As usual, there will be spoilers. Don’t read if you don’t want to know what happens. But that’s probably not what’s going to turn off most of my readers. No, the hard part is going to be persuading those who have no interest in yet another superhero movie that it’s worthwhile to spend more than two seconds thinking about one.
Well, who can say what is a worthy subject for discussion in the world of fiction? Or any world for that matter? But I’ll do my best to make the case for why it might be.
The film begins with an intro sequence showing a young Diana competing in a race on Paradise Island. Yeah, yeah; I know it’s called “Themyscira” now, but if “Paradise Island” was good enough for Lynda Carter in the 1970s, it’s good enough for me.
After this, there is another intro sequence that shows the grown-up Diana as Wonder Woman in (duh) 1984, foiling an attempted theft at a shopping mall. Yes, that’s right–there are two intro sequences, one after the other! One of the rules of writing that people throw around is to eschew prologues. I disagree with this, but I think avoiding two successive prologues is probably fair advice for filmmaking.
Anyway, then the story gets going: Diana Prince works at the Smithsonian, studying ancient artifacts. Another scientist, Dr. Barbara Minerva arrives, and the two begin studying a mysterious stone that the thieves from the second intro sequence had been attempting to steal.
Dr. Minerva is nervous, shy and awkward, and she admires Diana’s cool confidence. Diana, it seems to her, is the woman who has everything. But Diana does not, in fact, have everything. We see she is desperately lonely; still mourning her lover, Steve Trevor, who perished nobly in the first Wonder Woman movie.
Anyway, that stone that Diana and Dr. Minerva are studying is also sought by businessman Maxwell Lord, a charismatic TV personality whose gaudy lifestyle and brash persona masks the fact that his company is on the brink of financial collapse.
He wants the stone because, as legend has it, touching the stone and making a wish will grant the holder’s request. We quickly see several demonstrations of this–Minerva held the stone and wished to be like Diana, and immediately became more confident and charismatic. And Diana has touched the stone and unconsciously wished to have Steve back. And suddenly, he is somehow restored to life, inhabiting the body of some random guest at a party that Diana is attending. To Diana, he appears as her old flame from 1917, and the two waste no time picking up where they left off.
Meanwhile, Lord meets Dr. Minerva, plays upon her craving for attention, and wheedles his way into making her give him the stone. He then makes a wish to make himself the stone, taking on its power and allowing him to grant people’s wishes, in exchange for taking something from them.
Chaos ensues, as Lord amasses greater wealth and power for himself. People wish to fulfill their selfish desires, sacrificing in the process something of theirs that Lord wants.
Diana and Steve eventually realize, given the stone’s malevolent nature and origins, that it will lead to an apocalyptic collapse of civilization. Dr. Minerva also realizes this, but sees that attempting to thwart Lord and end the spell will mean she loses all the physical powers she gained since making her wish, and she is not going to let that happen. So she joins forces with Lord, who by this point has managed to secure the powers of the Presidency itself, and in the process pushed the world to the brink of nuclear war.
Steve finally convinces Diana that she must renounce her wish, and allow him to return to being nothing but a bittersweet memory. Once she accepts this, Diana is strong enough to pursue Lord and Minerva to a remote military installation, where the former has taken over an experimental global broadcast network, allowing him to tempt the entire planet with his dark powers of wish-granting.
After a fight with Dr. Minerva, who has transformed into a half-human, half-cheetah hybrid, Diana is able to stop Lord. I apologize for being vague on this point, but I actually did not understand how she did it, except by somehow appealing to the whole world to renounce their wishes. Then, moved by concern for his son Alistair, Lord renounces his own wish, and the total annihilation of the Earth is narrowly averted.
I omitted some details here and there–this movie has a lot of filler. Not that it’s bad material exactly, but many scenes go on for longer than they need to. The opening 15 minutes, with its two cool-but-superfluous opening sequences, sets the tone. Wonder Woman 1984 is many things, but “spare” is not one of them.
The cinematography started off really nice. The second opening sequence, in particular, features a full range of vibrant colors, but by the end it was back to the now-standard Hollywood palette of orange and blue.
On the other hand, I liked all the performances. Gal Gadot is a great Wonder Woman, and as in the first film, her chemistry with Chris Pine make their scenes together the best ones in the movie. Pedro Pascal is excellent as the smarmy con man who nonetheless has a really sympathetic side to him. And Kristen Wiig does a fantastic job portraying the rather tragic arc of Dr. Minerva’s transformation from an awkward, introverted woman driven by her desire for acceptance and respect to become a vindictive sadist.
So, what did I think of the movie? Well, for one thing, more than once while watching it, I said to myself “Patty Jenkins is the female George Lucas.” Interpret that as you will.
But my dominant impression on seeing the film, which coalesced in my mind while the faux-1980s static-filled credits were still rolling, was “That was the perfect film for 2020.”
I don’t mean that it was a perfect film. I’m not sure if there is any such thing as a perfect film, but if there is, Wonder Woman 1984 isn’t it. It’s frankly kind of a mess. How is Steve possessing the body of some random guy? Why did Diana and Steve steal a jet to fly to Egypt? How could Steve fly it? How did they get back? How did Dr. Minerva know Diana would be at the White House? Where was Alistair’s mother while her ex was becoming a famous megalomaniacal cult leader?
In the words of Kronk from The Emperor’s New Groove, “By all accounts, it doesn’t make sense.”
Of course, things don’t always make sense even in real life, but people will accept inexplicable things in real life more readily than they will in fiction. When something totally bizarre happens in real life, we say, “well, c’est la vie!” Whereas when it happens in fiction, we can’t help but feel that some writer somewhere is trying to cheat us.
