trilogy, but there should be similar reappraisals of Ang Lee’sHulk
There are also, from the opening credits, recurring close-ups of sea life, desert life, near-microscopic life.casts its eye on starfish, cacti and frogs, but also on fungi and moss, full-screen dreams and nightmares of vibrant spores and blending colors. In these shots of lab stills, of natural landscapes, of the Hulk and Bruce Banner in forests, there is naturalism and an interest in depicting the living world.
The screenplay begins with Young David Banner working for a military applied science division in the Mojave Desert to replicate the way some animals regenerate cells. Over the credits, we see him taking notes and experimenting on animals, the camera accentuating his focus—his obsession. He injects himself with an experimental DNA-altering formula, passing its traits on to his son, continuing to run tests on him without his mother’s knowledge and is concerned with unexplained side effects.
In Bruce’s interactions with Josh Lucas’ Glenn Talbot , Bruce seems, like Ruffalo’s Hulk, “always angry” just beneath the surface, and—while he loses control in their first violent encounter—he can hold the Hulk back, with tremendous focus. Meanwhile, the Hulk’s tender and protective treatment of Betty conveys that he is more a representation of Bruce’s inner self than a competing personality.