Published: June, 1965
Script: Stan Lee
Art: Steve Ditko
Letters: Sam Rosen
I wonder about “the loveliest Joan Crawford movie” Aunt May is watching on the late show as this tale begins. As Russ and I chronologically work our way through the Academy Award winners and other top movies of each year, we recently watched What Ever Happened to Baby Jane?…and I’m confident May was not watching THAT movie! But could it have been the 1942 screwball comedy They All Kissed the Bride? That would certainly set the stage for the rest of this story!
I always enjoy Amazing Spider-Man, but this story was particularly amusing because it reminded me so much of a cinematic comedy—more specifically, a screwball comedy, or frustration comedy, where nothing goes right for the poor protagonist. And any time a book or comic reminds me of a movie, it becomes that much more visual, and thus more enjoyable.
PANDEMONIOUS PLOT
The splash tells us that Steve Ditko dreamed up the plot. I appreciate this info for two reasons: one, because it gives me new respect for Ditko, that he is not only an artist, but also a storyteller; and two, I’m glad to see credit going where credit is due (though it would have been even better, if there had been an actual credit for “story idea”).
But a pandemonious plot is indeed what we have here. So! Are you ready for a madcap cinematic whirl through the mad, mad, mad, mad world of Peter Parker? Then fasten your seatbelts! As somebody once said…It’s going to be a bumpy ride!*
FRUSTRATION COMEDY
We always get a lot of comic mileage out of a situation that goes from bad to worse. In a frustration comedy, the protagonist runs into roadblock after roadblock in their attempt to achieve a goal. The splash of this issue asks, “Do you think Spidey’s had trouble BEFORE? Just wait’ll you read THIS one!” And indeed, what starts out as Peter simply conniving a photo gig out of Jameson eventually ends up in a wacky chase and (what appears to be) the decapitation of Spider-Man! Did I mention…bad to worse?
My favorite film example of this kind of comedy is Meet the Parents. This movie is obviously much darker and cruder than our Spider-Man story, but both share the classic escalation of the protagonist’s problems.
I think you get the idea. Other great examples:
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DOUBLE AGENT
Of course, in these sorts of stories, our hero is not always blameless. It’s not always the universe conspiring against him, but he often sets himself up for his own downfall, usually by biting off more than he can chew, and very often by employing the use of deception and disguise, as he tries to “have his cake and eat it too.”
This isn’t the first time Peter acts like a double agent. He gets himself into this particular kerfuffle because he’s hoping Jameson will pay him for photos of Spider-Man easily besting the robot. So, while he’s working in Peter Parker’s interest, it just so happens he’s also working against the interests of Spider-Man. When a hero tries to be all things to all people at all times—often by employing deception and disguise—comedy ensues.
Think:
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THE CHASE SCENE
Now: What would a madcap comedy be without a chase scene? A chase scene is often the climax of a good adventure movie, but comedies often borrow this trope and add their own spin. The action in this ASM issue, with poor Peter pursued by not only a malevolent robot, but also a gang of high school thugs, puts him in hilarious peril.
Think:
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SLAPSTICK
In the end, all this hilarious peril momentarily appears real when Jameson jumps out of his robot costume and cuts off Spider-Man’s head! Well….not so fast. It’s just a puffed-up Spidey suit that gets “decapitated.” But that perceived moment of shocking violence is played for laughs. And have you noticed that this is the new way for advertisers to get your attention? (Doritos, I’m looking at you!)
Of course, Hollywood was the master long before Madison Avenue. Think:
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METATEXTUAL IRONY
Betty appears to like Spidey more than she likes Peter, strongly sticking up for old web-head, while chiding Peter for not doing the same. Is she simply disappointed in Peter for being an opportunist, or does she object to the ethics of his behavior?
My favorite Betty scene in this story is when she’s almost able to help Spider-Man by unplugging the robot communication device and muses, “If this were just a STORY, I’d have MADE it!” Ha! Love the metatextual irony! (YES, that’s a thing, I just learned it while researching for this post, and perhaps you too have now learned something!)
Whether it’s breaking the fourth wall or making self-referential quips demonstrating an awareness of literary tropes—it’s all good! Whenever a character jumps out of the action to sit beside me and share a quick wink, I always feel like I’m getting a double dose of comedy.
