How The Vulture Became the Villain 'Spider-Man: Homecoming' Needed

How The Vulture Became the Villain 'Spider-Man: Homecoming' Needed

Michael Keaton steps into the shoes of Adrian Toomes, one of the first bad guys Spidey fought in the comic books.

Adrian Toomes is an old man with a bad attitude. Created by Stan Lee and Steve Ditko, Toomes, better known as the Vulture, first appeared in 1963’s Amazing Spider-Man #2 and was the second supervillain Spider-Man fought while he was still getting his feet wet during the Silver Age of comics. Since their first showdown, the Vulture has grown into one of Spidey’s key antagonists. He’s a founding member of the Sinister Six supervillain supergroup and is the central villain in 2017’s Spider-Man: Homecoming film. Not bad for a guy who looks like he should be using a walker and some Bengay when he’s out of costume.

Despite his frail looks, the Vulture is unquestionably deadly. Prior to turning to a life of crime, Toomes was a brilliant engineer who developed a specialized harness that gave him the gift of flight and precise maneuverability. The device also augments Toomes’ strength. Toomes originally wanted to sell his invention, but he turned to a life of crime after he was betrayed by his business partner, Gregory Bestman.

The Vulture’s aerial abilities are directly responsible for a key part of Peter Parker/Spider-Man’s biography. In the Vulture’s first appearance, the Daily Bugle newspaper calls on anyone who can get a photo of New York’s newest supervillain. To earn some extra cash, Peter decides to leverage his web-slinging abilities to snap some pics of the Vulture mid-flight, leading to his long-standing arrangement as a Bugle freelance photographer.

While a number of creators have tackled the Vulture across all media over the years, nobody made him as compelling as Roger Stern, who wrote a number of Amazing and Spectacular Spider-Man issues in the early ’80s. Stern has long maintained that the Vulture is the perfect antagonist for Spider-Man: “It’s old age and sneakiness versus youth and determination.” As a result, Stern provided Toomes with an origin story more than 20 years after the character was first introduced, while also adding a more personal touch to the Spider-Man/Vulture feud by having the villain interact with Peter’s Aunt May and her geriatric boyfriend, Nathan Lubensky.

Beyond Toomes, a number of others have taken on the mantel of the Vulture at various points in Spider-Man history. Blackie Drago, a cellmate of Toomes’ in prison, enjoyed a short stint as the Vulture in the mid-'60s when he stole the original’s costume and harness. A third Vulture briefly appeared in a 1973 issue of Amazing when Empire State University professor Clifton Shallot went mad and experimented on himself, turning him into a supervillain. During the “Brand New Day” era of Amazing Spider-Manin the late 2000s, a totally different kind of Vulture was created by Mark Waid and Mike McKone: Jimmy Natale was a lowly Maggia crime family goon who underwent a horrible experiment and was transformed into a grotesque half-vulture creature that could barely speak and who vomited acid into people’s faces. Talk about heartburn.

Years before the villain would make his big-screen debut in Spider-Man: Homecoming, the Vulture was the rumored big bad in the unmade Spider-Man 4. John Malkovich, who was also in the mix to play Norman Osborn/Green Goblin for the first Spider-Man film a decade earlier, would eventually confirm that he had signed on to play the Vulture, expressing disappointment that it never came to fruition.

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Tubelight, Raees and Kaabil delivered huge profits for the makers BUT distributors lost their monies

Tubelight, Raees and Kaabil delivered huge profits for the makers BUT distributors lost their monies

Half the year has already passed and we have witnessed multiple big ticket releases hitting screens. However, unlike Baahubali 2 – The Conclusion most of the other highly talked about and anticipated releases like Raees, Kaabil and Tubelight have found the going rather tough at the box office. In fact we had earlier in the case of both Raees and Kaabil reported on how while the makers of the film laughed their way to the bank it was the distributors of each that had to bear the brunt of their box office under performance.

Now in the case of the recently released Salman Khan starrer Tubelight that was directed by Kabir Khan, the story isn’t much different. Released across 5550 screens worldwide Tubelight that hit screens on the Friday before Eid was produced by Salman Khan Films (SKF). Being one of the most eagerly awaited releases of 2017, Tubelight that marked the reunion of Salman and Kabir after their highly successful previous release Bajrangi Bhaijaan was expected to fast become yet another record setting film. Considering these facts, NH Studioz acquired the all India distribution rights of the film for a staggering Rs. 132 cr.

However, while the makers of the film managed not only to recover their initial investment with revenue from the sale of its distribution, satellite and music rights of the film, NH Studioz that had taken a gamble on the same wound up paying a rather high price. Considering the fact that Tubelight, stands to make approx. Rs. 125 cr by the end of its theatrical run, the distributors stand to earn 45% of total box office collections which amounts to approximately Rs. 56 cr. Thanks to this the local distributors that had secured the all India territory rights for Tubelight are looking at a loss of close to Rs. 75 cr.

Similarly in the case of Raees and Kaabil that hit screens earlier this year, Anil Thadani had shelled out a whopping Rs. 70 crores to acquire the distribution rights of Raees, however post the underperformance of the film at the box office; he managed to recover approximately Rs. 60-65 crores. On the other hand in the case of Kaabil while the exact amount received by its makers for the distribution rights isn’t known, Rakesh Roshan managed to earn a profit within the range of Rs. 80-85 cr.

Looking at the current spate of distributors having to bear the brunt of a Bollywood big ticket entertainer’s underperformance at the box office, it is safe to question when the norms of sale and profit share will change.

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