‘Wonder Woman 1984‘ a (2020 production, written and directed by Patty Jenkins) was the first film I saw in a movie theatre after a 15-month hiatus due to the pandemic. The choice was not intentional, but I am still satisfied that this film was the first. It is my homage as a cinephile to the producers, because I welcome the fact that they launched the film in theatres (wherever possible) during the pandemic, did not further delay the launch and did not resort to streaming distribution channels as others did. Of course, I missed watching movies on the big screen all this time, and ‘WW 1984‘ is a film that benefits from this format. It is a sequel to the 2017 production, and many of the good things that can be said about successful sequels can be said about it, as well as many other critical things that are said about those that fail. All in all, it seemed to me that the film, even if it fails to match the surprise and consistency of the first instalment, does not disappoint or discourage me from seeing the next films in this series, if and when they will arrive.
What I liked. The beginning. If the WW series continues, the opening sequences that connect the past and the Amazonian origins of the heroine will become a specific brand, especially if they have the quality and dynamism in the first two films. Gal Gadot‘s character continues to be powerful, smart, in love, a role model. If there is such thing as quality feminism, this is it. The relaxed atmosphere of the story and the humour present in almost every scene constantly remind us that we are dealing with a film inspired by comics, a mixture of genres – superhero and Indiana Jones plus a little of Dr. Strangelove, which should not be taken too seriously. In addition to Gal Gadot, Kristen Wiig also creates an interesting feminine role, in which she evolves from a spectacled scientific researcher with socialising problems, going through an irresistible vamp, to a negative and feline super-heroine by the end. The world of 1984, a world of the future for the heroes who landed here straight from the First World War period, but outdated and old-fashioned for the perspective of today’s spectators, gives the opportunity for a visual representation and some retro-futuristic situations full of humour and nostalgic charm.
What I liked less. In contrast to the female roles, male roles are much paler. Chris Pine looks like a nice guy but he can’t convince me this time either that he deserves the attention of a Wonder Woman. Pedro Pascal creates a super evil pushed too hard on the cartoonish slope. The conflict that for the most part of the film is acceptable – within the limits of the genre – finds a solution that looks conventional and tributary to the contemporary norms of politically- correct rhetoric. I hope that there will be future instalments in these series, but in order for them to arouse interest and ensure continuity, it is necessary to work harder and with more inspiration at the script and in the selection of actors to give more depth and credibility to the male roles and to the negative heroes. All historical eras, including the contemporary one, have had and are in great need of superheroes and superheroines to save the world or at least to improve society, including the position of women in it. So we still need Wonder Woman.