The Rise Of The Panther King

“Tell me something. What do you know about Wakanda?” ~ Ulysses Klaue 

“It’s a third world country. Textiles. Shepherds. Cool outfits.” ~ Everett K. Ross 

“All a front. Explorers have searched for it, called it El Dorado. They looked for it in South America, but it was in Africa the whole time. I’m the only one who’s seen it, and made it out alive.” ~ Ulysses Klaue

“I want the throne!” ~ Erik Killmonger

“Only you can decide what kind of king you want to be.” ~ Nakia

“What happens now determines what happens to the rest of the world.” ~ T’Challa

Marvel’s cinematic universe has been around now for a decade plus, bringing to vivid live heroes on the big screen in a way that hasn’t faltered yet. Now attention is turned to give the spotlight to one of the most formidable and enigmatic of its characters- T’Challa, king of Wakanda, in the new film Black Panther. Indie director Ryan Coogler (Fruitvale Station, Creed) takes the helm for a story that mixes together heroics, high tech, race and class, and a man coming to grips with his destiny… while thinking six moves ahead.

The film opens with a bit of history of the mysterious country of Wakanda, where a metal called Vibranium has blessed the country, which has kept its secrets hidden behind a smoke screen of isolation as a supposed Third World Country. In the wake of the death of King T’Chaka (as seen in Captain America: Civil War), his son T’Challa (Chadwick Boseman) assumes the mantle of the throne and the tribal chieftainship as the Black Panther. He faces challenges from within- a rival tribal chieftain, an arms dealer with history with his country, and a distant relative with a grudge and his own ambitions.

The Black Panther has a long history in comics, first appearing in the pages of Fantastic Four in 1966 before getting a solo title of his own. Balancing between heroics as an Avenger and his responsibilities as a king, T’Challa has often been an enigmatic character. When written at his best, he is the sort of person you don’t want to start a fight with; he’s the chess player thinking several moves ahead of how he’s going to best you, essentially the Batman of the Marvel Universe. There have been plans for years, going back to 1992, for adapting the character to the big screen, with Wesley Snipes initially expressing interest. When the Marvel cinematic universe became a reality beginning with the first Iron Man film, the idea of bringing this character to life started to take shape.

Ryan Coogler not only directed, but co-wrote the script with Joe Robert Cole. Their script gives nods to the history of the character in the comics, as well as what’s been previously established in the Marvel cinematic universe. There is a good deal of influence from a run on the title by the writer Christopher Priest in the story- a wise decision, given that Priest’s extended run with these characters rates as one of the best comic book runs ever done. Their story weaves together the futuristic yet tribal culture of this fantastic world with themes like duty, responsibility, and ambition- themes that play themselves out in multiple characters, in different ways. Race and society status are also examined- something that might appear unusual in a superhero adaptation, but it feels done in a natural way.

Marvel’s cinematic offerings have, especially as of late, taken chances with unusual directors, and have paid off. Coogler might seem at first an odd choice for an epic like this, given his previous experience in what are best described as character dramas. He works quite well in the job, grounding the film in the characters themselves, while handling the epic scope of what is part grand sets and part CGI as a supporting element, not the focus itself. The cinematography of the film is beautifully done, but not in an overwhelming way, and the director keeps the audience on the personal level in terms of how things are filmed.

The production values by the crew are exceptional; the MCU has already shown us fantastic worlds like Asgard and the alien planets of the two Guardians films, and Wakanda’s presentation in the film builds on that. It’s a blend of technology and African landscapes rendered in a breathtaking way- something unique in its manner. This is a part of Africa that in the MCU was never colonized, that developed in isolation, and so Wakanda’s look is something quite different from what we know here.