Well, what we writers do is make up elaborate falsehoods. Speaking of falsehoods, this is a good place to begin with studying the themes in this movie. There are lot of lines in it about truth, such as Diana’s:
Nothing good is born from lies. And greatness is not what you think.
And during the final showdown with Lord, she says:
This world was a beautiful place just as it was, and you cannot have it all. You can only have the truth. And the truth is enough. The truth is beautiful. So look at this world, and look at what your wish is costing it. You must be the hero. Only you can save the day. Renounce your wish if you want to save this world.
Ah, yes–the wish. It’s the magic wish-granting stone that’s causing all this trouble, after all. And, we are informed, it was a creation of the god Dolos, later known as the Duke of Deception, a character who first appeared in Wonder Woman Issue #2 in 1942.
Yeah, that’s cool. But my thinking runs more towards the mythopoetic. When I hear about some notorious liar purporting to grant wishes, there’s only one thing I think of: The Tragical History of the Life and Death of Doctor Faustus.
All right, admittedly that’s Marlowe’s title, and when we think of Faust, we usually think of Goethe’s Faust. But it’s an old legend that predates them both and has survived them both. As Wikipedia says, “‘Faust’ and the adjective ‘Faustian’ imply a situation in which an ambitious person surrenders moral integrity in order to achieve power and success for a limited term.”
Basically, the magic stone is the Devil. It grants wishes, but the wishes are based on lies, and in the end they have a cost. Everyone is seduced by the tempting lies of the stone, even the wise and powerful Wonder Woman.
And everyone makes their wishes for the most noble-sounding reasons. Diana wants to have her lover back. Lord wants to build a better life for his son. Dr. Minerva wants to be treated with respect. Even minor characters, like the Emir who wants to secure his nation’s sovereignty or the President who wants to force the Russians to the negotiating table, have good reasons for wishing what they wish.
There’s some old saying about good intentions and roads… I can’t quite remember it, though…
I have a scale for evaluating superhero movies. At the top is Thor, which in my opinion is everything a superhero movie can aspire to be. It was directed by Shakespearean actor/director Kenneth Branagh, who imbued it with all the dramatic power we might expect from a student of the Bard. It’s about an arrogant young nobleman, forced to prove himself worthy of his family’s throne.
At the other end of the scale is… Thor: The Dark World. It is some nonsense related to Dark Elves or some such folderol. Aside from a few funny lines, it’s pretty weak stuff. (Coincidentally, Patty Jenkins was originally supposed to direct it.)
Wonder Woman 1984 is closer to Thor than to The Dark World. It’s not just a lot of special effects and mindless banter. It has a strong thematic core to it, even if it sometimes makes no logical sense at all. You know, at the risk of offending Goethe’s rabid fanboys, Faust doesn’t make total sense either. But we’re still talking about it, aren’t we?
“Yes, Berthold, that’s all very well,” you say. “But you still haven’t explained why you think this was ‘the perfect movie for 2020.’ Extraordinary claims require extraordinary evidence.”
I promise, we’re getting there. Like Wonder Woman 1984 itself, I like to take my time about these things. Feel free to go to the lobby for more popcorn while I’m padding out this exposition.
Ever since I heard of the title, I wondered why this movie was set in 1984. Was it some sort of Orwell reference? Or maybe it’s because we are approximately the same number of years removed from 1984 as the original 1970s Wonder Woman TV show was from its 1940s setting? Or just a blatant appeal to nostalgia?
Well, I’m sure the studio loved the nostalgia angle. There’s always a market for nostalgia. There’s only one thing that sells better than it. The fact that the time gap is the same as with World War II in the original series is probably just a coincidence–although I really like the film’s nods to that show. Don’t miss this fantastic trailer, done in the retro comic-book style of the TV show’s credits. Honestly, they should have incorporated that aesthetic into the movie.
That leaves Orwell. Is there any way in which this silly superhero movie ties together with the bleak vision of a totalitarian surveillance state imagined by a disillusioned 20th-century socialist?
Hmm… well, the villains don’t work for the Ministry of Love. There’s no mention of the Thought Police. In fact, the government is generally portrayed as hapless bystanders, from the police at the mall all the way up to the feeble and bewildered President. I’m not seeing any Orwell parallels. (Orwellels?)
But there is one thing… remember that Lord takes over a top-secret satellite communications network that allows him to reach the entire world at once with his seductive message. This does remind me a bit of the tele-screens in Orwell’s novel, and the constantly looming presence of Big Brother.
It’s also a complete anachronism. The idea of a worldwide network conveying a message to everyone across the globe at once was pretty far-fetched in 1984. At best, you could reach every TV and radio. It’s not like everyone had some portable device, all connected to the same network.
In 2020, of course, this is everyday reality. Moreover, there is an increasing body of evidence to suggest that it has in fact driven the world completely mad. And it has done this how? By tempting us with things that we want. Like, frankly, the ability to propound our eccentric theories about movies to people everywhere, for one thing.
The magic stone’s spell is only broken when Wonder Woman, having renounced her own wish, is able to convince others to give up theirs, and ultimately Lord recants to save his son. Diana’s and Steve’s love for one another, and Lord’s love for his son, are what ultimately overpower the stone.
Thematically, Wonder Woman 1984 exemplifies one of the most fundamental themes in all of literature: love conquers all. Yes, even a diabolical wish-fulfillment network that spans the globe and tempts people with fantasies of conquering death and defeating age. Accepting death and rejecting power are some of the oldest ideas in mythology. Probably because these are some of the hardest things to do.
When I think about it in these terms, I want to say it’s a great movie. But it’s not. It is, as I said, kind of a mess. There are so many things that are bizarre and inexplicable. And above all, it’s way too long. All the same points applied to 2020 also.