Deadpool & Wolverine: A Mel Brooks Masterpiece in Spandex
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***WARNING: SPOILERS AHEAD***
Introduction: A Match Made in Satirical Heaven
In the ever-expanding universe of superhero films, "Deadpool & Wolverine" has emerged as a true anomaly, shattering both box office records and audience expectations. It now reigns as the highest-grossing R-rated film ever, grossing over $1.3 billion worldwide and $635 million domestically. This staggering success is a testament to the film's unique blend of irreverent humor, meta-commentary, and classic superhero action. But beneath the surface of this blockbuster lies a comedic sensibility that feels remarkably familiar to fans of classic comedy—one that echoes the satirical genius of Mel Brooks.
At first glance, comparing a modern superhero film to the work of a comedy legend known for spoofing westerns, horror films, and sci-fi epics might seem like a stretch. However, as we delve deeper into the DNA of "Deadpool & Wolverine," we find a kinship with Brooks' comedy approach that goes beyond superficial similarities. From its genre-bending narrative to its gleeful deconstruction of superhero tropes, the film embodies the spirit of Brooks' best work, updated for the age of cinematic universes and multiversal storytelling.
This article explores how "Deadpool & Wolverine" channels the comedic spirit of Mel Brooks, examining how the film's approach to humor, character dynamics, and meta-commentary aligns with Brooks' iconic style. We'll dissect the movie's use of parody, its embrace of slapstick violence, its constant breaking of the fourth wall, and its subversion of masculine archetypes—all hallmarks of Brooks' cinematic legacy. By the end, we hope to demonstrate that "Deadpool & Wolverine" is more than just another entry in the Marvel Cinematic Universe; it's a loving tribute to a style of comedy that has shaped generations of filmmakers and audiences alike.
So grab your chimichangas, unsheathe your claws, and prepare for a deep dive into the world of "Deadpool & Wolverine" through the lens of Mel Brooks' comedic genius. It's time to explore how Marvel's least conventional duo has inadvertently created a superhero film that the master of parody himself would be proud to call his own.
Genre-Bending and Parody: The Brooksian Blueprint
Deconstructing Superhero Conventions
Mel Brooks built his career on lovingly dismantling genre conventions, whether it was westerns in "Blazing Saddles," horror in "Young Frankenstein," or science fiction in "Spaceballs." In each case, Brooks didn't simply mock these genres; he celebrated them while exposing their inherent absurdities. "Deadpool & Wolverine" takes this approach and applies it to the superhero genre with surgical precision.
The film's treatment of the Time Variance Authority (TVA), previously established in the "Loki" series, is a prime example of this Brooksian deconstruction. By introducing Deadpool to the bureaucratic nightmare of timeline management, the movie turns what was once a serious plot device into a playground for comedy. Matthew Macfadyen's portrayal of Mr. Paradox, a TVA agent, feels like it could have been lifted straight from a Brooks film—a straight-laced character thrust into increasingly absurd situations.
Moreover, the film's approach to multiverse theory—a concept that has become a cornerstone of recent MCU storytelling—is pure Brooks in its execution. Instead of treating alternate realities with the gravity seen in films like "Doctor Strange in the Multiverse of Madness," "Deadpool & Wolverine" uses the concept as a vehicle for outlandish scenarios and self-referential humor. This is reminiscent of how Brooks used the historical setting in "History of the World, Part I" not for accuracy but as a backdrop for anachronistic jokes and social commentary.
Subverting Expectations with Cameos
One of Brooks' signature moves was to populate his films with unexpected cameos that both delight audiences and comment on the nature of celebrity and film history. "Deadpool & Wolverine" takes this concept and runs with it. It uses its roster of surprise appearances to create a tapestry of meta-commentary on the superhero genre and Hollywood at large.
The appearance of Chris Evans as Johnny Storm rather than his more famous role as Captain America is a perfect example of this approach. It's a nod to Evans' superhero past that predates the MCU, serving as a treat for longtime fans and a commentary on the actor's career trajectory. Similarly, Jennifer Garner's return as Elektra isn't just fan service; it's a playful jab at the often convoluted continuity of superhero franchises.
