

Sure, the acting is stellar, your direction is fantastic, and the writing (in terms of dialogue) is brilliant. But the movie had too many elements and in adding too much, it got caught up in plot and lost sight of what made the first film (and any film, really) a success: character. Basically, the film forgot the age-old principle "less is more."

For instance, the number of characters. I will be the last person to complain about Scarlett Johansson, especially when put in sexy secretary and skin-tight leather outfits. Still, I'm afraid her character was completely extraneous. Need a strong, beautiful woman? You've already got Gwenyth Paltrow. Check.

Sam Rockwell is truly genius. Loved him in Confessions of a Dangerous Mind and Hitchhiker's Guide to the Galaxy and pretty much anything he does. Completely underrated. And he did a fantastic job with Justin Hammer. But let's be honest: Justin Hammer is a one-note character with no arc and no real purpose other than entertainment value. Whiplash does not need him (as evidenced by his ability to build his first suit on his own in downtrodden Russia) and though Hammer may serve the purpose of "tricking out" the War Machine suit, there are other ways to achieve that (have Tony do it, or Rhodey, depending on the plot).

And I know you needed to introduce the Avengers storyline here, but I wish you didn't. Nick Fury and the other agents had too big of a role, if you ask me. They were an extraneous plot that didn't add much to the character development in the film (yes, yes, I know they gave Tony the film of his father, but if the film had chosen a different and simpler route, that wouldn't have been necessary - see below). Rather, SHIELD detracted from Tony's character arc by adding another distraction - one that would surface here and there to unnecessarily remind you that there's a bigger world out there. (And why did they threaten to sequester him until he figured it out? And then how did they allow him to take a road trip to see Pepper if he was supposed to be on house-arrest? Isn't SHIELD supposed to be on top of things?)

Which brings me to my other complaint: too many plot elements and too many elements that weren't sufficiently developed. Let's look at some of the different plot elements introduced that didn't really bloom:

• Tony's illness from the palladium. This does develop throughout the film, but it seems kind of extraneous to the conclusion of defeating Whiplash. It serves well to drive Tony to misbehaving, but that could have been done another way (see below). More importantly, can we talk about this new element business? Seriously? That's the solution? Did Tony's dad look into the future and know that he would build an Iron Man suit from palladium? Or was this new element key to a fully-functioning Arc Reactor, and if so, why wasn't that mentioned/tied in? So many questions here, so little time... A new element? Seriously? And he can just make it in his workshop? In a day? ....
• Tony's daddy issues. In the beginning of the film, it seems Tony gets along just fine with Dad. He goes out of the way to show a film with his Dad at the Expo. No worries. It's not until Nick Fury brings it up more than halfway through the film that legacy and resentment arise. And then he discovers the film of Dad saying how Tony was his greatest creation and everything's chipper. I know the legacy thing was already tackled by the Batman films, notably Batman Begins, but Tony's situation was different (he didn't get along with Dad here), and if you ask me (which you haven't), this was a great storyline opportunity squandered (see below for other squandered opportunities).
• Tony and Rhodey's relationship. I like the tension and the general arc that occurs, but the transitions here weren't fleshed out enough. For instance, Tony shows up at the Expo, with Rhodey in the new suit, and all Tony has to say is "He's working with Vanko" to just wrap up their fight? Really? Rhodey battled him in the suits, then stole the suit, and then gave it to Hammer, and we're just good to go when you say the word "Vanko"? That whole explosion of a fight just ended with a whimpering fizzle. Again, this dynamic is central to the film - both character and plot - and could have been a deeper conversation about responsibility and power and teamwork.
• Tony and Pepper's relationship. This relationship could be at the forefront of the film, simply because watching these two actors banter is near orgasmic. (Sorry, but nothing gets me more stimulated than witty banter.) Pepper was on a great arc in this film: becoming CEO, treating Tony like a child mid-way through because he deserved it, illustrating a true modern woman of power. Then Tony saves her and she's all whiny, quits as CEO, and instantly falls back in love with him. Wha? What just happened? Where did the strong Pepper go? I mean, yes, we knew they would get back together, but for a film that has established such a mature relationship, that was a weak wrap-up. If nothing else, a slap from Pepper for retribution of Tony's bad behavior was warranted. (See infirmary sex scene from Grosse Pointe Blank for an example of a mature but screwy couple getting together after some troubled times.)