Think:
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ROBOT COMEDY
Robots are always good for a laugh. From the world of TV sitcoms, think: the Robot from Lost in Space, the Jetsons’ Rosie the Robot, Hymie from Get Smart, Twiki from Buck Rogers, Bendy from Futurama, Crow, Tom Servo and Gypsy from Mystery Science Theater…you get the idea. Even Data from Star Trek: the Next Generation is always good for a laugh or two.
On the big screen, I’m particularly fond of sad-sack Marvin the Robot in the 2005 rendition of The Hitchhiker’s Guide to the Galaxy. And even though the 
Star Wars saga is not a comedy, C-3PO provides just about the only comic relief available in this deadly serious epic.
So robots and comedy, sort of like peanut butter and jelly, no? Robots are a staple of these early Marvel comics, no doubt, but why is this ASM robot so exceptionally goofy-looking, more Humpty Dumpty than Optimus Prime?
Well…because this particular issue of Amazing Spider-Man, more than any others I’ve read so far, is obviously, first and foremost, a comedy! But still, that’s not enough to explain the psychic connection I’m getting with this Jameson/Robot mash-up. This… is something more…
And then it hit me! This robot is bringing me back to the 1990’s, when my son—like all good little boys in the 1990’s—was obsessed with the Teenage Mutant Ninja Turtles. Many a Saturday morning (and weekday afternoon), I was subjected to the goofy yet also grotesque sight of villain Krang, a talking, scheming, depraved brain inside the stomach of a dull he-man. Take a look: are there not similarities?
CHARACTER ACTORS
We ask a lot of our stars to carry a story like this, whether it’s a screwball comedy, TV sitcom or even a 12-cent comic. They do a great job, but don’t always have to shoulder the heavy comedy load on their own. In this story, even the bit-part cab-driver has a line, declaring Jameson and Smythe “must be NUTS!” as they excitedly direct him from the back seat.
My favorite amusing bit-players have always been Edward Everett Horton and Eric Blore, who made multiple appearances in Fred Astaire and Ginger Rogers musicals of the 1930’s. This scene from Shall We Dance, where they interact with each other, is among my all-time favorite comedy bits:
Think also: every Stan Lee cameo in just about every Marvel movie ever made.
Incidentally, one of Flash’s “stooges” recognizes Jameson’s face in the robot and says, “I’d know him anywhere!” Which leads me to ask: what kind of world is this, where high school kids can identify the local newspaper publisher on sight? That might be the case in the very small town of Mandrake Falls in Frank Capra’s Mr. Deeds Goes to Town, but in NYC—even in the 1960’s—I think not. Still, the fact that Flash’s pal is described as a “stooge” speaks to the wacky tone of this story.
JAMESON THE AVENGER
We always get a good laugh out of characters with delusions of grandeur, and Jameson fits the bill when he gleefully fantasizes about being asked to join the Avengers. Ha! Well, JJJ, it just so happens they’re hiring, but…I don’t think they’re that desperate!
Think:
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MEET MARY JANE!
Bonus points for this issue: I’m delighted to finally meet Mary Jane Watson…sort of. Her introduction with a giant flower in front of her face teases the reader, saying “We’re not going to show her… quite yet!” We can see she’s shapely, and Liz and Betty’s reaction tells us all we need to know about what a looker Mary Jane must be.
IN CONCLUSION
Speaking of my son, back when he was in elementary school learning how to write essays, and the teacher would explain that every essay had to have a “conclusion,” he would always end his essays with a last paragraph that began, “In conclusion…” So, Joey, this one’s for you!
In conclusion, I feel compelled to mention that creating this particular post was more challenging and time-consuming than the others, since there were so many movie references to find, document and link. (Many many thanks to Russ, my “Technical Assistant,” for actually putting all this together!) I hope you’ve clicked on at least a few of the movie posters above and taken a glance at some of the attached You Tube videos. And if you’ve reacquainted yourself with any or all of these movies, I dare you not to be thinking, right now, “Hell yes! That was a GREAT movie! I need to watch that one again!”