These cameos go beyond mere appearances, often serving narrative and thematic purposes that align with the film's broader satirical aims. The inclusion of Channing Tatum as Gambit, for instance, isn't just a reference to the long-rumored Gambit solo film that never materialized; it's a commentary on the fickle nature of Hollywood development and the often unfulfilled promises made to superhero fans.
Even more, Brooksian is the film's use of unexpected voices for comedic effect. The casting of Blake Lively as Ladypool, Matthew McConaughey as Cowboypool, and Nathan Fillion as Headpool (a flying, decapitated Deadpool head) echoes Brooks' tendency to use familiar voices in unfamiliar contexts, like when he had robots speak with the voices of famous actors in "Spaceballs."
Parodying Superhero Tropes
Just as Brooks took aim at the clichés of the genres he parodied, "Deadpool & Wolverine" leaves no superhero stone unturned in its quest for laughs. The film gleefully mocks everything from dramatic origin stories to overwrought battle cries, always with a wink and a nod to the audience.
A particularly Brooksian element in "Deadpool & Wolverine" is its treatment of the classic "superhero landing," a trope that Deadpool famously mocked in both his previous outings. The film continues this meta-commentary on superhero clichés, with Deadpool's awareness of the trope adding an extra layer of humor to action sequences. This self-referential approach to genre conventions is reminiscent of how Brooks would often take a standard trope and turn it into a running gag throughout his films.
This self-aware comedy, calling back to previous Deadpool films while commenting on broader superhero movie tropes, exemplifies the Brooksian approach of building comedic layers that reward audience awareness and participation in the joke.
The Comedy of Immortality: Superhero Slapstick
Pushing the Boundaries of Physical Comedy
One of the most distinctive features of both Deadpool and Wolverine as characters is their healing factor, which allows them to recover from virtually any injury. In the hands of lesser filmmakers, this ability might be used solely for dramatic effect or to raise the stakes in action sequences. However, "Deadpool & Wolverine" recognizes the inherent comedic potential in characters who can survive anything and leans into it with gusto.
This approach to violence as comedy is quintessentially Brooksian. In films like "Blazing Saddles" and "Robin Hood: Men in Tights," Brooks often used exaggerated violence for comedic effect, knowing that the cartoonish nature of the injuries would prevent them from being taken seriously. "Deadpool & Wolverine" takes this concept and amplifies it, using the characters' healing abilities as a license to push the boundaries of good taste and physical comedy.
One standout sequence involves Deadpool suffering numerous stab wounds from Wolverine's claws, each injury more graphic yet comedic than the last. Despite the violent nature of these wounds, Deadpool's healing factor (and Wolverines) and irreverent attitude turn what could be gruesome moments into darkly humorous scenes. His flippant reactions to being repeatedly impaled, coupled with his rapid healing, create a comedic rhythm that escalates throughout their encounters.
This approach to violence as comedy is quintessentially Brooksian. It echoes the way Brooks would take historically violent or serious topics and transform them into slapstick through exaggeration and absurdity, much like the famous "Inquisition" musical number from "History of the World, Part I." In both cases, the comedy comes not from the violence but from the characters' incongruous reactions to it and the increasingly outlandish ways it's presented.
Immortal Ensemble: Expanding the Regeneration Gag
In "Deadpool & Wolverine," healing factors play a significant role in both action sequences and the film's humor. While Deadpool and Wolverine's regenerative abilities are prominent throughout, the movie introduces an intriguing twist with Nicepool, a Deadpool variant whose vulnerability is cleverly concealed for much of the film.
The film subtly hints at Nicepool's lack of healing factor in earlier scenes, building tension without explicitly revealing this crucial difference. This setup pays off in a shocking moment when Deadpool, unaware (or was he??) of Nicepool's vulnerability, uses him as a human shield. It's only after this incident that Nicepool's lack of healing ability is explicitly addressed, adding a layer of complexity to the character dynamics and raising the stakes for the Deadpool variants.
This revelation about Nicepool, combined with the appearance of the Deadpool Corps near the film's conclusion, expands the healing factor concept in unexpected ways. The Deadpool variants, create opportunities for both heightened danger and comedic situations, playing off the established healing factor elements in new and surprising ways.