Finally, my other major complaint is that for a film that works so hard to set itself in reality, there were too many unrealistic things. I'm guessing you've never been to a Congressional hearing, or even watched C-SPAN, because that hearing was so unrealistic and fantastical that at times I had trouble enjoying it. I know it's supposed to be "heightened reality" but I'm also supposed to "suspend my disbelief" because (screenwriting rule #1) I'm supposed to believe that those characters would do and say what they do and say in that moment. And while I would believe some wisecracking from Tony and some antics from Senator Shandling, that whole scene was so far from reality - or rather, the reality it was trying to portray - that as much as I enjoyed it, I was also somewhat detached from it. Even "The West Wing" - while much closer to the truth - was rather off, but it set a proper tone that created a believable heightened reality.

And of course, I have to go back to this "new element" business. We're supposed to believe that in a day (or is it two?) Tony is able to create a proton accelerator in his home and create a new element? I know we're all fanboys and fangirls and we accept a lot of our superhero films, but c'mon: many of us are here because we like the smart, sophisticated, mature reality that you created in the first film and established in the second. We're smarter than that, and it would be to your advantage to assume that we're smarter than that. (By the way, I bought the arc reactor stuff in the first film because it was woven into the film well, was based on familiar existing tech, and was realistically recreated in miniature over lots of time in a dark cave.)

So there was the film: Tony's illness, Tony's conflict with Dad, Tony's irresponsibility, Tony's fight with Rhodey, Tony's nemesis in Whiplash, Tony's relationship with Pepper, Tony's brief infatuation with Natalie, Tony's love/hate thing with Fury, etc. Not to mention Justin Hammer, Senator Shandling, the adoring public, the Expo, the company, and Mickey's cockatoo. It's a lot! And a lot happening usually means little fully develops. Yes, they all tied together and yes, they all drove the plot forward, but what about driving the character forward? How much of that was necessary? Look, I know y'all (cast and crew) are smart people, and it seems to me like y'all were too smart for your own good: you got wrapped up in all your good ideas and lost sight of the simple things. In trying to give the audience more, you gave too much.

Now, like I said, I know that it's much easier to sit here and criticize. And I know I sound like I didn't like the film (but I did!) and I sound like a real ass (though you should hear me criticize Spider-Man 2 - who didn't know he was Spider-Man by the end??). But being an outsider with a critical brain and too much time on my hands - not to mention that I'm working on developing a script of my own and my brain is in analytical writing mode - I think my perspective is valid if not helpful.

Of course, I like to provide constructive criticism, and that would mean looking at how to move forward and improve things (as though the film hadn't been completed and distributed to millions of people in theatres around the world).

So I'm assuming that the core elements that were required in this story were:

• Tony's irresponsible behavior that drives Rhodey to don the War Machine outfit
• Development of the Avengers storyline

Beyond that, everything else was a real creative choice (especially given that we're deviating from the comics - which I think was a bold and great decision).

Getting back to missed opportunities... I remember reading an interview with you, Jon, and you talked about how you (the Iron Man team) had taken a daring step in revealing Iron Man's identity. You seemed to suggest that the second film was about how Tony/Iron Man deals with this public profile - an idea that I thought would be really interesting and a great character-driven storyline. Something completely unique in the superhero genre and something that surely all of the film's actors (and yourself) can understand and convey realistically.

So what about something like this:

Act One: Tony is famous as Iron Man, and - given his narcissism - lets it get to his head. We see him in the first act enjoying his celebrity, being in high demand for events and demonstrations, loved by the public - and partying too hard. The government still wants his technology, reminding him how his father worked hard to help his country, and Rhodey is the liaison secretly helping Tony protect his suits. Pepper continues to get frustrated with Tony as Stark Industries struggles without military contracts and tries to develop new clean energy tech without success. Ivan Vanko is jealous of Tony's fame, how he inherited his father's legacy, and begins to design an arc reactor suit for himself (similar to the first act of the film itself). At the end of the first act, Tony battles Vanko and tries to impress the nearby crowd. He loses but survives and Vanko escapes with a damaged suit.

