2018, d. Ryan Coogler
Black Panther, simply put, is exciting, important, and so long overdue.
It's not just that it's a blockbuster film that features mostly an all-black cast, but it's also a film written by black writers, and directed by a black director. It presents a perspective not normally seen in films of this scale. It's easy for entitled straight white males with a twitter account, blog, youtube channel, or Fox News talk show to undervalue that when, for one's entire life, almost all creative narratives has catered to one's sensibilities (whether conscious or unconscious). But anyone with a shred of empathy can understand why this means so much, since it's not playing to the common big blockbuster straight white male sensibilities. This is a Marvel movie, part of the Marvel Cinematic Universe. This is a studio that has grossed literally billions upon billions of dollars from its films. This is the big time. People of all different skin tones and backgrounds, languages and cultures, are going to see this movie just because it is a Marvel movie. That type of exposure could have led to more of the same Marvel-style filmmaking, but Marvel wisely tapped writer/director Ryan Coogler and co-writer Joe Robert Cole to craft a movie that just couldn't be told in the usual mold. They tell an accessible superhero fantasy tale, but it's one that's loaded it with characters and perspectives that will be many people's first experience with seeing things in such a way, or exposed to the viewpoints it presents. To be honest, it shouldn't be a film that means so much just to black people, but to people everywhere.
The film opens with a narration and the images formed by CGI sand relating the history of the fictional African nation of Wakanda, how a meteorite fell from the sky bringing with it vibranium, a rare and precious metal found exclusively within Wakanda's borders. Over time, the people of Wakanda learned to harness the many unique properties of vibranium, creating a highly technological, futuristic society, one they hid from the world under the guise of a poor farming country keeping the world at an arm's length away in order to protect their utopia, and to vibranium out of the hands of colonials who would most certainly abuse it's properties for militaristic-- rather than beneficial-- purposes.
T'Challa (Chadwick Boseman) returns home for the first time immediately following the events of Captain America: Civil War where his father was killed. Now crowned the new King, he faces the challenges of other tribes and the pleas of his former lover, Nakia (Lupita Nyong'o) , to change their secretive ways, to join the world at large and use their intelligence and technology and attempt to make a difference for people who are suffering. But T'Challa's biggest challenge comes in the form of Erik Killmonger (Michael B. Jordan), a lost relative with a grudge against the royal family, and against the nation of people who turned a blind eye to all the suffering people in the world who look like them. Erik wants to take the crown by force, and change the world with force.
These are the major threads of the film. How does one help the world? Is it through dominance with technological and military might, or sharing knowledge and science, and compassion? Some of the more narrow-minded people who have commented on the film called either take in the film "anti-white", but again they're viewing from their own perspective of privilege and entitlement, and how this challenges it. This is really a statement about "anti-oppression". That it so happens that the oppressive systems in real life are largely favourable to white men is an extrapolation of that commentary, and the fact is, in the reality of Black Panther, the Wakandans have the capability to usurp that, and no doubt with some ease. But T'Challa's standpoint is that defeating oppression with oppression gets humanity no further. The hope, I think of the film, is to provide inspiration that through intelligence and technology as well as embracing culture and heritage, that a difference can be made, albeit unfortunately not as radically as having vibranium in your pocket.
There's a sequence in the 2017 film The Lost City Of Z (review coming...eventually) where the British explorer Percy Fawcett tries to explain to the Royal Geographical Society that he found evidence of a lost culture in South America, advanced pottery and statues. Now this being set in early 1900's Britain, this crowd of old, rich, white men laughed and mocked Fawcett for the very suggestion that native cultures anywhere were capable of advanced thought. Britain at the time was at their tail end of colonialism and still had to justify their missions of "bringing civility" to "primative" people... racing and fighting other European nations like France, Portugal and Spain along the way. The perception of other races and peoples as being both intelligent and cultured was counter to the colonial's narrative and threatened the moral validity of their rather heinous actions.
