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Robert Rodriguez made his feature film debut with “El Mariachi” in 1992, establishing himself as a director with a keen eye for action. Camera movement is light and energetic, and editing is quick and focused, which is how he prefers to work. “From Dusk till Dawn” features an all-out barroom brawl between humans and vampires, and the bizarre yet stylish “Spy Kids” franchise, in which two siblings face off against some truly surreal-looking adversaries, are examples of his unmistakable sense of levity in his films.
Rodriguez injects a sense of fun and excitement into the big-screen adaptation of Yukito Kishiro’s popular manga, Battle Angel Alita, rescuing a project that had been stuck in development hell since the early aughts and bringing it to a successful conclusion. It was originally picked up by James Cameron, who co-produced the reimagined “Alita: Battle Angel” and co-wrote the screenplay with Rodriguez and Laeta Kalogridis, more than 15 years ago before eventually handing the project over to Rodriguez. The script is still a little difficult to navigate, as it is densely packed with explanations about how robotic bodies function and the history of the decaying setting known as Iron City. However, beneath the layers of plot and world-building, there’s a weirdo heart that keeps the action moving forward in a strange way.
As far as films about female robots go, “Alita” isn’t too shabby at all. In the title role, Rosa Salazar shines brightly as the mysterious yet powerful teen girl bot with oversized anime-style eyes and an altruistic and very powerful heart that has the potential to power an entire city. Alita is the last of her kind, a superior adversary who was defeated by humans through some miracle of fate. Alita is brought back to life after being discovered in a scrap heap with the assistance of a fatherly doctor, Dr. Ido (Christoph Waltz), a paternal relationship that provides some of the film’s more bizarre moments. The relationship Alita has with a secret nemesis, Chiren (Jennifer Connelly), Dr. Ido’s former wife, and Vector (Mahershala Ali), a smooth-talking kingpin who promises almost anyone who will listen to him a ticket to Zalem, the city hovering in the sky and hovering over the heads of society’s upper class, is more straightforward.
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Despite the fact that the story is subjected to a variety of different creative demands, Rodriguez manages to make the film his own. He has cast Latino actors in many of his films, including the “Machete” films with Danny Trejo, the “Spy Kids” films with Alexa Vega and Daryl Sabara, and the trend continues with “Alita,” in which Peruvian American Salazar gets the opportunity to star in a big-budget action film. In Iron City, he includes both Spanish and English signs, and some of the extras can be heard speaking Spanish in the background while others are not. When it comes to sci-fi films about multilingual futures, Spanish is still a rare language to hear or see spoken, unless the films are from Latin America.
Alita Battle Angel Quiz
In addition to the physical divide between the rich and the poor depicted in “Metropolis,” “Alita” draws inspiration from the mysterious femme being with incredible powers depicted in “The Fifth Element,” and the multilingual, neon-lit grimy future world depicted in “Blade Runner,” to name a few examples. Iron City is a place that looks a lot like other places we’ve seen in movies, but it has enough differences to set it apart, such as making the society corrupt enough for serial killers and robbing cyborgs of their mechanical parts, as well as having its own gladiatorial-style roller derby that gives Iron City hopefuls their only chance at getting into Zalem. Iron City is a place that looks a lot like other places we’ve seen in movies, but it has enough All of these storylines are interconnected in some way, which adds to the clunkiness of the script but keeps it from becoming monotonous. Whatever action sequence you’re looking for is always a few minutes away.
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Alita is designed with some feminist empowerment in mind, but the messaging does not always work in a way that is respectful of old world patriarchy. The odd paternalistic doctor is only the beginning of the problem. Her heterosexual attraction to Hugo is motivated by the fact that she looks like a typical human adolescent girl, of course (Keean Johnson). It doesn’t matter that she’s actually 300 years or so older than he is, and that she’s very much a cyborg. The two have some adorable moments together, but others, such as when Hugo introduces her to chocolate or when Alita offers Hugo her one-of-a-kind ancient technology heart so that he can travel up to Zalem, feel a little dated to me. Was this all the result of her being an impulsive adolescent? In another scene, Alita is forced to trade in the delicate, girlish body that the doctor had built for her (which isn’t weird at all!) for a warrior-grade bod that conforms to her, um, vision of herself after a devastating battle with a big bad cyborg. That vision includes a tiny waist the size of a corset and a set of athletic breasts that defy the laws of gravity. It’s been 300 years since the fall of the Roman Empire, and we’re still stuck in Barbie-size proportions.
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Salazar, in her earnest motion-captured performance, manages to smooth over many of the irksome aspects of the story. She physically leans into the awkwardness of walking around as a teen girl bot, unsure of her new body and discovering its potential as well as its limitations as she learns more about herself. She explores her new surroundings with literal wide-eyed wonder as she learns more about herself. Whenever she improves her physical appearance, she stands tall and confident, having sped through puberty in the span of a single surgery. When she is on her way to becoming a warrior, her character’s tenacity is the reason why she makes the bizarre transition from a “hunter killer,” which is a bounty hunter in futuristic terms, to a Motorball prospect.
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With so much backstory and story to tell, it’s possible that “Alita” would have benefited from a “less is more” approach to storytelling. However, given the film’s estimated budget of $200 million, “Alita: Battle Angel” represents a significant step forward for the director, who made his debut with a movie that cost around $7,000. Rodriguez, cinematographer Bill Pope, and editors Stephen E. Rivkin and Ian Silverstein have created a visual feast that will carry the audience through any narrative hiccups with fast-paced action and bleak, yet colorful, imagery.
For more personality quizzes check this: The Lego Movie 2 Quiz.
