The 2003 film Daredevil shows how commercial interests can undermine artistic ambition. While the film was marketed as a bold, gritty reimagining of the superhero’s origin story, it ultimately fell short of expectations, failing to capitalize on the potential of its source material. The film’s PG-13 rating, studio interference, and lack of originality left it as a bland, forgettable entry in Marvel’s filmography, a cautionary tale of how well-intentioned adaptations can unravel under the weight of commercial constraints and creative compromise.
The film’s origins lie in the turn of the millennium, a time when Hollywood, and particularly Marvel Comics, discovered a treasure trove of superhero comic books as the source of immensely popular films. The trend began in 2000 with X-Men, which proved that superhero films could be both commercially successful and artistically ambitious. However, the 2003 release of Daredevil marked a significant hiccup in this trend, as the film’s commercial results were underwhelming, and its reception was mixed. While X-Men (2000) had been a critical and commercial success, Hulk (2003) had been a relative failure, and Daredevil (2003) was even worse. This film, inspired by Frank Miller’s dark, revisionist version of the original comics, was a missed opportunity that highlighted the risks of adapting complex, morally ambiguous source material to a mainstream cinematic format.
The titular protagonist, Matt Murdock (played by Ben Affleck), is a New Yorker who dedicated his life to ridding his city of criminals. His character was forged by a difficult childhood in the troubled quarter of Hell’s Kitchen, where he was raised by his father, boxing trainer Jack Murdock (played by David Keith). Old Murdock tried to steer his son toward the path of education, and Matt heeded his call, but not before experiencing a series of tragedies—exposure to radioactive waste and losing his eyesight, which was later compensated by other heightened senses and some new powers. His father’s death at the hands of local gangsters further prompts young Matt to turn his life toward seeking justice. After completing law school, he does this in two ways: by day as a lawyer, and by night as a masked vigilante hunting the most dangerous New York criminals. His activities have drawn the attention of Kingpin (played by Michael Clarke Duncan), a ruthless boss of New York’s underworld, while Matt, as a lawyer, has drawn the attention of the attractive Electra Nachios (played by Jennifer Garner), a woman with deep knowledge of martial arts. Matt is unaware that Electra happens to be the daughter of Nikolai Nachios (Avery), a Greek gangster linked to Kingpin and who has recently started to interfere with his business partner. Kingpin therefore sends a ruthless professional killer, Bullseye (Colin Farrell), to Nachios, which will have severe consequences.
Similar to Tim Burton in the case of Batman (1989), director Mark Steven Johnson’s inspiration for his version of Daredevil was not found in the original 1960s comics, but in the later, dark revisionist 1993 version of Frank Miller. This is why Daredevil can surprise with the amount of violence, foul language, and the sheer physical and psychological toll of its protagonist’s nighttime activities. The film’s portrayal of Daredevil as a tormented, morally ambiguous figure is a direct nod to Miller’s work, which reimagined the superhero as a man who is both a vigilante and a victim of his own demons. However, this approach was not without controversy, as some at the time interpreted the film’s depiction of Daredevil’s brutal methods as a commentary on George W. Bush’s foreign policy, particularly his regime-change ethos. This interpretation, while not universally accepted, highlights the film’s attempt to grapple with the darker aspects of superhero narratives.
The film was originally meant to have an R-rating with much more blood and nudity, but studios, as usual, went the easy route and altered it in order to have a PG-13 rating. This decision, while commercially prudent, severely diluted the film’s original vision. The result was a film that was mercilessly cut, and no editing can hide the serious holes in the plot and characterisation. The film’s original script had been designed to be a visceral, unflinching portrayal of Daredevil’s struggles, but the studio’s interference forced a compromise that left the film feeling watered down and unfulfilling. This is a recurring issue in Hollywood adaptations of comics, where the desire to appeal to a broader audience often leads to the dilution of the source material’s core themes.
Director Johnson, known for his work on comedies and sentimental dramas, was clearly not the right choice for this project. His direction is marked by a clumsy execution of action scenes, which are often confusing and poorly choreographed. The only exception is the scene of the rendezvous between Daredevil and Electra, which is a brief but effective moment that highlights the film’s potential. However, the rest of the film’s action sequences are plagued by over-the-top choreography and a lack of focus, which detracts from the overall narrative.
The film’s cast is another area where the film falls short. Ben Affleck, as Matt Murdock, delivers a performance that is inconsistent and underwhelming. While he portrays the blind lawyer with a certain gravitas, his portrayal of the vigilante is overly restrained, lacking the physicality and intensity required to convey the character’s rage and fury. Michael Clarke Duncan, who had previously shone as an angelic character in The Green Mile, falters in the role of Kingpin, a ruthless crime lord. His performance is hampered by the film’s PG-13 limitations, which forced the studio to soften the character’s brutality.
The only character who seems interesting in the film is Jon Favreau as Murdock’s colleague “Foggy” Nelson, while Colin Farrell slightly overacts in the role of the demonic Bullseye. These moments, while not enough to redeem the film, highlight the film’s occasional strengths. However, the overall impression is that the film’s characters are underdeveloped, and the narrative is lacking in depth.
When all this is added to an anti-cathartic ending (with an obvious intention to leave material for sequels), Daredevil leaves a disappointing impression of a film that did not fully utilise its potential. The film’s failure to capitalize on its source material’s potential is a major disappointment, especially considering the film’s ambitious vision.
Although Daredevil (2003) had modest commercial success, critics were not too happy, and fans of the original comic books were left disappointed. Plans for a sequel were abandoned following the disastrous 2005 spin-off Elektra, which further highlighted the film’s shortcomings. Thankfully, Marvel Comics learned from its mistakes and applied these lessons not only to the Marvel Cinematic Universe but also to the highly regarded 2015 Netflix streaming series Daredevil, starring Charlie Cox. This series, which embraced the darker, more complex themes of the original comics, is a testament to the film’s potential and the importance of balancing commercial appeal with artistic integrity.
RATING: 4/10 (+)
(Note: The text in the original Croatian language version was posted in Usenet group hr.rec.film on May 20th 2003.)
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