Growing up, it had never occurred to me the phrases "woman" and "superhero" were so mutually exclusive when it came to films. I'm too young to have watched Lynda Carter bring Wonder Woman to life on the small screen in the 1970's and yet thanks to my mother I know the valuable impact she had on powerful and intelligent depictions of women in media. Helmed by director Patty Jenkins, Wonder Woman (2017) certainly had a lot to live up to in regards to expectations. The first live-action interpretation of one of the most iconic female heroines of a lifetime on the big screen as well as the first motion picture in about twelve years to have a female superhero as the protagonist. At a time when feminism is most vital and potent in our society, it seems men and women alike were dutifully prepared to pounce on this cinematic venture if it was anything short of phenomenally empowering. This is especially true considering that the last two outings for the DC Cinematic Universe were less than stellar adaptations of their comic book counterparts. Well, ultimately it seems critical consensus has already agreed that Wonder Woman achieved its mission with plenty of gratuities to go around. It is everything and then some. It is complex and simplistic with such effortless duality one wonders why it took until 2017 to fulfil such an empty hole in the world of film. I didn't merely enjoy Wonder Woman; I engaged in it completely as an audience member, comic book fan and feminist alike. It is difficult to discuss this film from a mere single point of view as it has been hailed as so many different things by countless fans, critics and everyday film-goers. It is for that reason that I shall be reviewing the film under three different cinematic lenses throughout. I will discuss and dissect the reasons why I firmly believe the film succeeds as being an effective film for entry into any and all of these three categories I put before you.
Wonder Woman as a War Film
Initially slated to be set during WWII the film makes a bold choice in deciding to move the plot to earlier in history. Our heroine is not accustomed to insatiable violence and hatred, and at the time of the first world war, neither were many world citizens. The world was only just beginning to accept itself as a complex entity of scrupulous morality, just as Diana is coming to realize that of this uncharted territory herself. The plot and the character arc, run parallel to each other in this particular department. Chris Pine even states early in the film that people feel this is "the war to end all wars." How sad it is to know he's sorely mistaken. The battlefield scenes are shot with beautifully gritty realism. Much greater attention to detail is given to the set design in this film than many other superhero films would care to give, even with a period piece. Some could certainly argue the film is not bloody enough for a war film. Diana slices several men with her sword without so much as a red drop, but the absence of carnage and bloodied guts is made up for by the visceral images of war-torn societies. A film containing so much surreal iconography somehow still manages to grab the audience's attention by showing them a memorably morose shot of refugees walking across a bridge in despondent silence. We and Diana both are reminded just who heroes fight for in times of great duress by moments such as this one. We also remind ourselves that war is not the often glorified macho-fest that so many lesser films have depicted it as being. While it obviously fictionalizes events set within the real-time period, Wonder Woman seems to speak more about the perverseness and futility of war and authoritarian violence then it should be required. As you will see throughout this review, this is a film doing double duty in many departments. Good War Films also speak toward what is currently going on in the world now and Wonder Woman does an excellent job of reinforcing the idea that hatred and intolerance toward the "other" can more often than not lead to destruction and chaos for all. A word to the wise for foreign policy in 2017.
Wonder Woman as a Superhero Film
The formula for the superhero film has been pretty finely tuned over the last decade. While not yet an exact science, certain elements are likely to be found within the plot regardless of the source material or production company releasing the film. Chris Pine and others have alluded to one particular strength of the film, and that is that it breaks the tired "revenge plot" cliché many superhero films (especially origin stories) find themselves in. After some careful consideration, however, I have to disagree with this statement slightly. Early in the film Diana's Aunt Antiope, played by the impeccable Robin Wright, is killed when enemy soldiers briefly invade Paradise Island. Diana takes her headpiece and eventually incorporates it into her costume. This death is clearly a key factor in Diana's decision to leave the island, defeat Ares and help end World War I. While perhaps not the conventional death narrative, it certainly retains elements of it almost so as not completely to alienate the audience too much with novice. The action sequences are shot with such effortless precision; it is a true testament to the phrase "less is more." Flashy quick cuts and CGI karate effects are omitted for realistic hand on hand combat between the Amazonian Goddess and her enemies. Though the final battle contains mostly special effects, the bulk of the films action sequences contain realistic and energized fighting. The training montage with the Amazonians at the beginning of the film most certainly show off how hard the cast trained to depict themselves as true warriors. The biggest detraction from the mainstream superhero film genre comes from Diana's ideology. She does not enjoy taking battle; it is done out of necessity, not as a cathartic release as often seen with Batman or even Marvel Anti-Heroes like The Punisher. It is not for the thrills or adulation as seen with Spiderman or The Fantastic Four. Diana fights out of a moral obligation to make things better, to end future conflicts, not encourage them. She is in many ways one of the only true pacifist superheroes. What's so admirable about the film is how it makes this character trait a strength and weakness for her. Diana believes that by stopping Ares, she can break the humans of his binding spell and make them a loving, peaceful society once more. She does not comprehend that the moral compass she was born with is not inherited in those around her, especially her enemies. They commit heinous acts against humanity, mostly out of their own volition. It is within Diana's character arc that she learns to respect both the cruelty of humankind as well as the compassion and bravery they are capable of. The final battle is as much a philosophical debate: Is War Truth? This is a superhero film with something much greater to say than "let's fight!" It is actually posing the profound philosophical question: "Why do we fight?"