Some of the cast return from previous films, but much of them are new to the Marvel cinematic universe, and they’re all well chosen. John Kani plays the ill-fated King T’Chaka, who died in Captain America: Civil War, in a flashback that plays to the duty the king has to his country, as well as his dignity and wisdom as a person. Florence Kasumba likewise reprises her role from that film as Ayo, a member of the Dora Milaje, an order of women who serve as a special forces group and bodyguards to the king. Andy Serkis returns as Ulysses Klaue, the mercenary arms dealer from Avengers Age Of Ultron. Klaue is a ruthless, vindictive man with ties to Wakanda and his own ambitions, something that Serkis gets to play to in his return.

Winston Duke appears as M’Baku, a character well established in the comics as an adversary to T’Challa. Here he is a rival tribal chieftain, fierce and ruthless, but with something of a moral code. Angela Bassett appears as Ramonda, the Queen Mother of Wakanda and mother of our hero. She’s freshly grieving the death of her husband, and yet is insightful where her son’s new role has to be. Forest Whitaker gets a lot to do as Zuri, something of a Ben Kenobi to T’Challa, the wise elder statesman and advisor who is central to the spirituality of Wakanda. Letitia Wright appears as Shuri, the younger sister of T’Challa. She gives the role a headstrong but funny take at times, as her character is an exceptionally bright and gifted tech innovator. Her performance reminded me somewhat of Q from the Bond films.

Martin Freeman reprises his role as American operative Everett Ross, more capable and less comic relief than his counterpart from the comics, though the character does give us some levity as things go along. Ross is calm under pressure, a bit wide eyed and fish out of water when he gets to see the wonders of Wakanda, but a professional through and through, and I like the dynamic of respect that develops between Ross and T’Challa as the story goes along.

This is the first time I’ve seen Danai Gurira in anything. She’s a big part of The Walking Dead, and the actress has quite an eclectic background herself. She plays the pivotal role of Okoye, the head of the Dora Milaje, a traditionalist in her thinking. She’s a capable leader, a fighter but also a tactical and strategic thinker, thoroughly dangerous when she must be, stoic much of the rest of the time, but with spirit. Her take on the character feels very grounded with where the character’s roots are. The character is one resolute in her duty and responsibilities, and the actress makes her compelling to watch.

Lupita Nyong’o gets a great role as Nakia. The character has a romantic history with T’Challa, but has taken a different path in life, into the world of the spy as a War Dog. She’s undercover in a neighbouring nation when we first meet her, undertaking a mission that’s personal and principled. The character is someone we get invested in as another strong woman- really, the film is peopled by a lot of strong women- and the actress gives her a lot of depth in how she plays her.

For a film with technically three villains tied to the Panther’s history (I would love to see how they handle Achebe in a sequel), the one with the most to do is also one whose agenda is not so black and white, but understandable. Erik Killmonger has history and ties to Wakanda, both in the comics and in this film, and has had a rough life of his own. He’s a strategic thinker, patient in what he wants to do, but at the same time forceful when he sees the need. Killmonger believes that Wakanda’s advances should be used in a more revolutionary, forceful way, skewing racial politics, than T’Challa, whose perspective is a peaceful one. It’s a fascinating counterbalance between characters, rather like the Charles Xavier-Magneto dynamic. Michael B. Jordan, who previously played the Human Torch in the misfire that was the last Fantastic Four film, and who’s worked with Coogler before, gives the character a ruthless, menacing energy, yet also allows us to see and appreciate his perspective. This is not a world conquering tyrant, but someone with legitimate concerns, whose tactics are what crosses the line.

Chadwick Boseman has already had an outstanding record in film, having had played Jackie Robinson in 42, James Brown in Get On Up, and Thurgood Marshall in Marshall. He debuted as T’Challa in Captain America: Civil War, making quite an impression as the enigmatic young prince thrust into the leadership of his country as a result of the events of that film. Here the character is new to the role of king, freshly grieving the death of his father, facing the responsibilities to his country and the challenges of other interested parties. He captures the qualities of T’Challa perfectly- the wise and principled man of peace who plays his cards close to the proverbial vest, keeping his options open and thinking ahead. T’Challa finds himself dealing with kingship and the direction of his country- does he continue its quiet isolation from the rest of the world or does he engage with the world? Boseman’s take on the role strikes the right balance of a man coming to grips with the weight of power and responsibility, and coming into his own as a result of it. It’s a masterful performance, one that continues the actor’s track record of exceptional work.

