Wonder Woman: A Feminist Film

From the time William Moulton Marston made her in 1941, Wonder Woman has remained finest when her stories bend into the feminist beliefs at her basic. When artists focus on her compassion as the core of understanding her, audiences are aware of a superhero who gives something unique: a power fantasy that honours the desires and interiority of women. However, the movie hardly has allowed the fantasies of women to such a magnificent extent. In addition, women can be self-assured, funny and tough in comic adaptations but they are hardly the designers of their own destiny. The author of this story was Allan Heinberg and the director of the movie was Patty Jenkins. The main character of the film is Diana who was the Amazon princess. Basically, the film Wonder Woman is not afraid of touching on politics and specifically feminism.

Plot Summary

An Amazon princess, Diana, is used to a life on an island just inhabited by female warriors. The island is known as Themyscira. Her life completely changes when one day a pilot, Captain Steve Trevor, crash-lands on the island. Diana decides to rescue him. After rescuing the pilot, Diana finds out about the outside world and that there is a great war that is taking place. This great war was World War I. She believes that Ares, the god of war, is the only reason for this war to happen. So, Diana swears to return peace by using her superpowers. Accompanied by Steve, they leave carrying the sword which was the only thing that can kill Ares. Diana is taken by Steve to the front lines to attempt ending the huge war, and she becomes Wonder Woman.

Points of Focus

Whereas Wonder Woman is a generally hopeful, humorous and light film, it does not fear to touch on politics. The feminism of the movie is cunning. It is noticed in times when characters of colour remark on their position in life and Diana experiences sexism from authoritative men who question or rather do not trust her intelligence. Indeed, the feminism, delightful humour and charming performances would not be achieved without the direction by Patty Jenkins. The director played a major role in making most things in the film work.

Superhero movies naturally possess the delight of seeing these characters come to life and display countless capabilities, but far too regularly the battle scenes are neither engaging nor epic. So regularly they are utterly lit, blandly framed shows of characters battling in aeroplane hangars and other drab settings. However, Jenkins’ unique gaze specifically in the battle scenes makes the film so intense. Also, how she handled the action was so smart and her voice as a director was just so unique leaving viewers in a surprise. Through a female director who is very unique, the movie touches on feminism since it brings out the reality that even women can equally be as good directors as men. In addition, Jenkins portrays off the huge physicality of the Amazons, Diana being one of them, offering complete room for the action to breathe with no problems of over-dependence on close-ups or too much editing. She deals with action like a dance of varieties, with significant characters having their own unique styles to ensure that nothing at any points feels repetitive. The series describing Themyscira and Diana’s initial entry on the frontline of World War I are specifically classic.

Awkwardly, there are a number of choices that inhibit the movie from completely dwelling the distinctive, feminist purposes portrayed at the start.

Ares, when he is lastly presented towards the very end, it initially looks like somehow an ingenious take on the God of War. He is not so much interested in ending the universe and make a fresh one by manipulating the darkest traits of human beings. However, the story instructs into being a far more traditional superhero movie than what it had been earlier.

It is in the third piece that the limitations of being part of an extended cinematic world become ostensible. It seems like the final 30 minutes were taken from another movie altogether that pursued to produce the fiery, confusing, bombastic kind of finale that far lots of superhero works cut toward. This act’s take to the real origin of Diana produces a unique rift between its genuine feminist purposes and the longings of a firm that usually does not understand why individuals are drawn to this character. However, there are adequate moving touches, such as Diana’s final scene with Steve, that inhibit the final from pulling down the movie completely.

Conclusion

Regardless of its imperfections, Wonder Woman is buoyant, kindhearted and beautiful in ways that make me wish to watch it again. Jenkins and her coworkers have achieved what I thought to be impossible: produced a Wonder Woman movie that is compassionate, blistering and inspiring, in a manner that respects what has made this character an icon. The film honours the desires and interiority of women.