The film's approach to healing factors evolves from a straightforward attribute of the main characters into a more complex element of the plot and character relationships. This progression demonstrates the movie's clever use of a core superhero trope, finding ways to subvert expectations and create both tension and humor.
The Contrast of Mortality
In true Brooksian fashion, the film also finds humor in contrasting its immortal characters with those who are very much mortal. Characters like Dopinder (Karan Soni) and Peter (Rob Delaney) serve as comedic foils, their human fragility highlighting the absurdity of Deadpool and Wolverine's indestructibility.
This juxtaposition is similar to how Brooks would often place anachronistic or out-of-place characters in his period pieces, using their incongruity for comedic effect. In "Deadpool & Wolverine," the presence of normal humans amidst the chaos of superhuman battle serves a similar purpose, grounding the film's fantastical elements while also providing opportunities for humor based on the stark differences between characters (RIP Nicepool).
Breaking the Fourth Wall: Deadpool's Ultimate Brooksian Weapon
Meta-Humor Taken to New Heights
If one aspect of "Deadpool & Wolverine" feels most indebted to Mel Brooks' legacy, it's the film's relentless breaking of the fourth wall. Deadpool's ability to address the audience directly and comment on the nature of the film itself is a comedic device that Brooks perfected in his work and one that reaches new heights in this latest Marvel outing.
Ryan Reynolds' portrayal of Deadpool takes this meta-commentary to levels that would make even Brooks' most self-aware characters blush. Throughout the film, Deadpool not only addresses the audience but actively comments on the nature of the Marvel Cinematic Universe, the business of Hollywood, and even the real-world implications of Disney's acquisition of Fox.
One particularly Brooksian moment comes when Deadpool directly references the film's status as the first R-rated entry in the MCU, even going so far as to mock the franchise's previous attempts at edgier content. This level of self-awareness is reminiscent of scenes in "Spaceballs," where characters directly reference the fact that they're in a movie, even going so far as to watch their own film as part of the plot.
The Straight Man in a Meta World
What elevates the fourth-wall breaking in "Deadpool & Wolverine" from mere gimmickry to true Brooksian satire is how it contrasts with characters who remain blissfully unaware of their fictional status. Hugh Jackman's Wolverine serves as the perfect straight man for Deadpool's meta-antics, his attempts to maintain the seriousness of their mission creating a comedic tension that drives much of the film's humor.
This dynamic is highly reminiscent of how Brooks would often pair a self-aware character with one firmly rooted in the film's reality. In "Blazing Saddles," for instance, Sheriff Bart's modern sensibilities and awareness of racial stereotypes play off against the earnest, if misguided, townsfolk who remain firmly entrenched in their Old West mentality.
In "Deadpool & Wolverine," this contrast is taken to its logical extreme. Scenes where Deadpool breaks character to address the audience or comment on the film's plot are made all the funnier by Wolverine's increasing frustration and confusion. It's as if half the cast is in a traditional superhero film, while the other half (mainly Deadpool) is in a Mel Brooks-style parody of one.
Meta-Commentary on Superhero Films and Hollywood
Beyond just breaking the fourth wall for comedic effect, "Deadpool & Wolverine" uses its meta-awareness to offer biting commentary on the superhero genre and Hollywood as a whole. This is perhaps where the film's Brooksian influence is most apparent.
Just as Brooks used his films to satirize specific genres and the entire Hollywood system, "Deadpool & Wolverine" aims at everything from formulaic superhero plots to the business decisions that drive franchise filmmaking. There are pointed jabs at the concept of cinematic universes, the trend of darkening superhero films for adult audiences, and even how studios retrofit continuity to make disparate films fit together.
One sequence in the first Deadpool that stands out involves Deadpool commenting on the convoluted nature of X-Men film continuity, directly addressing issues that fans have debated for years. This is repeated in Deadpool & Wolverine in references to the Punisher and Blade. This level of insider baseball humor, delivered with a wink and a nod to the audience, is straight out of the Mel Brooks playbook. It's reminiscent of how Brooks often included jokes in his films that relied on the audience's knowledge of Hollywood history or filmmaking techniques.