Wonder Woman as a Feminist Film
As a man, it is important that I give this section of the review the justice it deserves. Many have already reviewed and analyzed why this film either succeeds or fails as a feminist motion picture. Most that argue the latter claim the film is about conformity to the patriarchal archetype or that the feminist message isn't pushed hard enough within the narrative. I would respectfully disagree on both of those points. So how then would I argue that Wonder Woman is a more than adequate example of feministic filmmaking? How about the fact that it willfully refutes the obsessive "male gaze" that so clearly dominated female superhero films such as Elektra (2005) and Catwoman (2004). At no point is Diana's body hyper-sexualized or fetishized in order to serve the titillation of the male audience members. The film also wholly omits any idea of women on women hate. Diana is not balked at or judged by the women of London for her unusual behavior or attire, and she does not engage in what would've been a meaningless battle with the film's female secondary villain Dr Poison. Instead of killing her, she finds the humanity beneath her cracked mask of brutality. This is in complete opposition to Superman breaking the neck of his arch-enemy in Man of Steel (2013). However, instead of focusing on what the film doesn't do, let's discuss the things it does do to promote a positive and inclusive gender ideology. Steve Trevor is one of the most well written three-dimensional "love interest" characters that I've witnessed in a superhero or action film in a long while. Where the screenwriter could easily diminish and reduce the role's of the male characters for the benefit of the women, they choose not to. While there are examples of the ignorant male patriarchy, Jenkins chooses to instead give more screen time to men who are willing to accept and respect a woman's place in this complex world. The soldiers that follow Steve and Diana on their mission are beguiled by her, not repulsed or enraged. Wonder Woman at no point in the entire film is there to emasculate anyone, for that is not what feminism truly is. She does not attempt to become "one of the boys" either. She simply insists upon being her authentic self, open to learning new things and meeting new people. She is an embodiment of Womanhood, fearless and caring in a simultaneous manner that few men could replicate. This choice speaks volumes in terms of feminist filmmaking. Why do male-driven pictures so often diminish the role of women when Wonder Woman so clearly acknowledges how they can find an equilibrium of sorts? More women should be written as thoughtfully as the kind, and courageous Steve Trevor is, and more female love interest should be able to make the autonomic choice that he makes in the climax of the film.
No Man's Land
Now one scene deserves its own subsection, and that is when Diana truly becomes Wonder Woman as she crosses "No Man's Land." No Man's Land is the field of battle between the ally and enemy lines during a war. She crosses this to give aid to the innocent civilians trapped on the other side. Steve Trevor gives her a nice big mansplaining speech about how no one can simply walk across No Man's Land; it is an impossible and dangerous feat to accomplish. He chides on that sometimes a person must accept the limitations which are set before them in life. Diana refuses to succumb to this defeatist attitude. She walks across, dodging bullets with her armored bracelets and shield. She runs across with great fury and determination. What is truly immaculate about this scene is not only its beautiful shot composition, no that is mere gravy. When I watched Wonder Woman transverse across the battlefield, I couldn't help but think about all that women have fought for over the years. Suffragettes, rape survivors, LGBTQ women, women of color. Their never-ending oppression in many societies, even up to the present day. While watching Diana make this dangerous crossing, one that she was warned against, but persisted through regardless, I saw a vital visualization of Womanhood and how difficult it must be for so many to cling onto. Each bullet she swats away is representative of an age-old gender stereotype. The grenades which she deflects are the words of submissiveness that women must rebuke. The men that she slices with her sword are the metaphorical obstacles that have gotten in women's way over the years. Diana turns "No Man's Land" into "Women's Land of Hope". It is triumphant, it is inspiring, and it is the most emotionally engaging action sequence that I have ever seen. It promotes the value of independence and the necessity to fight for one's morals and ideals despite rejection. It is the battle women will continue to fight for years to come, but they may look back on Wonder Woman in this scene and be able to say "She did it, that means I can too."
Wonder Woman is not the most perfect superhero film ever made, nor is it the most pro-feminist. Still, it ranks amongst the greatest, if only for the sizable effort it gives towards being a progressive piece of cinema while maintaining the audience attention through fantastically well-executed storytelling techniques. It will be in the history books for sure, but it is not the best we can do. I believe it will serve as a future template for even stronger female-driven films, both within the superhero genre and within others as well. The film doesn't merely achieve some abstract societal feat. It opens our eyes towards the endless possibilities of the future, a future in which Wonder Woman doesn't have to live up to such high expectations because those expectations will have become the new normal.
