In all probability, there is nothing more tribal than the DC Cinematic Universe right now. It’s been going on since the new Superman movie was released under the Gunn-Safran leadership. Immediately, the Snyderverse followers came out of the woodwork and had a thing or two to say. Well, more than just two.
Of course, it’s not like the new Universe doesn’t have its own set of ride-or-die fans. Things quickly spiral out of control on social media threads and truth be told, it’s taking a lot of the spotlight away from what actually needs to be spoken about — the current lot of movies and TV shows coming out of the DC stable.
I, for one, was quite the fan of the initial Snyderverse films. I liked the trajectory he had set his characters on. But at the same time, I could also acknowledge the fact that his characters were all not necessarily based on the traditional comic book lore. For instance, take Superman — he wasn’t the Superman we see in the comic books and in all adaptations to date. Snyder turned him into a God-level phenomenon, coming to grips with his God-level powers and how it translates to his role on Earth. He wasn’t the goofy, self-deprecating, boy-next-door. Which is the quintessential Clark Kent. But it was good, at least there was a good background story to it, the character development by itself was perfect. And yes, there’s no beating around the bush — there was Henry Cavill.
James Gunn though, on the other hand, rebooted the new Universe with the comic-accurate Superman. And I loved it. After every deviation it is always good to come back home. That pretty much sums up what Gunn did. He did add the aura farming that we needed, but he made Superman a super-man.
All that said, I’m neither here to praise Superman, or bury him.
I’m here to talk about Clayface.
And that is where I believe the Gunn Universe has really worked its magic.
Gunn has taken a much more novel approach to how we can work with comic book trope. He started off with Superman; gave us Lex Luthor as the main villain (because, why not); he added a Green Lantern, Hawkgirl, and a much-less expected Mr Terrific; he also gave us two seasons of Peacemaker, which was absolutely brilliant; a new Supergirl tangent to the Kal-el saga; an absolutely amazing Lanterns show, bringing in both the OG Green Lanterns that we were expecting for ages now — and now he’s brought us to Clayface.
Now, a character like Clayface wouldn’t even be considered well into the middle phases of these “cinematic universes”. These are the fringe elements for the screen, something to fall back on to keep interest going when you’ve exhausted all the principal characters. But I personally believe that we have come to a point where there is total saturation of principal comic book characters — both across DC and Marvel. Another Batman? Another Wonder Woman? Again?
Which is why we go towards Peacemaker. And now, thankfully, to Clayface. Which goes on to give us one of the finest comic book adaptations for the big screen.
Clayface, directed by James Watkins, offers up a near-horror, anti-hero formula of a comic book character — and it succeeds in spades. Matt Hagen (Tom Rhys Harries), the up-and-coming star of the big screen, Academy nominations in his pocket, talk shows, everything — and then one night with a mobster’s girlfriend, and it all goes to shit. He loses the one thing he needs to succeed in his industry — his face.
Broken, taken to the cleaners by the ones he trusted, falling face first (pardon the pun) into poverty and isolation, he finds a way (like they do only in comic books) to get out.
And he does. The medical procedure he submits himself to works. His old face is back again. But then comes the realisation that it’s no longer just his own face that he wears. His face is basically clay — it can be moulded into anything he wants, anyone he wants.
Eventually Hagen finds a way to right the wrongs done to him. He can get away with anything and everything because he’s the actor with a face for every occasion. He’s actually cinematic gold — but only in real life.
Clayface happens when you don’t expect it, and then it surpasses every single expectation you can have of a film. The performances by Harries, Naomi Ackie, and the whole bunch of supporting actors is completely convincing, the film making tools are totally on point, and we have a story where we are equal parts revolted, equal parts cheering him on. The little dance sequence in the mob club was the best bit of the whole movie — you could see why he was there, you wanted him to be there, you wanted him to do all that you knew he was about to do, you knew it was going to be ugly — and they led you into it with aplomb. Yeah, this is also cinema!
Clayface shows hope for the new DCU. Yes, there will come the Batmans and the Wonder Womans, there will be more of the classic villains, all of that is a natural part and parcel of the whole thing. But this — Clayface — Clayface was spectacular.
To round off the DCU tribal wars — the Snyderverse is over. For a better tomorrow, in James Gunn we trust. Let’s go along for the ride. We might like where we end up.
Clayface. This is good comic book cinema.