After the tremendous failure of Supergirl and Warner’s merger with Paramount, forming that absurd and pantagruelian giant that is Skydance, quite a few of us wondered what the hell was going to happen with the DC Universe from here on out. And the answer is… apparently, nothing. Lanterns was a success (a relative one, at least, but a success all the same) and Clayface, which had all the makings of a resounding flop, is holding up in theaters well enough to finance, at least, one more year of James Gunn’s universe. There is only one question: has Clayface succeeded because it’s DC… or because it’s a horror movie?
DClayface
I admit I was one of those who thought that a standalone movie about a random Batman villain and that was, on top of that, a horror movie for an audience normally thirsty for action, was basically commercial suicide. However, Clayface has gotten good reviews and it has done well at the box office: it has taken in $61.8 million and, for now, it’s only spent three days outside the No. 1 spot in the U.S., and could reclaim the top spot for another weekend.
Considering that it cost around 44 million dollars and that it still has a long run ahead of it, not only does it have every chance of surpassing Supergirl’s 126.5 million, but of turning a profit and proving that, indeed, DC movies have a lot to offer… So long as they hide the fact that they’re about superheroes and supervillains. Because, let’s be honest: how many people who went to see this movie near Halloween, drawn in by the body horror and disfigured faces, know that this character has already appeared in Creature Commandos and is a regular rival of the Caped Crusader?
I suppose they have to grasp at straws, but a large part of the general audience will have been surprised to see that this character lives in Gotham, or even that the DC logo appeared before the credits, since we’re used to only the biggest characters taking over their own movies. On top of that, this isn’t a superhero movie, but the proof that the concept “superheroes” is very broad and that many genres can fit within it, as if it were a container for all kinds of projects.
The problem is the same: Skydance is interested in creating brands and strengthening the ones it already has. That the audience has its Batman, its Wonder Woman, its Superman and its Green Lantern, and that if anyone new dares to enter this sacred quartet, at least everyone can instantly recognize that they share a universe with them. I’d really be interested in polling the audience as it leaves the theater asking them who they’d want to see Clayface doing a crossover with, especially considering that there are no references whatsoever throughout the film, and only the most informed know where he comes from.
It’s worth stressing that Clayface first appeared in Detective Comics in 1940, but he didn’t have any kind of power: he was simply a man in makeup and a mask ready to take revenge on those who wanted to do a remake of his movies (almost 90 years ago, and it’s still completely relevant). It took another two decades, until 1961, before we saw the current Clayface… And he’s nowhere near as iconic as Joker or Lex Luthor: he’s a second-tier villain, but, after all, weren’t the Guardians of the Galaxy second-tier heroes?
James Gunn is, deep down, using the same formula he used at Marvel: trying to popularize forgotten heroes (and villains, in this case), giving them a twist and upending everything the audience thought it knew about superhero movies. The gamble, to the surprise of all of us who thought this would be the end of his universe, has worked out for him so far. The question is… Does the audience realize it?