Wonder Woman: A Quick Take

After reading the rapturous reviews and reading about young girls exiting the theaters pulling swords from their dresses and spinning lariats of glowing gold I decided to see Wonder Woman. And, yes, it was a good film. And, yes, it was still a superhero comic-book film, albeit with a grrl in the lead.

One of the fight scenes – I believe it was the first one – had me chuckling with glee. Gal Gadot was spectacular; hope she gets a raise for the next one, and profit participation. The trench warfare was appropriately grim – the War to Win All Wars, ha! And the film played nicely with Diana’s expectation that she would be fighting Ares. Her male sidekick tried to tell her it’s only a metaphor – which is surely what much of the audience was thinking as well. But, no, Diana insisted that he was real and that she’d fight him. And the film obeyed, pulling Ares out of leftfield for a final super-spectacular battle sequence (in the course of which boy sidekick sacrifices himself for the good of the cause).

And then there’s that final scene, back in the present, with Diana Prince in her office at the Louvre looking at a photograph sent to her by Bruce Wayne. It’s a photo taken at the front with Diana, male sidekick, and the others in their rag-tag gang. She’s thinking that only love can save the world.

She no doubt believes that. It may well be true. But that’s not what this movie is about. As contrarian economist Tyler Cowen observed, “Yet, immediately beneath the facade of the apparently rampant feminism is a quite traditional or even reactionary tale of martial virtue being inescapable.”

If you’re looking for a heroic woman warrior who fights with love, might I suggest Miyazaki’s Nausicaä? She’s good with a sword, but she also speaks with the animals and she’s a scientist. And, yes, she does save the world.