It’ll be interesting to see where Wonder Woman’s dark thoughtfulness takes the DC universe.
DC has certainly had its share of battles, both critically and commercially. While the executives are still wishing that Batman vs. Superman had achieved better acclaim, many are no doubt baffled that there were just as many fans who hated Suicide Squad as there were those who praised it. In the meantime, as the studio deals with the somewhat mixed reaction to the Justice League trailer, the first big-screen incarnation of Wonder Woman hits the big screen this weekend. Like most DC affairs, the film has its problems. Unlike most DC affairs however, its problems never take away from the film’s poignantly dark comment on war.
Wonder Woman traces the origins of its titular character Diana (Gal Gadot), whom we meet as Princess of the Amazons. Trained to be a fearless warrior on a female-populated island, she waits for the day she is to fight Ares, the God of war. The day arrives when American spy Captain Steve Trevor (Chris Pine) crashes on the island, bringing with him a slew of German soldiers hot in his trail. After he explains that the outside world is in the midst of WWII, Diana becomes convinced that Ares is behind the war and is determined to accompany back to end the bloodshed.
What makes Wonder Woman such a superior effort in the superhero genre is how it illustrates the evolution of its heroine. So many times in the past, the origins of how superheroes became superheroes are merely glossed over in the film’s first act before launching them into one thrilling escapade after another. While the same sort of action awaits Diana at most every turn in the film, the audience never stops seeing her become Wonder Woman. The film has its main character toeing the line between innocence and experience throughout, charting not just her physical evolution, but her spiritual one as well. Her entrance into Steve’s world sees her growing in ways she never thought possible according to the way of life on her island. In his world, Diana learns what it truly means to be a warrior and how such a title not only requires strength, but also sacrifice and acceptance of a darker side of humanity.
It’s that understanding of darkness which takes the movie to a higher level than most comic book films. Wonder Woman isn’t afraid to show the ugliness of battle; how it goes beyond acts of physical violence, to ultimately taking its toll on the human spirit. Therein lies the difference between its two main characters. While Diana is ready to do battle, no matter the cost, Steve is shown to a be more of slightly reluctant hero because he knows and understands the deeper meaning of war and how great of a cost it comes with. The film also speaks to the grayness of humanity and its conflicting motivations which even has its heroine pondering whether the species, full of such moral ambiguity, is worth fighting for. There’s no mistaking that Wonder Woman is purely a studio film, but its frankness (despite the PG-13 rating) is more than commendable.
There’s no question that all eyes will be on Gadot in what is her most high-profile role to date. No one need worry though; the actress perfectly exudes Diana’s innocence and vulnerability while maintaining her strength and determination, never letting either one slip for even a moment. While Pine has rarely proven himself as a worthy scene partner mainly due to his textbook level of acting (although the actor does manage a nice moment in the film’s climax), his limited screen persona is serviceable enough for the mostly apple pie-like Steve. The two are ably supported by Robin Wright as Diana’s trainer, Connie Nielsen as her mother, and Danny Huston as a Nazi General; all of whom bring weight and heft to the film.
Director Patty Jenkins’s film could definitely benefit from some tightening up here and there. For starters, there’s simply too much fish-out-of-water comedy for the film’s own good. Not only does this greatly contrast with the darkness and thoughtfulness on the screen, but so much of it as at the main character’s expense, that at times the jokes threaten to chip away at her nobility. Elsewhere, there are a number of needlessly extended scenes, such as Diana and Steve’s first solo encounter, which feel like traditional filler and don’t help the proceedings whatsoever.
The biggest problem, however, remains the question of who the film is meant to be for exactly. There are a number of tonal shifts which, while not necessarily jarring, do seem to indicate that the makers of Wonder Woman are trying to appease one too many audiences. As feeble as such an attempt may be, Wonder Woman’s debut on the big screen is a solid entry. Even if it doesn’t quite know its fanbase, there will be plenty who will appreciate it.
