‘Black Panther’ Review: Thrilling, Funny, Resonant, and Woke as @$&#?!
Before Captain America: Civil War, I wasn’t that familiar with the character Black Panther. I knew he was African and dressed like a panther, and that was basically it. But the way that he was introduced in that film elicited such anticipation and excitement (along with some exceptionally crafted trailers, I might add), that the stakes were very high for Black Panther, especially given that it was directed by a Black director (Ryan Coogler), and starred a predominately Black cast. We had been trained to think that films that focused on Black characters weren’t mainstream, and now we had a film that had Marvel behind it – perhaps the most mainstream brand in filmmaking today. I tend to at least like most Marvel films (even though some are wildly better than others), but given the current political climate – where black NFL athletes and Black Lives Matter are under attack while the President remains an apologist for white nationalists – this could have easily been a disaster if Marvel had decided to tip-toe around the issues of the day in favor of a storyline that involved searching for a magic cube that could destroy New York or some shit.
And tip-toe this movie does not. Just telling you now in case you decide you want to take one of your alt-right or neo-Nazi friends. They will hate this movie. They will dissolve into a molten hot puddle of racist goo if they sit through even the first half of this movie. GOOD.
Black Panther is one of the first Marvel films to directly address the real issues that not only affect Black Americans, but issues that affect how we relate to each other on an international scale, and it’s all the better for it. When the story begins, we hear a father telling his son about the history of Wakanda – that it was hit by a meteorite that was just loaded with an extremely precious metal called Vibranium. This extremely versatile and precious metal allowed Wakandans to develop superior technology, but in order to keep these advancements (and their people) safe from those who would want to take it from them, they have disguised Wakanda as a third world country, and have made it a policy to not interfere with affairs or conflicts external to Wakanda. At the start of the film, we are in 1992, and King T’Chaka (John Kani) has gone to Oakland to confront his brother, N’Jobu (Sterling K. Brown) about his complicity in the theft of a large amount of Vibranium by arms dealer Ulysses Klaue (Andy Serkis). We find that N’Jobu’s motivations in assisting with the theft will echo throughout the film as a prominent theme.
Jump to present day, and King T’Chaka has died, leaving T’Challa to ascend the throne. With the help of Zuri (Forest Whitaker), he undergoes a ritual to become king, which includes being buried in sand, drinking a magic potion, meeting his ancestors, and assuming the powers of the Black Panther. I just did a shit job of explaining it, but it’s much more spiritual and meaningful when you see it on the screen. Eventually, we’re introduced to they mysterious Erik Stevens (Michael B. Jordan) who is working with Klaue to steal a valuable Wakandan artifact, and who also happens to have a keen knowledge of Wakandan culture. And it is Erik “Killmonger” Stevens who proves to be both the physical and ideological foil to T’Challa’s rule.
Now, I’m glossing over quite a bit with that synopsis, but I want you to go in without too much knowledge of what kinds of statements this movie is trying to make. What the film does so skillfully is take many of the arguments about race, injustice, weapons, revenge, and isolationism vs. interventionism, and give voice to both the most productive arguments, as well as the most destructive ones. In a way, you can empathize with all of these arguments (if you’re a Democrat). But all of them are exposed in this film by a filmmaker sympathetic to all of them, but ultimately guided by the more rational of the two sides.
The various characters which embody these themes come from an absolutely stellar cast, who deliver humor, emotion, and straight-up bad-assery throughout. The illustrious Angela Bassett plays Ramonda, T’Challa’s strong-willed and protective mother; Lupita Nyong’o as Nakia, who is a skillful spy and also T’Challa’s ex-girlfriend who provides physical and emotional support, as well as distraction; Danai Gurira plays Okoye, the General of his all-fucking-female kingsguard (more on this later); Letitia Wright (who steals the entire movie) is Shuri, T’Challa’s sister and the person who innovates all of the tech for Wakanda; Best Actor nominee Daniel Kaluuya plays W’Kabi, T’Challa’s close friend who’s ideologies clash with T’Challa’s more altruistic instincts; and Winston Duke, as M’Baku, the leader of a neighboring tribe who feels left behind. There’s also Martin Freeman as CIA agent Everett K. Ross, who plays a prominent role in the film, though I’m not sure he expresses the themes as much as the other characters do. But as always, Martin Freeman plays the awesome card and delivers in full.
Black Panther subverts a lot of other Marvel films (and action films, in general) by putting marginalized groups front and center. Forget about Black Panther for a second, but let’s take a look at the ladies. One of my favorite aspects of the film is that Black Panther’s military is basically comprised of a bunch of intimidating, agile, sharp, and dangerous WOMEN. And the best part is that at no point does the film explicitly call it out. It just IS. T’Challa has a gangsta team of women to protect him because that’s just how they roll, and because they will fucking IMPALE YOU to protect their King. They are there because – at least implicitly – they are the best ones for the job in Wakanda. There is not damsel in distress to be found here, and like in Wonder Woman, it’s incredibly refreshing to see women as strong, independent beings that can not only take care of themselves, but take care of the men around them when the situation calls for it.
And of course, there haven’t been many films in recent memory with this kind of budget that featured a Black director and almost fully Black cast that depicted Blacks as noble, regal, intelligent, and capable of leadership that extends beyond their national borders. These characters are right to be afraid of what will happen should the outside world realize what they possess. They are also right to be afraid of what will happen if they disengage from the world around them out of that same fear. Both sides pose valid points, and Black Panther is especially elegant in the ways it resolves them.
But despite all of this otherwise “meaningful” stuff, this film is a blast of an action movie. While Coogler gives ample time to develop characters and to lay bare the overarching, complex themes the film explores, there is definitely enough action to satisfy the most discerning of fan boys and girls. The action sequences are inventive, exciting, and engaging, as opposed to many Marvel films where I feel like I’ve been beaten into submission by the finale.
And don’t even get me started on the costumes. DO NOT. EVEN. GET ME. STARTED. ON THE COSTUMES. Ruth E. Carter, the costumer designer here, effortlessly blends traditional African elements, with something altogether modern and fitting in Marvel’s superhero universe. They are celebratory, colorful, elegant, and sharp. And now I have at least four potential Halloween costumes, and that never happens for ladies who look like me. So thanks, Ruth.
Verdict: Black Panther is a smart, rousing, politically resonant film that still fits into the broader fabric of the Marvel universe, even though the rest of the films don’t come close to addressing the politics of today. If you’re a fan of Marvel, and feel like seeing what the future of film could bring into its fold, go see this movie.
