Wonder Woman
Go!
Often wonderful, but enough "woman"?
Wonder Woman is the kind of film that forces you into taking a social position.
If you dislike it, is it because you are uncomfortable with strong women? Or are you a dissatisfied feminist for whom no portrayal of woman is ever good enough? If you like it, is it simply because you think lead actress, Gal Gadot is "#OMG, so damn hot"? Or is it because we are so starved of worthwhile female characters on screen that something is better than nothing? Is it a feminist masterpiece; a piece of patriarchal propaganda, or merely a benign superhero story?
What if it is all three, simultaneously?
Inspired by Margaret Sanger (one of the original figures of American feminism), Wonder Woman – aka Diana Prince – was created in 1941 by William Marston. He had genuine feminist ambitions for the character, stating that: “Women's strong qualities have become despised…The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman."
Nice one Willy.
If you dislike it, is it because you are uncomfortable with strong women? Or are you a dissatisfied feminist for whom no portrayal of woman is ever good enough? If you like it, is it simply because you think lead actress, Gal Gadot is "#OMG, so damn hot"? Or is it because we are so starved of worthwhile female characters on screen that something is better than nothing? Is it a feminist masterpiece; a piece of patriarchal propaganda, or merely a benign superhero story?
What if it is all three, simultaneously?
Inspired by Margaret Sanger (one of the original figures of American feminism), Wonder Woman – aka Diana Prince – was created in 1941 by William Marston. He had genuine feminist ambitions for the character, stating that: “Women's strong qualities have become despised…The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman."
Nice one Willy.
In the years since, many writers and artists have continued her evolution – people with names like Robert, Mike, Milton, Gerry, George, Len, Greg, Joseph, Jim, Phil, Brian, Cliff and Liam. Hop into 2017 and the latest film version of the character was written by Zack, Allan and Jason. If you sense a pattern, then the film’s direction by a certain Patty Jenkins (Monster) will serve as a relief, as well as an exception that proves the familiar rule.
This interpretation begins during World War I on Themyscira – a hidden, island utopia, solely inhabited by strong, Amazonian warrior women. Created by the Greek Gods, their goal is to protect the world from Ares – the corrupting but banished god of war. Trained by her aunt Antiope (Robin Wright, House of Cards) under the watchful gaze of her mother, Queen Hippolyta (Connie Nielsen, Gladiator), Diana becomes a fearsome fighter, with superhuman strength and burgeoning, supernatural powers. When American spy, Steve Trevor (Chris Pine, Star Trek Beyond), crashes his plane into the island, Diana rescues him and her clan fights off his German pursuers. Hearing of the great ongoing war, and fearing that Ares has returned, Diana leaves the island with Steve to seek Ares and destroy him; to save the world of men from destruction.
This interpretation begins during World War I on Themyscira – a hidden, island utopia, solely inhabited by strong, Amazonian warrior women. Created by the Greek Gods, their goal is to protect the world from Ares – the corrupting but banished god of war. Trained by her aunt Antiope (Robin Wright, House of Cards) under the watchful gaze of her mother, Queen Hippolyta (Connie Nielsen, Gladiator), Diana becomes a fearsome fighter, with superhuman strength and burgeoning, supernatural powers. When American spy, Steve Trevor (Chris Pine, Star Trek Beyond), crashes his plane into the island, Diana rescues him and her clan fights off his German pursuers. Hearing of the great ongoing war, and fearing that Ares has returned, Diana leaves the island with Steve to seek Ares and destroy him; to save the world of men from destruction.
On a visual basis, Wonder Woman is frequently spectacular. The women of Themyscira fight and kill with a balletic elegance and composed ferocity that is a welcome change from the steroid brawn of most superhero movies. While there are fewer opportunities for Diana to battle than the 140 minute running time might have offered, every slash of her sword and lash of her lasso is scintillating. These are the moments in which Wonder Woman, the character, and Wonder Woman, the film, most excel.
Beyond the brawling, Gadot is extremely engaging, following on gracefully from her film-stealing role in the largely impotent Batman v Superman. This shouldn’t come as a surprise – she is a former Miss Israel and military combat instructor whose law degree was only cut short by her casting in Fast & Furious (2008), a film in which she performed of her own stunts. Intelligent, multi-talented, courageous and positively Amazonian, it is difficult to conceive of a more appropriate actor to play Wonder Woman. Heroic, humane and hot all at once? Perhaps this is a feminist movie after all…
However, no matter the skill and sensitivity that she – and director Jenkins – bring to Wonder Woman, they can only operate within real-life and fictional, male-designed confines. Other than occasional moments of sheer, female badassness, the film often meanders into a stagnant estuary of gender stereotypes and male chauvinism. It is depressing that almost as soon as Diana meets Steve – the first man she has ever encountered – not only does she become gooey-eyed, flirtatious, naive, and childish but the entire film switches from one dominated purely and magnificently by women, to a near complete, egotistical man-fest. Both Steve Trevor and bad guy German, Erich Ludendorff (Danny Huston, X-Men Origins: Wolverine), give an extended and expert exposition in the principles and subtleties of mansplaining, while the jolly supporting cast fill any gaps with hearty helpings of objectification, sexualisation and eye-rolling.