In Act Two, his celebrity becomes a self-destructive thing, as he parties harder and harder. He neglects his responsibility as a public figure, wounded from his loss against Vanko, he shows off the suit and uses it recklessly, leading to tension with Rhodey (Mr. Responsibility) and Pepper. He neglects the business, which leads to Pepper becoming CEO, perhaps in a coup by the Board of Stark Industries. The company returns to its roots and announces a new weapon to be released soon. Rhodey steals a new prototype Iron Man suit, which leads to a fight between Rhodey and Tony. Rhodey slings personal insults, reminding Tony that he created Iron Man for good, and accusing Tony of turning into the destructive force he accused his dad of being. Tony is left alone, with the public and himself questioning his authority and greatness. He goes on a drinking binge. Vanko repairs his Whiplash suit and attacks Stark Industries in an attempt to steal the new Stark weapon for his suit. Rhodey dons the stolen suit to stop him and Tony arrives to help but he is drunk and the two argue and fail to stop Vanko. Pepper is hurt in the process, stirring Tony to reconsider his behavior. He apologizes to her and vows to stop Vanko.


Act Three: Tony feels guilty about not saving Pepper, not stopping Vanko, and making his friend step in for him. He examines the weapon that was stolen and, realizing that it will make Vanko difficult to beat, tries to design something better for his own suit. He turns to the new clean energy tech that the company abandoned, and in looking through the designs, he realizes the tech is based on one of his father's old designs - revealing that his father was more than a weapons manufacturer but a dreamer of a brighter future. Tony figures out a solution to what his father was missing and finishes the energy source for his suit. Meanwhile, the military tricks out the stolen suit, in an effort to create a superior weapon, which spooks Rhodey. Vanko incorporates the tech into his arsenal and goes after Stark Industries once and for all, but first, he lures Tony out. Iron Man meets him for a showdown, and Rhodey shows up in the new War Machine suit, still angry at Tony. Though Rhodey is angry, Tony tries to work with him to defeat Vanko. Battle ensues, and eventually Rhodey agrees to work with Tony. They defeat Vanko and reconcile. Seeing what the War Machine suit can do, Rhodey decides the military shouldn't have it and agrees to give the suit back to Tony, but Tony tells him to keep it. Tony makes up with Pepper and agrees to help her set the company right.

The idea is that Tony self-destructs in light of fame, and ends up becoming the malevolent force he tried to avoid becoming. Rhodey and Pepper step in to clean up the mess, as Vanko tries to ruin the Stark legacy that he believes is rightfully his (through his father). A simpler tale focused on how fame affects one man's character.

By the way, if you want to throw in Fury, you can have him come in once at the beginning to make an offer again to join the Avengers but Tony turns it down. And maybe Fury steps in again at the beginning of Act Three, as Tony decides to make things right. Fury could nudge him towards the clean tech and the old designs as a sign of how an alliance with SHIELD could be a good thing. And then you could have Fury back at the very end - after the credits, where Tony is more keen on moving forward (take the scene where they review Tony's evaluation and put it there).

Anyway, if you've even read this far (like you've read this at all), then let me reiterate that I'm a big fan, I thought the film was really good, and these are my own random thoughts and ideas as I came out of the theatre. I put forth this critique and these suggestions because I think there's a lot of good stuff that just got lost, and because I want the next film (there had better be a next film!) to be even better. And if any of my ideas can be in the least bit useful, or at least provoke some new thinking moving forward, then I'd be thrilled. (Heck, I'd be thrilled if anyone actually reads this long letter...)

So congrats on another successful film and a successful sequel. I look forward to what you do in the future, both with Marvel and otherwise. And if you ever want someone to provide some critical feedback or help you think through some story ideas, just drop me a line. It would be an honor and the thrill of a lifetime.

Best of luck, and say hello to Robert, Gwenyth, Scarlett, Sam, and Don for me.

Yours truly,
Eric

PS. Thanks for a film that really got me inspired to think about writing again. Been struggling with a script of my own but analyzing this film has got the juices flowing again! (Actually, this script I'm working on was in part motivated by the first Iron Man film, which made me want to work on a movie.)