In the midst of the Great Depression, melancholy gripped not only New York but also Ben Reilly. Just a few years ago, he was a famous superhero known as Spider, but after losing his beloved, he decided to give up his heroic deeds. Now he's just a private detective, scraping by with odd jobs.
But with Spider's departure, crime didn't disappear, and criminals continued to break the law and terrorize ordinary citizens. And when some of them started developing superpowers, everything changed.
Ben was also drawn into the events, finding himself in a difficult position. To survive, he'll have to remember his abilities and once again assume the guise of a superhero.
True Noir
The series quickly makes it clear that the word "noir" in the title isn't just for show — the project is full of genre clichés. After all, it's shot in the style of those century-old films.
The characters here behave rudely, without regard for decorum. They insult each other, swear, and use catchy phrases. Because of this, there's a sense of sincerity in their actions — no "soy" as in many modern projects.
And the heroes love to drink strong liquor — alcohol constantly flashes on screen, emphasizing the depressiveness of what's happening and the depth of some characters' moral decline. I really liked Spider's scene in the bar: it perfectly reveals the protagonist, showing all his problems.
This is ironic, considering the series is set during Prohibition. A superfluous reminder that New York is ruled by a gangster who made his fortune smuggling booze.
Sometimes there are chaotic moments when characters come to absolutely correct conclusions too quickly. But it's clear that this is a characteristic feature of the presentation, as the logic of their actions is easily traceable. I'll attribute this to the peculiarities of the genre and the style of old films.
But the characters in these twists and turns weren't chosen at random — these are heroes familiar to Spider-fans. Flint Marko, who in the comics was often a foolish gangster with superpowers, here becomes a tragic figure — almost like in the 2007 film "Spider-Man 3." The same can be said for Lonnie Lincoln — Flint's comrade. He acts more against the odds, trying to achieve something while he still can.
The love line is no less important in the series. It's all classic: a femme fatale, betrayal, manipulation, revenge, and sacrifices in the name of a loved one. Cat Hardy stands out especially, her name referencing her alter-ego Black Cat in the original universe.
The only thing that doesn't fit the setting is the absence of racial segregation. One of the series' heroes — the black reporter Robbie Robertson — experiences no problems. No one looks at him askance or oppresses him. Perhaps it's mentioned in a couple of words, but on screen, it doesn't affect anything, as it should have.
On the other hand, no one praises him either. Robbie is a very ordinary character, and viewers aren't burdened with unnecessary problems for the story, focusing attention on the main plot.
To summarize: there's no "wokeness" here, although there were concerns.
Action Isn't the Main Thing
The action is also made in an old-fashioned style. It looks cheap and simple: the characters' movements are jerky, and superpowers don't always feel like superpowers. This is roughly how battles were shown in old films and series — I recalled Captain Kirk's fight against the Gorn in the original Star Trek. Although in "Spider-Noir," it's not quite as wild, fortunately.
Moreover, there are enough problems with the balance of power. For example, sometimes Spider easily throws a bunch of opponents in different directions, and sometimes he looks weaker than an ordinary person. And there isn't that much of Spider himself in the plot — the protagonist rarely dons the superhero costume, which makes each such appearance more valuable.
Nicolas Cage's acting helps with immersion. Over eight episodes, he showed a diverse performance: from imitating delirium and fever, to deep despair and sadness on his face. I immediately recalled his work in the film "Face/Off," where he perfectly showed both madness and drama — the old man's skill is still there!
There's plenty of reflection in the plot. The protagonist constantly tries to understand what he wants, to accept himself and his goals, with the help of his friends. Two moments are presented amusingly here: a reference to Sam Raimi's "Spider-Man 2," when the hero experienced an existential crisis with similar symptoms, and also Uncle Ben's famous phrase about the magnitude of power and responsibility, which was played out in a depressive manner.
Since one main character is a private detective and the other is a journalist, the series has plenty of investigations and intrigues. Ben (Cage) and Robbie (Morris) must unravel a tangle of mysteries, constantly darting back and forth to figure out how to help themselves and others.