Beyond the brawling, Gadot is extremely engaging, following on gracefully from her film-stealing role in the largely impotent Batman v Superman. This shouldn’t come as a surprise – she is a former Miss Israel and military combat instructor whose law degree was only cut short by her casting in Fast & Furious (2008), a film in which she performed of her own stunts. Intelligent, multi-talented, courageous and positively Amazonian, it is difficult to conceive of a more appropriate actor to play Wonder Woman. Heroic, humane and hot all at once? Perhaps this is a feminist movie after all…
However, no matter the skill and sensitivity that she – and director Jenkins – bring to Wonder Woman, they can only operate within real-life and fictional, male-designed confines. Other than occasional moments of sheer, female badassness, the film often meanders into a stagnant estuary of gender stereotypes and male chauvinism. It is depressing that almost as soon as Diana meets Steve – the first man she has ever encountered – not only does she become gooey-eyed, flirtatious, naive, and childish but the entire film switches from one dominated purely and magnificently by women, to a near complete, egotistical man-fest. Both Steve Trevor and bad guy German, Erich Ludendorff (Danny Huston, X-Men Origins: Wolverine), give an extended and expert exposition in the principles and subtleties of mansplaining, while the jolly supporting cast fill any gaps with hearty helpings of objectification, sexualisation and eye-rolling.
Such is his prominence you would even be forgiven for thinking that Steve Trevor was the titular character. At one point, he gives Wonder Woman – a demi-goddess and the saviour of all mankind – his coat, warning that she would get cold unless she put it on. She willingly slings it across her now emasculated (well, effeminated) shoulders and shivers obediently. In spite of these (belittling) illusions of chivalry, it still always feels like Steve's ultimate goal is to find his way into Diana’s shiny blue pants. The cloying feeling that his conquest of her is inevitable made me shiver, obligingly.
Then again, what if asking for more is asking for too much? The film is set at a time where society was more overtly repressive for woman than it is now, making Wonder Woman’s mere presence a subversive act in that context. She often responds with a biting riposte to sexist comments and ignores the male instructions, so she rarely feels like a victim. It is the first, female-led superhero film since the much maligned Elektra in 2005 and the lambasted Catwoman the year before. It is only the second time a woman has ever directed a live-action movie with a budget bigger than $100 million (after Kathryn Bigelow’s 2002 K:19: The Widowmaker). It is the biggest-ever US box office opening for a female directed movie, beating Sam Taylor-Jonson’s Fifty Shades of Grey. These are all important landmarks, disproving many of the erroneous notions that have stopped studios from making this kind of film before now.
Then again, what if asking for more is asking for too much? The film is set at a time where society was more overtly repressive for woman than it is now, making Wonder Woman’s mere presence a subversive act in that context. She often responds with a biting riposte to sexist comments and ignores the male instructions, so she rarely feels like a victim. It is the first, female-led superhero film since the much maligned Elektra in 2005 and the lambasted Catwoman the year before. It is only the second time a woman has ever directed a live-action movie with a budget bigger than $100 million (after Kathryn Bigelow’s 2002 K:19: The Widowmaker). It is the biggest-ever US box office opening for a female directed movie, beating Sam Taylor-Jonson’s Fifty Shades of Grey. These are all important landmarks, disproving many of the erroneous notions that have stopped studios from making this kind of film before now.
It may be flawed, and it may not reach the genre/gender re-defining heights that it could have, but Wonder Woman still offers something refreshing. Social significance and sexual politics aside, it’s a fun movie. Accessible and well-made; often spectacular and predominantly entertaining.
So go. Wonder Woman’s moments of brilliance make it a worthwhile watch for anyone who enjoys outlandish and colourful summer blockbusters. How you react to the film will probably say as much about you as it does about the quality of the film itself. But no matter your position, while it is currently the origin story of just one, kick-ass, female superhero, its undeniable appeal means it will soon be the origin story of many, many others.
So go. Wonder Woman’s moments of brilliance make it a worthwhile watch for anyone who enjoys outlandish and colourful summer blockbusters. How you react to the film will probably say as much about you as it does about the quality of the film itself. But no matter your position, while it is currently the origin story of just one, kick-ass, female superhero, its undeniable appeal means it will soon be the origin story of many, many others.
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