|Gal Gadot as the amazon princess Diana, a/k/a Wonder Woman|
The 2017 film Wonder Woman shares a strong thematic vibe with Johnny Weissmuller’s first Tarzan movie in 1932 and Christopher Reeve’s first Superman movie in 1978. Once again, heroic innocence is pitted against the “civilized” forces of cynicism and murderous corruption, with the contrasts played effectively for both comedy and melodramatic pathos.
Wonder Woman’s origin story was contemporary when she was created in 1941, sending her off the amazons’ Paradise Island to fight for peace during World War II. This film does not update but backdates her origin to World War I, which in some ways works even better.
This independent, courageous superwoman is juxtaposed against the fight for women’s suffrage, and is determined to make good on the promise that this will be “the War to End All Wars.” We know what she doesn’t — that despite her impressive super powers, her mission is impossible, and that gives the film its poignancy. Wonder Woman’s naiveté — her inability to understand why human beings would willingly slaughter children in a war, for example — stings because we also recognize it as the profoundest wisdom.
Wonder Woman’s tearing through the enemy trenches is reminiscent of Philip Wylie’s 1930 novel Gladiator, which was an inspiration for Superman.
Chris Pine’s low-key charm works perfectly for Capt. Steve Trevor. Gal Gadot as Wonder Woman (a name never used in the film, btw) radiates the same shining, un-ironic goodness that Reeve projected as Superman (no easy feat for an actor, btw).
You know, it doesn’t really matter how “dark” a superhero film is, as long as the hero has heart. And that’s a lesson that the DC Comics movies finally seem to have learned after several misfires. Wonder Woman is as good as a Disney-Marvel superhero movie, and that's high praise indeed. This film is probably the best thing ever done with this iconic character, and a worthy successor Lynda Carter’s campy-but-earnest 1970s’ TV series.