A Study Of Caliban: Why Cinema Needs Strong Secondary Characters

Amongst a barrage of compulsory components necessary to defining a film’s quality exists the side character, a role scarcely backed into a single form, but rather etched into classic cinema through the usage of many. These characters are what make up the majority of a cast, filling in the gaps between plucky hero, menacing force of almighty evil, and all the plot points between, acting often as comic relief, the voice of reason and any role remaining, meaning their importance can’t be understated in the slightest.

In a landscape so ruthlessly dominated by titular characters, well established side characters are becoming more and more elusive, often times acting as set dressing rather than interesting figures of film.

When studying side characters, it’s important to note that in this case, the term side character will refer to any role adjacent to the main cast, almost any archetypal position bar the sole hero, certainly including the supporting cast and any chump brave enough to have an input on our protagonist’s journey.

So, What Makes A Good Secondary Character?

Although trying to compare side characters from neighbouring films remains a fairly thankless task, establishing some guidelines as to what makes our trusty companions so very valuable is key when breaking down their quality. Supporting characters, slightly unlike our main cast, often come in a wide variety of shapes and sizes, giving them a serious license for ambidexterity. Because of this almost infinite adaptability, smaller roles are often reduced to a bare bones type, serving their purpose to the story before falling silently to the wayside.

However, this falling to the wayside isn’t an inevitability, if given an interesting arc of their own, and enough input on the integral beats of the main character’s story, side characters can harness a serious lasting power all of their own. When leaning completely on the development of their leading role, the cast surrounding them begin to blend into the background, highlighting the importance of individual plot lines, which add to the development of the story as a whole.

A combination of individual development, adequate input on the main story at hand, and some level of lasting effect on the protagonist’s growth all lend to the creation of a side character able to showcase just how valuable supporting cast members are. These side characters also harbour a serious quality that when utilised effectively, can alter the way we view our major roles completely, referring of course to their ability to refresh.

This idea of refreshment can be seen in any story that revolves around a character of extremes, a character that embodies one emotion or trait entirely, effectively driving the run time on the fuel of one overbearing personal quality. It’s in these moments that the refreshment of side characters becomes necessary, acting as pockets of alternative, often times opposite, opinions. Having a character capable of shifting the tone of a scene or arc, one that is being completely run by a protagonist’s qualities, helps break up monotone moments of film, helping a number of genres retain thematic flavours not necessarily associated with their own.

But Where Are All The Heroes?!

When it comes to genres, no pocket of cinema has dominated screen real state quite like the superhero brand (in recent years at least), allowing for ample case studies when observing the usage of side characters and their potential for thematic elevation.

Generally speaking, due to the initial pull of the supersonic titular characters that find themselves plastered on every poster known to man, the supporting cast tend to feel a little underwhelming, or rather far less integral to the story at hand, meaning far less time is spent on their personal development. Now obviously it can’t be expected that stories spend half of their run time developing a side character, especially when the fate of the very world is at stake and all of mankind’s hopes rest on the shoulders of cape wearing heroes, but moments of personality shining through from the smaller roles really allow for elevation in a genre that often finds itself honed in on one character.

Of course exceptions to this observation can be found, and of course when they are, their presence lifts stories in a more than fulfilling manner, oftentimes helping to shift an overbearing hero’s perspective and max out the personality factor. One of the strongest examples of this at play hit screens in 2017, as  Logan, directed by James Mangold, managed to craft a character that emitted interest, intrigue and depth, referring of course to the mutant compass known as Caliban, portrayed delicately by Stephen Merchant.

Lets Talk Logan

In amongst an arc that sees Logan, driven by Hugh Jackman, battle illness, emotional trauma and a far more grounded brand of villainy than X-Men fans are used to, exists a character that managed to carve out a huge slice of personality from a cake that could of very well belonged solely to Logan. Between hating the sunlight, tracking mutants, and caring for our beloved Professor X, the character of Caliban managed to find time for personal development, growth, and above all, purpose.

