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Wonder Woman has always been at her best when her stories tap into the feminist ethos that lies at the heart of her character, ever since her creation by William Moulton Marston in 1941. As long as artists treat her compassion as the key to understanding her—rather than her brutality in battle—audiences will be privy to a superhero who offers something no other superhero can: a power fantasy that prioritizes the interiority and desires of female characters. However, on such a grand scale, women’s fantasies have only rarely been accommodated in film. Moreover, in comic adaptations of classic stories, women can be tough, funny, and confident. However, they are rarely the masterminds behind their own destinies.
As a long-time Wonder Woman fan, I was concerned that her distinctive features would be sanded away when the time came for her to star in her own movie. In some ways, it’s probably easier to sell Wonder Woman as a vengeful heroine in the mold of countless others, but she’ll be less memorable as a result. However, it was early in the film that I noticed the terrain that director Patty Jenkins gravitated toward the most frequently in order to create the emotional through-line of the story. It wasn’t the glint of a blade, nor was it the picturesque shores of Themyscira, the utopian paradise where Wonder Woman calls home. It was something else entirely. Between moments of quiet verisimilitude and exhilarating action sequences, Jenkins’ gaze is drawn back to the face of her lead heroine, Diana, on a number of occasions (Gal Gadot). Her expression can be inquisitive, morose, and tinged with rage at times. More often than not, she sports a bright, open smile that conveys the optimism and hope that has been a hallmark of the character’s long history as well as a welcome respite from the gloom and doom that has characterized other blockbusters. As a result, “Wonder Woman” is more than just a good superhero movie. It is an unqualifiedly excellent film, for which no qualifiers are required. It’s awe-inspiring, evocative, and, unfortunately, a little infuriating because of the risks it chooses not to pursue.
A variety of Wonder Woman’s 76-year history is used as inspiration in the story, which was written by Allan Heinberg and Zack Snyder and Jason Fuchs, with additional contributions from Jason Fuchs. As a young girl, Diana is cared for and protected by the Amazons of Themyscira, a secluded island paradise created by the gods of Olympus for the benefit of humankind. No Amazon is fiercer or more protective than her mother, Queen Hippolyta, who is a fierce and protective figure (Connie Nielsen). Diana, on the other hand, longs to be taught the art of war by her aunt, Antiope (a stellar Robin Wright). She develops from a sweet, innocent young girl into an inquisitive, brave young woman who is never afraid to lend a helping hand to those in need. A man like Captain Steve Trevor (a consistently endearing Chris Pine), who crashes on the island and disrupts this all-female sanctuary with news of World War I, is saved by her and her companions. Diana leaves behind the only life she’s ever known and travels to late-nineteenth-century London in order to prevent a war she believes is being influenced by the Greek god Ares.
Themyscira is transformed into a beautiful utopia by the work of cinematographer Matthew Jensen, production designer Aline Bonetto, and costume designer Lindy Hemming, who incorporate a variety of cultural touchstones. With the Amazons building their home in such a way that they respect rather than destroy the lush nature around them, it’s free of the Hellenic influence that you’d expect from a story that draws inspiration from Greek myth. It’s also not sterile in any way. A dazzling array of colors is used in the scenes set in Themyscira, such as the gold armor, the cerulean blue of the sea that surrounds them, warm creams, and deep browns. Several of these scenes are filmed in wide shots, as Jenkins revels in the majesty of the culture he is portraying. A similar painterly quality can be found in the history of the Amazons, as told by Hippolyta in a dense but beautifully rendered backstory that evokes the work of Caravaggio. Having said that, while “Wonder Woman” has a lot to offer visually, it is the performances of Gal Gadot and Chris Pine that make this film so compelling.
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Gadot brilliantly captures the complex mix of curiosity, sincerity, badassery, and compassion that has been at the heart of Wonder Woman’s character since the beginning. The most important thing to remember is that she wears her suit, not the suit wears her. Invoking a classic heroism that is a breath of fresh air, she also pays homage to Christopher Reeve’s Superman approach from the 1970s. Pine, on the other hand, balances her optimism with a sense of weariness about the world and a sharp sense of humour. He’s more than capable of infusing emotional complexity into a character who’s best described as a dude-in-distress, and he does so admirably. There are some particularly moving scenes near the beginning, when Diana expresses her belief that men are unnecessary for female pleasure. Steve appears to be overcome by her presence, which adds authenticity to the progression of their story. Their chemistry is electric, and as a result, “Wonder Woman” is a successful romance as well as a superhero origin story set during one of history’s most bloody conflicts.
