When comparing superhero film
universes, namely the DC Extended Universe of Warner Brothers Pictures/DC Films
and the Marvel Cinematic Universe of Disney/Marvel Studios, a quick opinion
would have the latter over the former where box office and (arguably) critic
reviews are concerned. The general consensus about the movies featuring Iron
Man, Captain America and friends is that they’re bright and sunny (despite
serious plots) as well as healthily funny. Over at DC/Warner’s “Man of Steel”
and “Batman v Superman”, it’s all shades of gray and black, with pretty grim
and near-unsmiling characters. Not even the anti-heroic team movie “Suicide
Squad”, with the zany super-villain covert ops team, could alleviate the heavy
atmosphere of the DCEU.
But not everything is grim-dark
here. One shining spot of the depressing 2016 “Batman v Superman” epic
encounter was the surprise appearance of the one character that, with the Man
of Steel and the Dark Knight, forms the “Holy Trinity” of DC Comics
superheroes. This is none other than THE definitive super-heroine, Wonder
Woman. And this year she jumps (not flies, but still very high) into action
with her solo movie. And to quote the lyrics of the 1970s ABC (then CBS)
“Wonder Woman” TV series, “All the world is waiting for you.”
So let’s get into the DCEU
version of Wonder Woman, played to absolute perfection by Israeli model-actress
Gal Gadot. Her credentials are a tad similar to previous iconic Wonder Woman
actress Lynda Carter; at age 18 Gadot won the Miss Israel beauty pageant, in
which she represented her country in the 2004 Miss Universe competition. About
the only additional perk that Gadot has over Carter is her two years of
mandatory military service in the Israeli Defense Force. It was this experience
that got Gadot cast in the fourth “Fast and Furious” film alongside Vin Diesel
and the late Paul Walker. She reprised her role there up until the sixth movie
(and was in a deleted scene of “Fast 7”).
As a character engaged in
physical action, Gal Gadot is remarkable. So when she first appeared as Diana
Prince/Wonder Woman in “Batman v Superman”, she acquitted herself very well in
the superhero-scale action sequences. It also gave her a chance to stretch her
acting muscle with her portrayal of a jaded superhuman. The reason for her
character’s dented-steel personality gets elaborated on in her solo film, and
it is magnificently explained.
“Wonder Woman” is a whole-film
flashback that takes us all the way back to the heroine’s childhood as Diana,
Princess of Themyscira, hidden island home of the mythological Amazons and
daughter of their queen Hippolyta (Connie Nielsen). Raised in stories of their
people’s role in protecting mankind from being destroyed by the hateful God of
War Ares, Diana is also trained – reluctantly on her mother’s part – as a
mighty Amazon warrior, and all her knowledge and skill get put to the test when
the outside world enters her home in an epic fashion.
This comes in the form of
American pilot and Allied spy Steve Trevor (Chris Pine), who crashes his plane
off the shores of Themyscira. Diana saves him, and after hearing his tale of
the horrors of the ongoing World War I, she defies her mother’s prohibition and
accompanies Steve back to Man’s World, after stealing some mythical equipment
from their armory. This includes the iconic red-gold-blue armor, unbreakable
truth-telling rope, and a sword said to be able to kill a god, as Diana is sure
that Ares is behind the “War to End All Wars”.
Trivia part here. The Wonder
Woman character was actually created by William Moulton Marston for comics in
1941. That’s World War II, and her adventures were set in that period. Just
like Captain America for Marvel. The decision to shift from the Second World
War to the first was both pragmatic (avoiding comparisons with the MCU Cap),
and very inspired as seen in the movie.
Diana looks at the modern world
around her with innocent wide-eyed wonder, but is also stricken by the
suffering she sees of the first mostly machine-driven war in history, as she
and Steve try to stop the fighting ad save lives in spite of obstructive
politics from enigmatic British cabinet speaker Sir Patrick Morgan (David
Thewlis in a dual role), and the threat of more intense chemical warfare from
warmongering German general Ludendorff (Danny Huston) and his chief henchwoman
Doctor Poison (Elena Anaya).
The resolution of a dire secret
development that could have made World War I even worse than in history, and
the character development that stripped away Diana’s naiveté for a more
realistic understanding of human nature, is all laid out in a straightforward
narrative that is beautifully spiced up with fluid fight choreography,
brilliantly orchestrated mass action sequences, and effective CGI work. Kudos
go to Gadot and Pine for being believable war combatants (of differing power
levels, naturally) while dazzling viewers with some pinnacle acting not usually
found in super-movies like this.
Despite the deliberate setting
change from its source, “Wonder Woman” hits the same beats of ideal heroism,
fighting with compassion rather than hatred, and period nostalgia that the
first “Captain America” MCU flick generated with film audiences years ago. This
directorial masterstroke of Patty Jenkins, the first female director for a
female superhero film, is most definitely an astounding success in this
reviewer’s opinion. Quoting the retro song again, “Wonder Woman” is the woman
of the hour, and we’re all glad she’s on our side.
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