Black Panther is yet another exciting entry into Marvel’s cinematic universe, and one that is thoughtful in how it carries out its story. It doesn’t shy away from elements like race, class, social status, and ideology, but instead uses those elements as foundations for its narrative. With cinematography and production values that bring a fantastic hidden kingdom to vivid life, the film nonetheless strongly depends on an exceptional cast and their spot-on characterization of their roles. It’s a splendidly entertaining film in and of its own.

Rogue Rebels And The Heavy Breather

“Be careful not to choke on your aspirations, Director.” ~ Darth Vader

“The power that we are dealing with here is immeasurable.” ~ Orson Krennic

“The captain says you’re a friend. I will not kill you.” ~ K-2SO

“Our rebellion is all that remains to push back the Empire. We think you may be able to help us.” ~ Mon Mothma

“They call it the Death Star. There’s no better name. And the day’s coming soon, when it will be unleashed.” ~ Galen Erso

“Take hold of this moment. The Force is strong.” ~ Chirrut Imwe

“I’ve been recruiting for the rebellion for a long time.” ~ Cassian Andor

“The world is coming undone. Imperial flags reign across the galaxy.” ~ Saw Gerrera

 “We have hope. Rebellions are built on hope!” ~ Jyn Erso

When the Disney studios got their hands on Lucasfilm and the Star Wars franchise, the decision was made not only to continue to make more films, hence the release a year ago of The Force Awakens, but also some tie-in self contained stories set in that universe, basically an anthology of tales firmly set in the galaxy of Imperial forces and courageous rebels. Rogue One is the first of those stories, set shortly before the events of the 1977 original film, featuring a small band of rebels racing to retrieve the plans for the Empire’s ultimate weapon.

As a prelude, scientist Galen Erso (Mads Mikkelsen) is taken by force from his family by Orson Krennic (Ben Mendelsohn), an Imperial weapons designer who wants him to return to work on a secret project. His wife is killed during the raid, and their daughter Jyn is taken to safety by a rebel, Saw Gerrera (Forest Whitaker). Years later, Jyn (Felicity Jones) is freed from Imperial captivity by rebels and brought in on a mission after word has been smuggled out from her father on what the Empire has in store. The small band of misfits now find themselves racing to thwart a doomsday weapon most film audiences are quite familiar with: the Death Star.

The concept for this goes back long before the Disney-Lucasfilm deal, this notion of telling self contained stories firmly within the universe as established by George Lucas. John Knoll, a visual effects supervisor for the prequel trilogy, was pitching the idea for some time, and did so again after the deal. The studio decided to go ahead with the idea of these self contained tales, alongside the new trilogy being unfolded at present. Knoll and writer Gary Whitta had a hand in the story process at one point or another, with the screenplay being finished and polished by Tony Gilroy and Chris Weitz. The story is at heart a dark one, a war epic with a very clear line between good and evil. Beyond that, the story mixes in dark humour (particularly from the resident droid), and a sense of impending tragedy- we know things can’t end well for these people. While a good number of the characters are new, some familiar faces appear- Mon Mothma and Bail Organa have both appeared previously in Star Wars lore, and their appearances here are welcome.

Gareth Edwards was brought in as director, which was a good touch. He had recently done the Godzilla reboot in 2014, and his style for an epic, sprawling action tale transfers well over here- with more looks at what we’re seeing, as opposed to the glances and cutaways and darkly lit set pieces of a good part of that film. The production style he employed in filming this rings true to the style of the original Star Wars- the sets, costumes, props, and visual effects don’t seem out of place with that film, given that this movie so closely leads into that one. There are some visual surprises along the way- body doubles mixed with digital effects bring in the late Peter Cushing’s Tarkin as well as a young Carrie Fisher as Leia, and that comes across seamlessly. And in keeping with Star Wars tradition, the visual effects are part of introducing us to strange new worlds, as well as some familiar ones- filming in the Maldives, for example, gave us a watery atoll setting that’s strangely beautiful, before things go terribly wrong, and perhaps evoke thoughts of the Second World War in the Pacific theatre.

