The Art of the Wish
It's always a lovely moment when the first big superhero movie of the summer comes along. Of course, 2020 being a hideous brute of a year, it only really qualifies as such if you live in the southern hemisphere, but this sort of thing shouldn't surprise us any more.
Patty Jenkins' Wonder Woman 1984 was one of the films still being advertised the day before the first lockdown was announced back in March, theoretically as 'Coming Soon'. With Warner Brothers having announced simultaneous cinema and streaming releases for all their films next year, I suppose we should be grateful for the chance to see it on the big screen at all – and I feel obliged to point out that while the DC movie franchise tends to get some flak, at least they haven't battened down the hatches like Marvel or the makers of the Bond franchise. I just hope people respond appropriately and (where safe to do so) take the chance to see a proper, accessible blockbuster at the cinema.
If we're going to be quibblesome about these things, this movie has a bit of a fridge title, as the lead character is never actually referred to as Wonder Woman and the 1984 setting barely informs the plot – it's just there to enable a bit of shallow nostalgia and easy jokes about legwarmers and bad fashion, as well as providing a bit of cognitive distance for the film's more satirical elements to function in (we shall return to this in due course).
The film opens with a rather stirring and well-mounted scene depicting one of she-who-will-never-be-referred-to-as-Wonder-Woman-on-screen's youthful adventures, during which Hans Zimmer's score keeps promising to erupt into the full, thrillingly berserk Wonder Woman theme. (But it doesn't, for a good long while.) As noted, it's a nice little vignette, which sort of relates tangentially to the resolution of the plot – but I sort of suspect it's just there because Robin Wright and Connie Nielson were still under contract and they couldn't think of another way to get them in the movie.
Anyway, the story moves on to the mid-1980s, where Diana Prince (Gal Gadot) is working as a cultural anthropologist at the Smithsonian Institute, as well as doing a little discreet day-saving when duty calls (well, as discreet as one can manage when leaping around in red and blue armour lashing a glowing golden rope at people). One of the robberies she foils is that of a mysterious and ancient stone of obscure provenance, allegedly with the power to grant wishes.
Well, something like that can't possibly be real, so Diana indulges herself in just a little wish. Her new colleague Barbara Minerva (Kristen Wiig), who hero-worships her, has a go at wishing too. But it turns out the person the stone is intended for is ambitious would-be tycoon Maxwell Lord (Pedro Pascal). Lord seems harmless enough, until Diana finds herself reunited with the spirit of her dead boyfriend Steve (Chris Pine) – rather than actually coming back from the dead, he just possesses the body of some poor schmo, a fact which everyone concerned with the film handwaves away just a bit too easily. Diana's wish has come true – so what about everyone else's…?
Saying that Wonder Woman 1984 easily qualifies as one of the year's top two big summer movies doesn't really mean a great deal, and probably qualifies as too faint praise – it may not seem as fresh and exciting as the 2017 movie, and none of its moments land quite as impressively as the big ones from first time around, but it's still an efficient and sharply-made movie, with a reasonably coherent plot and some well-written characters.
That said, I'm not sure it really needs to be two and a half hours long, and it also falls into the trap of giving the villains all the most interesting things to do: Wonder Woman herself mainly just wanders around in pursuit of exposition. Gal Gadot inhabits the role charismatically, but she's mostly stuck sharing the screen with Chris Pine, who as usual is – to paraphrase Stephen King – an agreeable-looking absence of hiatus. And while the film hits all the usual notes concerning empowerment and the toxic nature of sexual harassment, its feminist credentials struck me as a little wobbly: the plot is to some extent set in motion by the fact that the biggest personal issue Wonder Woman has to address is feeling a bit sad that she doesn't have a boyfriend. The same is really true of Barbara Minerva – this is a big, meaty role, which Wiig really does good work with, but on the other hand the character's major issue springs from being a bit of a klutz who feels jealous of glamorous women who can walk in heels. I'm not sure this is what Hannah Arendt meant when she spoke about the banality of evil.
Considerably more interesting is the main villain, whom Pedro Pascal likewise does some very good work with. To briefly venture down the rabbit hole, in the comics Maxwell Lord is a second- or third-string villain or supporting character (he also turns up as a substitute Lex Luthor in the Supergirl TV series), sometimes with mind-control powers. Jenkins and her fellow writers do something considerably more interesting with him: here, he is a failed businessman, minor TV personality and con man, much given to shouting things like 'I am not a loser!' The power he acquires from the wishing-stone isn't explained especially clearly, but suffice to say it permits him to erect vast (and politically provocative) walls in the twinkling of an eye, and steal the power of the presidency of the United States – one set-piece has Wonder Woman attempting to apprehend him within the corridors of the White House itself. (Playing, by implication, Ronald Reagan is an actor named Stuart Milligan – who ten years ago was playing Richard Nixon in another over-the-top fantasy: there's a pub fact you can have for free.)
Jenkins has said, apparently with a straight face, that the Lord character as depicted here is not based on any real-life businessmen with dubious tax affairs and TV careers who may have found themselves in the White House. (And if you believe that, she would probably like to sell you a bridge in New York.) To be fair, the film probably does just enough in the way of camouflaging its subtext to keep the cute-red-baseball-cap brigade from getting all huffy and boycotting the movie (the eighties setting obviously helps a lot with this), but it's still hard to see the film's subtext as being anything other than a both-barrels takedown of you-know-who.
It's interesting and rather enjoyable to see a blockbuster with such an unashamedly partisan edge to it, even if that edge is heavily disguised. Of course, events mean that the film is coming out after a certain election, rather than in the run-up to it, so thankfully real-world events have already been resolved without Wonder Woman having to get involved. Still – and this applies to the whole movie, which is a very engaging piece of entertainment – better late than never.