This type of narrow thinking is still way too prevalent today, which is why the Afrofuturism represented in Black Panther is so important, because it challenges the idea of white supremacy on film on such a grand scale for, really, the first time. Until now, the visual challenge to the idea of white supremacy in cinema, particularly with regards to Africans or African Americans, has been in small physical victories, or moral victories, or with the assist of white savior archetypes. But to see an entire African nation -- one that dons clothing, jewelry, make up and/or face paint that is inspired by actual African cultures -- be the most advanced civilization on the planet, producing technology that is so far advanced from Tony Stark's Iron Man and rivals that of the "gods" of Asgard.... that is absolutely groundbreaking, absolutely important.
Of course, I'm talking a lot around the film, not so much about the film. That's because the cultural impact and significance (especially since Black Panther has become so successful -- already in the top 30 all-time Domestic Box-office and climbing) is undeniable. But, you know, none of the cultural aspects of Black Panther would really matter if it weren't a film actually worth watching. The reality is it's a damn entertaining, thoroughly engrossing movie.The opening narrative sequence is pure homage to Disney (corporate owners of Marvel Studios), and subsequent scenes in the first act have a similar feel, like the fly-over introduction to Wakanda (it's framed like any number of Disney or Pixar fantasies which swoop through unfamiliar terrain providing some of the texture and culture of this new world that is so eye popping you want to stop and explore a while before you continue on with the film) and the triumphant, colourful, musical ceremony of T'Challa's crowning. The outright blend of both advanced technology and African-inspired traditions are enticingly full of wide-eyed discoveries and vibrant imagination.
The second act begins with T'Challa heading out to South Korea with Nakia and his head of security, Okoye (Danai Gurira) in search of Ulysses Klaue, a nefarious mercenary who is the only person to successfully steal Vibranium out of Wakanda (as seen in Avengers: Age of Ultron). He is Public Enemy #1 in Wakanda, and they want him back, dead or alive. The sequence is no doubt inspired by the Bond films (Skyfall in particular) but substitutes the superhero for the superspy once the action kicks in. Shuri (Letitia Wright), T'Challa little sister, acts as Quartermaster, ergo, the Q to Black Panther's Bond. The capture goes awry (thanks in no small part to Killmonger) an T'Challa returns home to more problems than when he had left.
The third act shifts its core focus to Killmonger, enlisting support from the Wakandans in the most devious and ruthless of ways, challenging for the throne, all while using the techniques he learned from US special forces training in usurping and destabilizing countries to his full advantage. How will T'Challa overcome when his very foundation is shaken with Killmonger's truths?
In a few short weeks, Jordan's Killmonger has already become a legendary villain in cinematic history. He rivals Heath Ledger's Joker for sheer command of the screen, but exceeds thanks to Coogler's immaculate unveiling of Killmonger's history, tragedies, and motivations. In a film absolutely loaded with fantastic characters, the tragic Killmonger stands a head taller, and I don't know if it's one thing... you can point to the writing, the performance, the directing, editing, or score, but it's probably the masterful combination of them all. The film's called Black Panther but Jordan as Killmonger is the headliner. He is a character you want to love and embrace, but he's so ruthless and at times heartless in how driven he is, he pushes you away. It's glorious, an epic performance.
Wright plays Shuri as the most brilliant ray of light in an already vibrant movie. Wright's broad smile and beaming personality are so damn endearing, you can't help but love her, and melt into a little puddle every time she's on screen. She's effectively conveys being the smartest person in a country that consists almost solely of smart people, not through any sort of affectation or overly technological jargon, but through confidence and glibness. The sharpness of her wit is the greatest sign of her intelligence, especially since she's still so young.
Okoye is perhaps the most striking figure on screen. The costume design alone, the vibrant red, ornate armor of the Dora Milaje, is extremely attractive, coupled with the shaved or close cropped hair, jewelry and weaponry creates a look that is ferociously tough, yet decidedly feminine. Gurira handles the action sequences tremendously well, an intimidating presence. Her character, as the royal guard, is steadfast in her honor and duty. She serves not a person, but the crown and her country. Personal opinion has no place in her role. It makes relationships tough. At times I found Gurira struggled with the Wakandan accent, some line readings falling flat, but even the occasional awkward line delivery can't bring down how imposing her presence is on screen.