Awe-inspiring blockbusters can be both humbling and thrilling when they are at their best. Consider the first time you saw the T-Rex in “Jurassic Park” or the sense of dread that permeates the entire film “Aliens”: these are all memorable moments. “Wonder Woman” is particularly good at this, especially in the first chapter, which takes place in Themyscira. The tender scenes between Hippolyta and Diana, as well as Antiope’s cheeky grin during an intense fight, made my heart flutter. ‘Wonder Woman’ is unlike anything else that has come before it in terms of how it joyfully displays the camaraderie among female characters, many of whom are women of color and over 40 years of age. As I watch the Amazons train and converse with one another, I feel a rush of excitement. These women are fierce and kind, loyal and brave, and they inspire others. If anything, I wished the film had spent a little more time in Themyscira, because the culture there is so beautifully depicted. Also, it was absolutely breathtaking to witness Artemis (Ann J. Wolfe) and Antiope engaged in combat.
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The supporting cast is a mixed bag in the rest of the film. The villains, a maniacal German general named Ludendorff (Danny Huston) and a mad scientist named Doctor Maru (Elena Anaya), are painted too broadly and given too few details to have a lasting impact on the viewer’s imagination. Diana’s comrades, who Steve gathers together, are similarly crafted with little attention to detail. Charlie (Ewen Bremner) is a sharpshooter from Scotland who has been ravaged by what he has witnessed during the war. Chief (Eugene Brave Rock) is a Native American who makes a living by exploiting the war for financial gain. Essentially, Sameer (Sad Taghmaoui) is a self-confidence builder. These characters are memorable because the actors are able to imbue them with enough sincerity and wit to make their appearances memorable.
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Despite the fact that “Wonder Woman” is an overall light, humorous, and hopeful film, it is not afraid to address political issues. The film’s feminism is subtle and deceptive. It can be seen in scenes where characters of color express their dissatisfaction with their social standing, and in Diana’s encounter with sexism from powerful men who question her intelligence. Of course, the feminism, endearing performances, and delightful humor would be meaningless if Patty Jenkins had not directed the film.
However, far too often, fight scenes in superhero films are neither epic nor engaging, despite the fact that the thrill of seeing these characters come to life and brandish incredible abilities is inherent in their creation. There are so many of them that are simply flatly lit, unimaginatively framed extravaganzas of characters fighting in airplane hangers and other drab settings. What makes “Wonder Woman” so enthralling, however, is Jenkins’ distinct gaze, which is especially noticeable during the fight scenes. Yes, the CGI is occasionally shaky, which caused me to lose my concentration from time to time, but, overall, her style as a director is so distinct, and her handling of the action is so deft, that I was completely awestruck. Using close-ups and extended shots, she demonstrates the incredible physicality of the Amazons, including Diana’s, while allowing the action to breathe without being hampered by excessive editing or an over-reliance on close-ups. In a sense, she treats the action as if it were a dance, with each of the major characters having their own distinct style, so that nothing ever feels repetitive. The sequences depicting Themyscira and Diana’s first appearance on the battlefields of World War I are particularly noteworthy for their artistic excellence and realism.
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Unfortunately, there are a number of decisions made throughout the film that prevent it from fully embodying the one-of-a-kind, feminist goals that were presented at the outset. When Ares is finally introduced near the end of the film, he appears to be a somewhat clever reinterpretation of the Greek God of War. He is not so much interested in bringing the world to an end as he is in bringing about a new one by influencing the most evil aspects of mankind. However, after that, the story begins to resemble a far more traditional superhero film than it had been previously described.
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It is during the third act that the limitations of being a part of a larger cinematic universe are made clear. It’s as if the final 30 minutes were cut from a different film entirely, one that attempted to create the kind of bombastic, confusing, and fiery conclusion that far too many superhero films strive for. A clear rift is created in the third act between its sincere feminist goals and the desires of a company that frequently fails to comprehend why people are drawn to this character in the first place. The approach taken in the third act to Diana’s true origin creates a distinct schism between its sincere feminist goals and the desires of a company that frequently fails to comprehend why people are drawn to this character in the first place. However, there are enough heartfelt moments, such as Diana’s final scene with Steve, to keep the conclusion from detracting from the overall impact of the film.
However, despite its flaws, “Wonder Woman” manages to be both beautiful and cheerful in a way that makes me yearn for another viewing of the film. Jenkins and her collaborators have accomplished what I previously believed to be impossible: they have created a Wonder Woman film that is inspiring, blistering, and compassionate, all while honoring the qualities that have made this character an icon in the first place.
For more personality quizzes check this: Save Yourselves Quiz.