The characters play mind games, pulling off "multi-moves" as the script develops. The storyline with the marked money, which played into the characters' hands at the right moment, was particularly memorable — it was captivating and looked maximally appropriate.
There's no clear division into good and bad in the story — the world is also figuratively depicted in gray tones.
Ben has to deal with Silvermane — a mafioso he used to fight as Spider. But the detective we see is so morally degraded that he even takes money from his sworn enemy without a second thought. When Ben dons the superhero persona, he can easily kill his opponent — no mercy for lawbreakers.
By the way, I'm glad that Silvermane was chosen as the antagonist, and not Kingpin, as is fashionable. He's a very interesting character, familiar to Spider-Man fans from comics and animated series, but not previously seen in live-action. And Brendan Gleeson did an excellent job with the role. It's just a pity that the character wasn't developed enough: no backstory, no explanation for his adherence to the criminal world. But the image is excellent, and that's already a lot.
The same can be said for Dirk Leyden — another villain. He looks insane, although he behaves like someone from high society: constantly quoting classics and even singing at times. But why he became like this — no one explains. A beautiful but flat character.
The project also surprises with horror moments. Sometimes truly creepy things happen on screen, making it pleasantly disgusting to watch due to monsters and other deformities. However, the old-fashioned style makes such moments not scary, but atmospheric.
There's a hint of intrigue with Spider's identity, as Ben Reilly, according to him, is not his real name. In the comics, that was the name of Peter Parker's clone, and perhaps the protagonist changed his name to start a new life, and was previously Peter. Perhaps this moment will be revealed in more detail in the second season, if it comes out.
The climax was the icing on the cake. Here, all the storylines come together, and the heroes gradually reveal their cards. At this moment, it's impossible to tear your eyes away from the screen, as it's very interesting to find out what leads to what. The tension is so high you could wrap it in webbing! And thankfully, the ending doesn't disappoint!
Two Versions
Amazon tried to surprise viewers by releasing the series in two versions: black-and-white and color. And they are very different.
I watched the black-and-white version. I think this version is the most authentic and immerses you deeper into the era and the genre. It enhances the protagonist's melancholy and the feeling of hopelessness that grips the city.
Moreover, the views of New York in this version seem not just good angles, but paintings drawn in graphics. During the day, the sky in the background casts a white glow, creating the feeling of a canvas, and at night, it seems as if someone drew the landscape with charcoal.
Given the filming style, the project differs little from old films and series. What gives it away is the good picture quality — it lacks wear and noise. And to be exactly the same, you need to add white so that it stands out and shines. However, these are minor details.
But I wouldn't call the color version bad either — although it conveys a different mood. The creators took an interesting approach to the color palette. It's very bright and in some moments highlights various elements. For example, Robbie's orange suit or the bright brown bricks.
The lighting is interestingly presented here, conveying warm feelings to the viewer: during the day, everything is bathed in sunlight, and at night, the pleasant light of lamps stands out, perfectly harmonizing with the dark blue sky.
Orange and brown colors often stand out. In some places, even the characters' skin seems to glow. It seems like a "sepia" filter has been applied to the image.
The color version is also very authentic, but it immerses you not in the 1920s-1930s era, but rather in the 1950s. Everything was brighter then, more optimistic and cheerful — without the muted tones of noir. Therefore, the series is perceived differently: it leaves more hope, which is also reflected in the plot.
Verdict
"Spider-Noir" is an experiment that succeeded. And we got an unusual work in a genre that everyone was tired of. The series successfully immerses you in the era, offering the viewer much more than a significant part of other superhero stories.
All the characters here are in their place: heroes, gangsters, and victims of war. I especially liked Nicolas Cage, who was given free rein: to grimace to his heart's content and to be thoroughly sad. Other characters are charismatic and attractive in their own way. Even if some were not given a proper chance to develop, leaving their images beautiful but relatively flat.
The series was released in two versions: black-and-white and color. I recommend first watching the black-and-white version, and then, knowing the plot, watching everything in color. Both are good, but they convey completely different moods — depressive and hopeful, respectively.