Respond to these rapid questions in our Black Panther quiz and we will tell you which Black Panther character you are. Play it now.
In 1992, a little Black kid on a makeshift basketball court in Oakland, California, interrupts his game to raise his eyes to the sky and look up at the stars. He’s looking at the end of hope, which is represented by glowing lights drifting away into the night in a metaphorical sense. In the film “Black Panther,” we learn that those lights are from a futuristic flying machine returning to the mysterious African country of Wakanda, which serves as the film’s setting. Having heard from his father that Wakanda has some of the most beautiful sunsets he will ever see, the young man holds onto that perceived vision of beauty during his darkest hours. Seeing the sun set over Wakanda for the first time causes him to have an emotional reaction that lasts for days.
Viewers of “Black Panther,” one of the year’s best films and one that transcends the superhero genre to emerge as an epic of operatic proportions, will have the same reaction. “Black Panther” is one of the year’s best films and one that transcends the superhero genre to emerge as an epic of operatic proportions. Despite the fact that the game contains numerous battle sequences, they merely skim the surface of a vast ocean of character development and meticulous attention to detail, both grandiose and minute. Unlike other fictional worlds, Wakanda is a fully fleshed-out, unapologetically Black universe, a world woven into a tapestry of the richest, sharpest colors and textures possible. Rachel Morrison’s stunning cinematography and Ruth Carter’s costumes are so vibrant and lifelike that they almost feel tactile to the touch. On the day that her son is crowned king, you can almost feel the fabric of the hat worn by Angela Bassett as it gleams in the sunlight beneath her brim.
As one of a slew of well-known and promising actors of color who appear in “Black Panther,” Bassett is one of many who bring their A-games to the film. Other notable names include Forest Whitaker, Sterling K. Brown, and “Get Out” star Daniel Kaluuya, to name a few. Each member of the cast creates characters with depth and nuance, something that is rarely afforded to minorities in film; these people are capable of conflicting human responses that have long-lasting ramifications. Their emotions are complex, instantly relatable, and tinged with shades of grey that are not often explored in blockbuster entertainment, but which are here. When the villain manages to make your eyes tear up despite the fact that he attempted to murder the hero in the previous scene, you know you’re in the presence of outstanding acting and storytelling.
Michael B. Jordan portrays the villain in question, who goes by the moniker “Killermonger.” Someday, Jordan and writer/director Ryan Coogler will be referred to with the same reverence as Scorsese and De Niro, and their work will be celebrated in the same way. Even though this is the first time Jordan has appeared in a supporting role, the duo still manages to convey a cinematic shorthand that is representative of their long-standing partnership. “It’s a beautiful thing,” Jordan says of the film. When it comes to films like this, the villains are the most important characters, and Jordan deserves to be inducted into the anti-hero Hall of Fame alongside legends like Gene Hackman’s Little Bill Daggett from “Unforgiven.” Similar to Hackman, Jordan first entices you in with his likeable comic swagger before revealing the shocking depths of his viciousness to you. Although he is hissable, his character arc is not devoid of sympathy or compassion for others.
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Coogler is the ideal choice for this type of material. It hits all of the emotional high points he enjoys exploring in his films. It’s easy to speculate about which well-known directors should direct the next superhero film, but only a select few would be allowed to put their own stamp on a product that is so devoted to the emotions of its audience. Using the script he co-wrote with Joe Robert Cole, Coogler transforms the Marvel Cinematic Universe into the RCU—the Ryan Coogler Universe—by including everything we’ve come to expect from his films in the MCU. T’Challa (Chadwick Boseman) is a typical Coogler protagonist, a young Black man searching for his place in the world while dealing with his own personal demons and an environment that demands things of him that he is unsure about giving. T’Challa, like Donny in the film “Creed,” lives in the shadow of a deceased father who was once known for greatness, something he aspires to achieve through similar means.