The Odd Couple Dynamic: The Brooksian Buddy Comedy Formula
Unlikely Partnerships
The film's dynamic between Deadpool and Wolverine perfectly embodies the Brooksian odd couple trope. Throughout their adventure, Deadpool's constant stream of pop culture references and fourth-wall-breaking quips contrasts sharply with Wolverine's gruff, no-nonsense attitude. This leads to numerous comedic moments where Wolverine's growing frustration with Deadpool's antics creates a humorous tension.
For instance, there are scenes where Deadpool's rapid-fire jokes and meta-commentary leave Wolverine bewildered and irritated, much like how the more serious characters in Brooks' films would react to absurd situations. This dynamic is reminiscent of the relationship between Frederick Frankenstein and Igor in "Young Frankenstein," where Igor's irreverent behavior and pun-filled dialogue often clash with Frankenstein's attempts to maintain scientific seriousness. The humor arises from the stark contrast in their approaches to the situation, much like Deadpool and Wolverine's differing perspectives on their mission create comedic friction.
Expanding the Comedy Ensemble
While "Deadpool & Wolverine" does feature brief appearances by familiar faces like Colossus, Negasonic Teenage Warhead, and Yukio, their roles are minimal and don't significantly impact the main story. Instead, the film expands its comedic ensemble through new additions and surprising cameos that complement the central Deadpool-Wolverine dynamic.
For instance, Matthew Macfadyen's portrayal of Paradox, a TVA agent, brings a different flavor of humor to the mix, his deadpan delivery contrasting nicely with Deadpool's manic energy. Emma Corrin as the villain Cassandra Nova provides another layer to the comedic interactions, her serious demeanor often serving as a straight foil to Deadpool's irreverence.
This approach to building an ensemble cast, where even minor characters and cameos contribute to the overall comedic tone, is reminiscent of how Brooks would populate his films with a variety of distinctive personalities, each adding their own touch to the humor. It creates a rich comedic tapestry beyond the central pairing, even if some familiar faces have less screen time than fans might expect.
Cameos as Comedic Devices
The film's use of cameos also plays into this ensemble approach, with each surprise appearance serving not just as fan service but as an opportunity for humor. The appearance of Jennifer Garner as Elektra, for instance, isn't just a nod to superhero films of the past; it's used as a springboard for jokes about the often-convoluted continuity of comic book movies. Not to mention an opportunity to make fun of her real-life ex-husband.
This approach to cameos as both surprise and punchline is very much in line with how Brooks would use unexpected appearances in his films. Think of the famous "Hitch" scene in "Spaceballs," where John Hurt appears as his character from "Alien," only to suffer the same fate in a parody context. In "Deadpool & Wolverine," each cameo serves a similar dual purpose, delighting fans while also furthering the film's satirical aims.
Masculinity in Crisis: A Brooksian Deconstruction
Lampooning the Tough Guy Image
One of Mel Brooks' favorite targets throughout his career was the hyper-masculine hero archetype, whether it was the stoic cowboy in "Blazing Saddles" or the swashbuckling adventurer in "Robin Hood: Men in Tights." "Deadpool & Wolverine" carries on this tradition, taking great pleasure in subverting the tough-guy image so prevalent in superhero films.
Wolverine, long established as the epitome of the gruff, masculine hero, becomes a target for Deadpool's irreverent humor throughout the film. Hugh Jackman's portrayal leans into the character's tough exterior, creating a perfect straight man for Deadpool's antics. While Deadpool doesn't interrupt Wolverine's dramatic moments as previously suggested, he does pepper their interactions with quips and asides that reference Jackman's real-life background in musical theater.
This playful meta-commentary on Jackman's career outside of Wolverine adds a Brooksian layer to their dynamic. It's reminiscent of how Brooks often included jokes that relied on the audience's knowledge of an actor's broader career or public persona. For instance, in "Blazing Saddles," Brooks cast Madeline Kahn as a parody of Marlene Dietrich, playing on the audience's familiarity with Dietrich's image.
In "Deadpool & Wolverine," these references to Jackman's musical background serve a similar function, adding an extra layer of humor for viewers aware of the actor's diverse career. This approach to character-based humor, playing with the audience's external knowledge, is a hallmark of Brooks' style that the film adopts and adapts for its own purposes.