Mysteries, especially “who-dun-its,” are generally good for one viewing. Once we know what happens, the thrill is pretty much gone. Action/adventure films can be as exciting the second time around, and sometimes a heartfelt drama lends itself to even deeper appreciation on a subsequent viewing. But comedies—at least good comedies—like fine wine, always get better with age. Anticipating the joke makes it that much funnier.
And that’s how I feel about the Amazing Spider-Man title. I hope they let Ditko dream up a few more of these pandemonious plots, and continue to feature the drama, the pathos, the mystery, the romance, and most of all, the comedy that is so inherent in the life of our poor protagonist, Peter Parker.
*Yes, I know…a bumpy night.
| Want to read this comic on your computer? Marvel has a scan! Want to own the story? Buy the Masterworks! |
Ma’am, it’s been such a pleasure to have you back from your hiatus. I’ve enjoyed all of your latest submissions. As I stated seven years ago, when I discovered your blog, you bring a fresh perspective to your reviews of the Silver-Age material. And you deliver it in an entertaining manner. That’s no small thing. There are quite a few sites which include reviews of Silver-Age comics. Some of them are either caustically derisive of the era, and those that aren’t are usually presented as dully as a lecturing school marm You avoid both.
And that’s kind of the point of this post on your review of Spider-Man # 25 (Jun., 1965). It’s not so much the topic. I never was much of a Spider-Man fan. I did read that issue, though; I enjoyed it but didn’t find it especially remarkable. Obviously, you did. But what stood out for me in your review was your composition of it.
After two-hundred-thirty-three entries in my Silver-Age “Deck Log” at the Captain Comics site and eighty-three reviews for the DC Archive Message Board, believe me, I know how tough it is to find clever and refreshing ways to present your material. So, as a kindred spirit, I applaud your approach in this review, in comparing “Captured by J. Jonah Jameson” with the classic screwball comedy of film. It’s a keen observation and you parallel the two media perfectly.
Sure, you could have delivered your review in the standard fashion, and it would’ve been entertaining aright. But this way made it pop. It’s memorable and it’s on point. One of the things I love most about your blog is the way you recognise that the point of a review is not simply spitting back what happens in the story, but telling us what your thoughts and observations are about the story. So I, as the reader, can nod in agreement and think, “Yep, I noticed that, too.” Or can sit back in my chair and realise, “Hey, I never noticed that!”
And if one can present that information through use of a clever device which illustrates one’s points, even better. And you did that, for sure, with this one.
And perhaps not so much in passing, you highlighted one of Marvel’s strengths over DC. Marvel could deliver genuine humour in an adventure story the way the staid and proper DC never could. In a year or so hence from this story, when Marvel started really digging into DC’s profit margins, the editors over at 575 Lexington Avenue tried ordering their writers to imitate Marvel’s jocular style—and fell flat on their faces. (With the exception of Arnold Drake, the only DC writer capable of inserting genuine humour into the heroes’ adventures.)
Nor is humour out of place in a serious adventure series. I’m not fond of series in any medium which are parodies. Neither would I want an adventure series to be nothing but a parade of romps. But the occasional insertion of humour works. And actually accentuates the series. The long-running television western Bonanza was particularly adept at this. (“Hoss and the Leprechauns”, anyone?) Perhaps the best known example is Star Trek‘s “The Trouble with Tribbles”. It’s a valid technique for presenting a story, as your review showed.
This was an exceptionally well-put-together effort, ma’am, and a fun ride. Well done!
Hi, Commander Benson! After reading your comment, my head is the size of the Baxter Building! But seriously, I so greatly appreciate not only all your kind words, but moreso, your understanding that finding new and exciting ways to approach this material is sometimes difficult, sometimes hard work…yet, it’s always rewarding.
And I must take a moment to mention again that I couldn’t do this without Russ. His technical help is invaluable, as well as, of course, his deep knowledge of the comics. We always have so much fun putting these blogs together.
I know nothing about Bonanza, but well take your point about “The Trouble with Tribbles.” Russ and I have been watching Supernatural for some time now, and currently we’ve made it through six seasons. Some episodes are better than others, but the very best ones are always the “comedies.” Lack of comedy is the main reason why I’ve completely given up on the DC universe, proclaiming myself a Marvel Girl through and through!
Thank you so much for reading!