In the same way, Coogler extends these same characteristics to his muse Jordan’s Killmonger, who, in true comic book lore form, has a “two-sided coin” relationship with the hero. Even their business plans are based on this theory. T’Challa is determined to keep Wakanda isolated from the rest of the world, protecting his people by utilizing the advanced technology available to him and his people. Killmonger wants to steal that technology and give it to others, specifically underprivileged Black people, so that they can fight back and take over the world for themselves.
Black Panther Quiz
Also of note is a scene in which T’Challa and Killmonger embark on the same spiritual journey in order to visit the fathers they both long to see. This scene brings to the forefront the dual, reflective imagery of T’Challa and Killmonger. However, the tones of these similar journeys are diametrically opposed, as if to demonstrate the adage that one man’s Heaven is another man’s Hell. They have a way of burrowing into your skin and forcing you to deal with the consequences later on.
Also, you will find out which character are you in this Black Panther quiz.
In addition, Coogler’s universe is not dominated by men. In each of his films, there are female leads who provide advice and comfort to the male leads while maintaining their own lives and sense of agency as well. Mrs. Grant is played by Octavia Spencer in “Fruitvale Station,” and Tessa Thompson’s artistic girlfriend is played by Tessa Thompson in “Creed.” “Black Panther” raises the stakes significantly by introducing us to a slew of memorable, fierce, and intelligent female characters who fight alongside Black Panther and earn their own standing ovations. Lupita Nyong’o portrays Nakia, T’Challa’s ex-girlfriend for whom he still has feelings. Letitia Wright plays Shuri, T’Challa’s sister and the film’s equivalent of James Bond’s Q. She is responsible for the vibranium-based weapons and suits that Black Panther employs in his fight against T’Challa. Furthermore, Danai Gurira plays Okoye, a warrior whose abilities may even surpass those of T’Challa because she does not require a suit in order to be a badass. Not only do all of these women have action sequences that elicited thunderous applause from the audience, but they’re also all fully realized individuals. Okoye, in particular, has a story arc that serves as a microcosm of the central ideological conflict of Black Panther.
While “Black Panther” has its share of action sequences (which are refreshingly uncluttered, focusing on smaller battles than usual) and references to metals that exist only in Stan Lee’s imagination, it is still Marvel’s most mature offering to date. Additionally, it’s the most political of the series, a film that isn’t afraid to alienate certain factions of the Marvel fanbase. To be sure, it’s doing a fantastic job of upsetting people who are infected with the Fear of a Black Planet on Twitter. To wit, Wakanda has never been colonized by White settlers, it is the most technologically advanced place on the planet, and, in a move that appears to be timely despite the fact that it has been canon since 1967, Wakanda poses as what certain presidents would refer to as a “shithole nation.” Coogler pulls a real knife out of his sleeve with this one: His response to what immigrants from those countries can bring to the rest of the world is the first of two post-credits sequences, and it is a very sharp one.
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When it comes to movie endings, Coogler is a director who knows how to bring a film to a close. It’s impossible not to cry during his final shot in “Creed,” and his last scene (the pre-credits scene, that is) in “Black Panther” made me cry even harder. Young brown faces were shown to be in awe of a hero in “Creed,” and this is something we rarely see in mainstream cinema. My opening paragraph described a scene from “Black Panther,” which is repeated in “Black Pantherfinal “‘s scene. In the present day, a little Black kid on a makeshift basketball court in Oakland, California, interrupts his game to raise his eyes to the sky and look around. The addition of an inspirational humanitarian hero who has much to teach him and his fellow basketball players signifies that he is about to gain some hope, both literally and metaphorically. When the young man looks up, he realizes that his life, as well as the lives of those around him, will be forever changed.
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It’s a cliffhanger with a lot of meta- and symbolic meaning. Beginning this weekend, a large number of brown children will be looking at this film with a similar sense of awe and perception-altering wonder. Because the main superhero, as well as almost everyone else, has a similar appearance to them. It had been a long time coming, but it had been well worth the wait.
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