Caliban as a character hasn’t been a mutant drenched in limelight amidst the lengthy production of X-Men films, appearing only a couple of times in a series littered with super powered mutants and a first comic book appearance dating back to 1981, a back catalogue allowing for a certain on screen mystique *cough cough*. With the majority of his screen time being found in Logan, it comes as no surprise that his character only sees real development in this 2017 form, development that can be found in select scenes that highlight personal traits, and major character growth.

A Break From Wolverine’s Almighty Anger Train

Our first interaction with Stephen Merchant’s depiction of Caliban acts as a sort of gateway for character recognition, much like all good introduction scenes should do. In a scene focused around a conversation between our favourite mutant tracker and Logan, obvious differences in personalities are established, Caliban harbours a for more anxious nature than Jackman’s Logan, and due to his sunlight afflicted weakness appears less capable of self defence, two characteristics that help define this character’s arc further down the line.

This almost polar opposite pairing of personalities allows for Caliban’s strengths as a secondary character to shine. After a brutal re-introduction to Logan earlier in the film, and some serious brooding that follows, Caliban’s anxious and caring nature, seen in little moments of nervous questioning and knowledge of the shared surroundings, gives the viewer their first break from the almighty anger train that is Wolverine. With this first look at Caliban highlighting his maternal instincts, the film goes on to develop the character as a reclusive mutant unable to aid his friends in their time of need, this time in the form of a subtle hint at his role in the group.

In a sequence shortly following this first glimpse into the life of Caliban, we see the mutant put under the strains of one of Charles Xavier’s involuntary psychic attacks. Pausing him in a brief moment of solitude, the secondary character is temporarily framed as our protagonist. With no other cast members present, the very fact that we witness his inclusion in this moment adds a layer to Caliban, it lets the audience know that he is as valuable when alone as he is with when accompanied by a more major character, creating a level of equality between the protagonist’s arc and his own.

With a developed character already snowballing, Caliban’s depth is then pushed further. In a scene that sees the mutant ironing whilst conversing with Logan, the audience is once again reminded of his role in the group, a character that is applying himself to a task which allows him to be of some help to the other characters, a rare moment of development normally spared for the more key players in a story.

This paired with a scene that sees Caliban tortured by a group of unruly henchmen, sets the mutant up with an integral arc to complete, something that has absolutely pushed the tracker into the noteworthy secondary character category and given him an important role in our protagonist’s story.

As Logan’s story progresses and the plot becomes incredibly Wolverine heavy, Caliban is pushed into the plot once more, this time seeing him sacrifice himself in order to aid his friends one last time. This sacrifice sees Caliban’s arc conclude, with one last moment of development, another trait of his character is highlighted, his bravery. From the initial looks into his character, to this final exit from the main story arc, Caliban is given an incredible rich amount of history, history that highlights his caring nature as well as concludes in a showcasing of his importance to the story. For a moment, As Logan continues to brawl his way through another incredible action sequence, Caliban becomes as valuable as our protagonist, as his sacrifice keeps the story’s momentum raging whilst putting a stamp on an incredible use of secondary character.

Shifting The Tone

Unlike a number of plucky sidekicks, Caliban harnessed a quality normally reserved for characters destined for more screen time, a quality that gave the secondary mutant character depth and a real part to play in the main arc of Logan. Through a number of moments that showcase the power a refreshing secondary character can have on a story, as well as glimpses into an incredibly rich personality, Caliban adds a certain tone to Logan, a nervous nature that concludes in bravery equal to that shown in our protagonist.

Moments of development that tell the audience all they need to know of Caliban, combined with the effects he has on the story and Logan himself, make Caliban a secondary character worthy of proving the potential of smaller roles and their power to shift the tone of a story.

With the mutant tracker shifting the violence of Logan into a more anxious territory, and Caliban’s lasting effect on the personality of the film and those inhabiting its plot points, is it time the smaller roles in film are given a more frequent spotlight? With Caliban acting as solid proof of their importance and possible quality, it certainly seems that way.