This willingness to poke fun at the very concept of the masculine hero is pure Brooks. It's reminiscent of "Blazing Saddles" scenes where the tough cowboy image is undercut by having the heroes ride off into the sunset... in a limousine. In "Deadpool & Wolverine," similar juxtapositions abound, with moments of traditional superhero bravado often followed by deflating punchlines or sight gags.
Diverse Portrayals of Heroism
While lampooning traditional masculinity, "Deadpool & Wolverine" also follows in Brooks' footsteps by offering a more diverse and inclusive take on heroism. The inclusion of characters like Elektra (Jennifer Garner), Negasonic Teenage Warhead (Brianna Hildebrand), and Yukio (Shioli Kutsuna) allows the film to subvert not just masculine superhero tropes but superhero conventions in general.
This approach mirrors how Brooks often included strong, capable female characters in his films who would often outshine their male counterparts. Think of Madeline Kahn's characters in various Brooks films, who often stole the show and subverted expectations of how women were typically portrayed in the genres being parodied.
X-23 (Dafne Keen) makes an appearance in "Deadpool & Wolverine," but her role is notably different from the film's overall comedic tone. Her presence serves as a poignant callback to the emotional depth of "Logan" and provides a connection to Wolverine's complex past. The film treats X-23's character with a seriousness that stands in contrast to its generally humorous narrative.
This juxtaposition of a more dramatic element within a largely comedic film is reminiscent of how Mel Brooks sometimes includes moments of genuine emotion in his comedies. For instance, in "The Producers," amidst all the farcical elements, there are touching moments of friendship between the main characters.
In "Deadpool & Wolverine," X-23's appearances serve a similar function, providing a grounding element that connects to the wider X-Men mythology and Wolverine's character arc. Her scenes add emotional weight to the story, while the film's comedy primarily stems from other sources and character interactions.
Emotional Vulnerability
"Deadpool & Wolverine" presents an interesting take on masculinity through its two lead characters. Wolverine maintains his characteristic stoicism and gruff exterior throughout the film, embodying a traditional tough-guy persona. In contrast, Deadpool's irreverent humor and self-awareness offer a different, more unconventional expression of masculinity.
The film derives much of its humor from the clash between these differing approaches to heroism and masculine identity. Wolverine's serious demeanor and Deadpool's constant quips create a comedic tension that drives many of their interactions. This juxtaposition of contrasting personality types as a source of humor is reminiscent of Mel Brooks' approach in films like "The Producers" or "Blazing Saddles," where characters with wildly different personalities are thrown together for comedic effect.
However, unlike some of Brooks' work, "Deadpool & Wolverine" doesn't rely on exaggerated emotional displays or breakdowns for its comedy. Instead, it finds humor in the steady contrast between its leads' established personalities and how they navigate their shared adventures.
Jewish Humor and the Outsider Perspective
The Underdog's Wit
A key element of Mel Brooks' comedic style was his ability to infuse his films with a distinctly Jewish sensibility, often focusing on characters who were outsiders using their wit to navigate hostile or absurd situations. While "Deadpool & Wolverine" doesn't explicitly deal with Jewish themes, it channels this outsider perspective through its titular character.
Deadpool's status as a disfigured, mentally unstable antihero makes him an outsider in the glossy world of superheroes. His constant quips and meta-commentary serve the same function as the quick wit of Brooks' protagonists—a defense mechanism that allows him to navigate a world that often makes little sense.
This is particularly evident in Deadpool's interactions with the Time Variance Authority (TVA). His irreverent approach to their bureaucratic nonsense feels very much like how a Brooks protagonist would deal with oppressive authority figures. There's a scene where Deadpool runs circles around TVA agents with wordplay and pop culture references that could have been lifted straight out of a Brooks film, reminiscent of how Zero Mostel's character in "The Producers" would use rapid-fire banter to confuse and outwit his opponents.
Cameos as Commentary
The film's use of surprising cameos serves not just as fan service but as a form of insider comedy that Brooks would have appreciated. The appearances of characters from various corners of the Marvel universe—and even from competing franchises—create a sense of comic anarchy that Brooks often employed in his films.