Enough heaps of adoration cannot be given to how utterly, dementedly delightful Andy Serkis as Klaue is. If there's a concept of a mustache-twirling super-villain in the modern age, Serkis has mastered it. Filled with utter childish glee at whatever it is he's doing, Klaue seems to be a man of no fear, endless invention, and a real love of 90's dance music. Usually Serkis' performance is buried behind a CGI character, but here he gets to show that it's not animators that turn in those brilliant roles like Gollum or Cesar (in the Planet of the Apes films), it's all in his face and tone and voice, just with fake images skinned over him. This is the only film I can think of that manages not one but two great on-screen villains.
One great character I haven't brought up yet (in a film quite loaded with great characters) is M'Baku as played by Winston Duke. M'Baku is perhaps the best discovery of the film. While the character in the comics at times is...problematic at best, racist at worst...here he's given a real personality, some real motivation, and a couple of the best scenes in the picture. If he's a villain, ally or neutral figure, we can't be totally sure... he's a wild card. In any regard he's a massive, imposing, and dangerous figure...and yet Coogler and Cole's script manages to find humanity and purpose in what could have been a very one-note side character.
I haven't even talked about Angela Bassett, Forest Whitaker, or Daniel Kaluuya who all have solid roles in this deep, deep film. That's because this film is so damn packed it'd take me hours to write about them all (and it's already taken me hours to write this far). Hell, I haven't even talked about Chadwick Boseman who's in total "Batman" mode here...really being the foundation upon which the rest of Wakanda is built. Boseman's T'Challa was a standout in Civil War but here, like Michael Keaton in Batman or Batman Returns, he's required to do what's needed of him so that the rest of the cast can shine. I don't think I can ever get tired of the soothing tone of his manufactured accent, he imbues it with such sophistication and authority, but a softness and comfort. He obviously mastered the dialect, and all other players in Wakanda are trying to catch up. Nobody's accent quite measures up... maybe Winston Duke's.
It should also be noted that Martin Freeman is in the film, returning as Everett Ross from Civil War, but only because he is very pointedly in the "token white guy" role, the usual role the "token black guy" would be in were the scenarios reversed. He gets stuff to do, he has a little bit of a purpose in the story, but overall he's there to satisfy the "token white guy" role, which seems to be an absolutely purposeful -- and fantastic -- meta commentary within the film.As wonderful as Black Panther is, there are some nit-picks. If there's a flaw here, it's in the over-reliance on CGI in a couple of major action sequences. The Korean car chase, has some great moments, but a lot of it is bespoke. Likewise, the big final battle has a couple of inventive elements, but most of is somewhat underwhelming in its choreography and animation. I struggle to think of many big land battles that have turned out very impressive since CGI took over. These types of scenes seem too generic for Black Panther. It's a special film, and it deserves better constructed action sequences. What's more, I would have much preferred spending more time with the characters than on these sequences. The one-on-one battles for the crown are spectacular, with Coogler having cut his teeth ably on mano-y-mano fighting with Creed, they feel personal and dangerous in a way that the in-costume Black Panther sequences do not.
But beyond that, there are so many layers to this onion, so many great performances, and so much to take in. It's a bold and different movie for Marvel, the next step in the line they've started with James Gunn at the helm of Guardians of the Galaxy followed by Taika Waititi on Thor Ragnarok, which is trusting the creative talent to make this kind of picture their way.
Playing to the "middle class" white male basically drove North American cinema for so long, but it should be apparent from the undeniable success of both Wonder Woman and Black Panther (and even the Fast and Furious movies) that there's an audience need and desire to satisfy beyond that narrow studio impulse, and also money to be made from it. It's going to take the voices of the women, people of colour, and LGBTQ creators, speaking from their own perspectives, presented on the biggest platforms, to show everyone new ways of viewing the world, ones that are no less enticing and magical. And by seeing and accepting the world from different viewpoints we can empathize, understand, unify and grow, making for a better world.
