WONDER WOMAN
US, 2017, 141 minutes, Colour.
Gal Gadot, Chris Pine, Connie Nielsen, Robin Wright, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Bremner, Eugene Brave Rock, Lucy Davis, Elena Anaya, James Cosmo.
Directed by Patty Jenkins.
Her many fans are enthusiastic about Wonder Woman and the comics of the past. She did make an appearance on screen, on the television screen, in the latter part of the 1970s, 60 episodes in the series with Lynda Carter as her embodiment.
That’s 40 years ago. Quite a delay in getting her onto the big screen – although she did make an appearance in 2016 in Batman versus Superman, a significant contribution to the plot and offering an alert that she was about to get a superhero movie of her own.
And here it is – with a great deal going for it.
One of the advantages of the screenplay is that it is a blend of fantasy and realism. And, as with the more recent Batman films, it goes back into Wonder Woman’s origins. The first part of the film is set on a Greek island, quite exotic, the home of the famous Amazons, those warrior women ready for any invasion, especially from the gods, and, more especially, from the hostile God of War, Ares.
We are introduced to the daughter of the Queen of the other Amazons, her name is Diana. She is a vigorous young girl, eager to train like the older women, but protected by her mother (Connie Nielsen). But she does get a lot of attention from the General, Antiope (Robin Wright with a strange accent). Over the years she grows up into the form of Israeli actress, Gal Gadot (who was the incarnation in Batman versus Superman). She has combat talent but has to learn the hard way, being knocked down, getting up, using her wits. And that would seem to be her life even though her
And, on a bright sunny day, who should land on shore but Steve Trevor (a genial Chris Pine) who has come through a time barrier from World War I. (This may surprise the fans of the television series which was set in World War II, fighting the Nazis.) Actually, German troops aboard a frigate are in pursuit of Steve and what follows is a battle between the Germans and the Amazons. Diana wants to leave her to help Steve who defended them against the Germans – and her mother reluctant to let her go, revealing to her that she has divine power entrusted to her by Zeus. She has the power to be a God-killer.
Ares had better look out!
The film makes a quick transition to the London of World War I, Diana bemused by what she says is an ugly city, trying out all kinds of new outfits to blend in (though having to get rid of the sword and shield which Steve’s secretary, bubbly and engaging suffragette Etta (Lucy Davis) confirms does not go with her outfit)! There is a nice scene where Diana eats ice cream for the first time and cannot believe how wonderful it tastes.
It is 1918 and the Armistice is almost a done deal. Meanwhile, in Germany, a diabolical general (Danny Houston) is in league with a super-scientist, Dr Poison (Elena Anaya), specialist in nerve gases. He is dead set against the Armistice, confident in ultimate German victory. In the meantime, in England, Sir Patrick Morgan, a leading politician, quietly endorses Steve and Diana (and an extraordinarily ragtag band of followers) to track down Dr Poison.
This means travelling to Belgium, becoming involved in trench warfare, the hardy Diana moved by the plight of the bereft widow leading the British troops across no man’s land defying the German guns.
Needless to say, there are a lot of spectacular scenes, explosions, a confrontation with the German general, with Dr Poison, a crisis when a plane load of lethal gases threatens the world – and an unexpected twist for those not in the know where an aggressive and confrontational Ares appears, quite a supernatural conflict between him and Diana.
One of the advantages of this screenplay is that it is quite intelligent, has some substance in its portrayal of the Amazons, their philosophy of peace, the intrusions of war, Diana’s hope that in her destroying Ares all humans then will want to be peaceful and her having to discover that there is something in human nature that is forever cruel and warmongering. Actually, there is also quite an amount of deadpan dialogue which is also amusing.
Gal Gadot fits Wonder Woman perfectly, able to speak hundreds of languages but not particularly well-informed about marriage. She is tall, beautiful, strong, articulate, and, for once, the female superhero.
She is going to appear in 2017 in the film of the Justice League. But, no problems if she gets another exclusive film of her own!
1. The classic DC comic? From the 1940s? The television series of the 1970s? The popularity of DC superheroes in the 21st-century?
2. The framework of the film, Diana in the 21st-century, her work (and her cameo appearance in Batman versus Superman), the photos from the past, looking at them, memories and flashbacks?
3. The recreation of the Amazon world, the islands and their beauty, the sea, the cliffs, the temples, the tower, the action sequences? The entry of the 20th century? The transition to London, the streets, shops, politics? Belgium and the trenches, the village? The laboratory for poison gas experiments? The blend of realism and fantasy? The musical score?
4. The title, Diana and her origins, Zeus, her mother, Diana as a little girl, eager, watching the women and the battle training, the mother’s care for her, the General and the training? Her growing up, the skills, the attention to detail of combat? Her climbing the tower and discovering her gifts?
5. The Amazon myths, the stories of the gods, the deaths of the gods, the specially chosen God killer? The importance of Ares, war and mischief, cruel to humans? The challenge to Diana? In bringing this challenge into the 20th century?
6. The action sequences with the Amazons, the role of the general?
7. Steve, his emergence from the future, into the world of the Amazons, on the beach, the encounter with Diana, his story, American, working for Britain, the World War? Diana accepting his story? Diana and her lasso and telling the truth? His talking about the Germans, the boat, their landing, the battle with the Amazons, the deaths, the General being killed, Steve and his helping the Amazons?
8. Steve, as a character, the attraction to Diana, their talking, the decision to go with him, feeling in debt to Steve? The farewell to her mother, her mother letting her go?
9. The boat sailing, the rapport between the two, into the 20th century, getting help with the further boat, the view of London, Diana thinking it ugly? Her adapting, her many languages? The discussions about marriage and sexuality and procreation? London crowds, the streets, 1918, shopping, the meeting with Etta, carrying the sword and shield, having to put them away? Her learning to be a 20th-century woman?
10. The Parliamentary discussions, entry, the gentlemen and their disdain, the background of the suffragette movement and its role? The prospect of the armistice, politics, talking with Germany? Sir Patrick, the later meeting him, his giving his blessing for them to go to Belgium?
11. Germany, the atmosphere of the war, General Ludendorff, his fanaticism, not wanting the armistice? The troops at the laboratory – and the flashback, Steve and his infiltration, the information, the Doctor and her poisons, her book, his taking it, the pursuit, the plane, the Germans following – and his going into the world of the Amazons?
12. Going to Belgium, the trenches, the vivid depiction of the trenches, the men, the widow and the destroyed village, Diana and her compassion, going over the top, Steve and the others in pursuit, the battle with the Germans, deflecting the bullets, her ability to fly? Her light lasso? The saving of the village, entering it, the grateful people, the celebration of the dance, and the village later destroyed?
13. Steve and Diana, dancing, affection? The love scene – and the fadeout?
14. The plan, Diana and the dress, the infiltration of the social, Steve present, the General, Dr Poison?
15. The plan, to destroy the possibility of an armistice, the poison gas, the General and his pill, the superhuman strength? The plane, the gases, plan for destruction? Combat with the General and the doctor and their deaths? Steve’s strange crew and their personalities and idiosyncracies – the musical sniper, the African, the Native American?
16. The surprise of Sir Patrick emerging as the 20th century Ares? The language of his confrontation? The special effects, the battles, the tactics, his destruction?
17. Steve, flying the plane, self-sacrifice, heroism?
18. The armistice, the aftermath for Diana? And the return to the photographs and the 21st-century – and the next Wonder Woman film?