Edwards keeps the movie flowing, never slowing down, but steadily driving up tension as he goes along. There’s an underlying sense of dread and urgency as things go along, and the director’s visual style plays to that. He films battle sequences- on planets and in the stars- with a ferocious intensity fitting the genre- this feels like a war film. The movie also marks the first time that a Star Wars film does not have the musical work of John Williams. Michael Giacchino, who’s been doing a whole lot of work in recent years, including the Star Trek films, comes on board as composer, giving a darkly moody score that does incorporate Williams’ themes here and there as needed.

The cast is international in scope, and that plays off well. Ben Mendelsohn is the primary villain of the piece, Orson Krennic, an ambitious, contemptuous, and ruthless Imperial officer and designer of weapons for the Empire. The Australian character actor has been in a lot of roles down through the years- the first time I ever saw him in anything was as a laid back mountain climber in Vertical Limit, but others might remember him as Bane’s corrupt corporate ally Daggett in The Dark Knight Rises. His character is a nasty piece of work, with a malevolent streak and little in the way of sympathy. Darth Vader appears as well, the ultimate villain at his most malicious. James Earl Jones reprises the voice of the Dark Lord, while the physical role is carried out by two actors- Spencer Wilding and Daniel Naprous. This might well be the last we ever see of Vader at his darkest on the big screen, and he’s a cruel, brutal pleasure to watch, chilling at the same time.

Alan Tudyk (Serenity) did the voice and motion capture for K-2SO, a droid that was once an Imperial enforcer, its memory erased. K is a whole lot less polite than C-3P0 ever was, and snarky in his own way, so there are times he steals the scenes. Riz Ahmed gets an interesting role as Bodhi Rook, an Imperial pilot who chooses to defect to the Rebellion, and his place in the team requires the actor to step in two worlds and convey the sense of shifting allegiances. Jiang Wen plays a Rebel soldier and mercenary named Baze Malbus, tough and capable, and a friend to another Rebel. That character being Chirrut Imwe, played by actor Donnie Yen, a character who’s blind and yet in touch with the Force, something of a zen presence to the team.

Mads Mikkelsen is one of those character actors always compelling in whatever he does, and here he’s the father of the lead heroine, torn away from his family and forced into doing the bidding of evil. Mikkelsen brings a sense of regret and loss to his performance as Galen, as well as poignancy. Forest Whitaker is also a character actor who can make a role fascinating to watch, and he gets a lot to do as Saw Gerrera, a veteran of the Clone Wars that were such a strong component of the prequel trilogy. Gerrera is courageous and bold, and clearly a leader. Diego Luna shows up as Cassian Andor, a Rebel intelligence officer given responsibilities over the mission, including one that serves as a troublesome contingency measure. He’s a leader in his own right, brave and stoic as the film unfolds, weighed down by the responsibilities he faces.

Felicity Jones has the lead role as Jyn. She’s hardened by what life has had in store for her, cynical even, and yet not broken. All that she loved was torn away from her, and at the same time she’s come out of it as a survivor. She invests herself in the mission with a personal stake, and we sympathize with her, part because of way Jones carries herself in the role, but also because we’ve been a silent witness to what she’s lost. Jones makes the character compelling to watch, bold, brave, and poignant. It’s a one time role, but it’s a good one, and a worthy heroine for the Star Wars universe.

Rogue One is an entertaining addition to the Star Wars mythos, giving us new characters in a familiar universe of dark threats and the hope of a better day to come. It’s self contained, but ties strongly into what’s come before. It is ferocious and intense at times in its action sequences, and dark in its tone, but it works well, leaving the audience satisfied and wanting more of these self contained stories. Next up? A tale of a young smuggler with a talent for getting himself and his friends into trouble...