For instance, the appearance of Channing Tatum as Gambit isn't just a nod to an unmade X-Men spinoff; it's a satirical jab at the often convoluted and interconnected nature of superhero franchises. This type of insider humor, which relies on the audience's knowledge of Hollywood politics and superhero movie history, is very much in line with how Brooks would include jokes that winked at savvy viewers who understood the references.
Self-Deprecating Humor
Another hallmark of Brooks' style that finds its way into "Deadpool & Wolverine" is the use of self-deprecating humor. Just as Brooks wasn't afraid to poke fun at his Jewish heritage or status in Hollywood, the film takes great pleasure in mocking itself, the superhero genre, and even its own cast and crew.
Ryan Reynolds, in particular, channels this self-deprecating spirit, with Deadpool often making jokes at the expense of Reynolds' career choices or his public persona. This willingness to be the butt of the joke is very much in line with Brooks' approach, where no target was off-limits, including the filmmaker himself.
There's a particularly meta moment in the second Deadpool film. Deadpool references Reynolds' disastrous first outing as the character in "X-Men Origins: Wolverine," turning a real-life career misstep into fodder for comedy. This blend of self-awareness and self-mockery feels like it could have been lifted directly from a Brooks film, where the line between the movie and real life often blurred for comedic effect.
Conclusion: A Mel Brooks Movie Disguised as a Superhero Adventure
"Deadpool & Wolverine" is far more than just another entry in the Marvel Cinematic Universe. In its irreverent approach to superhero tropes, its willingness to break the fourth wall, its subversion of masculine archetypes, and its embrace of outsider perspectives, the film reveals itself as a spiritual successor to the works of Mel Brooks.
The movie's record-breaking success—grossing over $1.3 billion worldwide and becoming the highest-grossing R-rated film of all time—proves audiences are hungry for this type of self-aware, genre-bending comedy. Just as Brooks changed the comedy landscape in his heyday, "Deadpool & Wolverine" may pave the way for a new era of superhero satires.
What makes the film truly special is how it simultaneously manages to parody and celebrate the superhero genre. Like the best of Brooks' work, it's a loving send-up that requires a deep understanding and appreciation of the very things it's poking fun at. Director Shawn Levy and the writing team, including Ryan Reynolds, have created a film that operates on multiple levels, rewarding casual viewers and die-hard fans with layers of humor and meta-commentary.
The film's approach to comedy, from its use of meta-humor to its willingness to push the boundaries of good taste for a laugh, all bear the hallmarks of Brooks' influence. Yet, it manages to update these techniques for a modern audience, proving that this style of parody is as relevant and hilarious as ever.
As the superhero genre continues to dominate the box office, "Deadpool & Wolverine" serves as both a participant in and a commentary on this cultural phenomenon. It's a film that Mel Brooks himself might have made if he were working in Hollywood today—a no-holds-barred satire that loves its subject matter almost as much as it loves making fun of it.
In the end, "Deadpool & Wolverine" is a testament to the enduring power of Brooks' comedic style. It's a reminder that even in the age of cinematic universes and multiversal storytelling, there's still room for the kind of anarchic, anything-goes comedy that Brooks pioneered. As you revisit the film, look beyond the superpowers and explosions. You might find yourself watching the closest thing to a Mel Brooks superhero movie ever made—a wild, irreverent ride that proves comedy and capes can coexist in glorious, R-rated harmony.
In a landscape often criticized for its formulaic approach to storytelling, "Deadpool & Wolverine" dares to be different, channeling the spirit of one of comedy's greatest innovators. It's not just a great superhero movie; it's a great comedy, period. And somewhere, you can almost imagine Mel Brooks himself watching, laughing, and taking notes for "Spaceballs 2: The Search for More Money."
NOTE: While researching this article, I came across someone else writing something similar. It seems only fair to shout them out. Go on over and read MIDDLE-AGED GEEK's article "Marvel goes full Mel Brooks for its superhero satire "Deadpool & Wolverine” (2024)…”
There are others that can be discovered via a simple Google search.
Thank you for your time today. Until next time, stay gruntled.
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