Black Panther: Wakanda Forever

Third World War

or

"A Colonialist in Chains...Now I Have Seen Everything"

 

When last we left (and, I'm sure, regretfully) Wakanda, they were ending their fearful (if understandable) isolation and establishing an outreach program into the wider world, no longer hiding in plain sight, sharing their culture, their knowledge, but not their wonder-mineral vibranium. The world is not ready for that (although they continue to try to possess "by any means necessary").

 

Black Panther: Wakanda Forever begins with the acknowledgment that its MVP, Chadwick Boseman, who has played "The Black Panther" in all the previous Marvel movies, is dead. Much tribute is made, deservedly, but the most important thing the movie does right off the bat is to say that the actor (and the character) are irreplaceable, too irreplaceable to even try. In a movie industry where actors are replaced with the drop of a salary demand or a controversial tweet (and a genre that is still trying to come to grips with multiple actors playing a single character), this is refreshingly noble. And rare. Already, the movie re-establishes that air the original had of being a labor of love rather than a labor of commerce. 

King T'Challa, the former Black Panther, protector of Wakanda, has died of an unspecified disease. The country mourns the loss, but none more than T'Challa's sister, Shuri (Letitia Wright), princess and technological whiz-kid, who only knows that for all her brilliance and skills, she could not save her beloved brother. Now the kingdom is ruled by Queen Ramonda (Angela Bassett) with no protector, no Black Panther, but the more-than-capable army of the Dora Milaje, led by General Okoye (Danai Gurira). She's going to need them. At a United Nations meeting, she is pressed by the U.S. (Hey, Richard Schiff's in the Marvel Universe!) and France to share Wakanda's resource of vibranium, which she steadfastly refuses.

She gives them something else, instead. A big lesson in "Don't Mess With Me." The entrance opens and Okoye and her troop bring in some French soldiers who had tried (unsuccessfully, of course) to steal some vibranium. Ramonda lays down the law. Nobody is going to get the stuff for its potential for weaponry. If anybody tries it...well, they better not. Wakanda's memory is also forever.

They're not alone in that. The U.S. is trying to get their own vibranium deposited deep in the Atlantic Ocean, with a new device that detects the stuff. But, before any extraction can be done, there's an attack on the ship where the crew inexplicably jump like lemmings into the sea, impelled by a strange sonic attack of an unknown origin, and a helicopter attempting to escape is grabbed and thrown to a catastrophic end into the sea. Was it Wakanda? How? Even Wakanda doesn't know.

The answer comes from the sea. While Ramonda and Shuri are holding a private ritual ending their mourning by burning their ceremonial white robes, they are approached by a human rising from the water with wings on his feels and fire in his eyes. He is K'uk'ulkan or Prince Namor (Tenoch Huerta) of the undersea kingdom of Talokan and he loves what they've done with the place (the water is so clean! And the air is so fresh!), but not so much in his neck of the ocean, so he warns them. His people have stopped another attempt to take vibranium—this time from the ocean floor with a device that is specifically designed to detect it. As it is Wakanda's responsibility to police the mining of the stuff, they'd better get a handle on it, especially in his territory of the sea. If they can't, he'll see to it personally and with less restraint. His first aim is to find the person who created that vibranium detector and if Wakanda doesn't hand them over to him, he's not willing to wait and he'll take action against the people responsible and Wakanda, as well.

Okoye and Shuri contact their "favorite colonialist" Everett Ross (Martin Freeman), who knows who made that vibranium detector. She is MIT student Riri Williams (Dominique Thorne), who apparently has the "McGyver"-like ability to make a flux capacitor out of scraps taken from your recycle bin. Not only did she make that detector, but she's working on her own "Iron Man" suit because...well, MIT must have a liberal extracurricular activity program. But lousy security. When the two Wakandans contact Riri, they must first get by a raid by the FBI and then the Talokans, who take Shuri and Riri captive.

Queen Ramonda is furious with this. She demotes Okoye of her rank and then sends for Nakia (Lupita Nyong'o), former Dora Milaje and War Dog spy to infiltrate Talokan and rescue the two scientific geniuses who can't seem to rescue themselves.

Well, it just gets more complicated from there. Ultimately it turns into a war between third world countries, tribe against tribe, while both should be looking at the real threat, which is the supposedly industrialized nations (although they pale when compared to Wakanda) trying to get their empirical mitts on the resource the two warring factions share. It seems to be a case of not keeping your eye on the vibranium ball, but that's what happens when things get personal. You lose the big picture when you're the target of the attack.

But, as frustrating as that is—and aren't all wars fundamentally frustrating?—one must acknowledge the complications. Coogler displayed in the first Black Panther a penchant for world-building that went beyond decor and here, he does the same sort of thing for the Talokans (in a way that seemed to escape the DC Aquaman movie), creating a murkier version with more natural materials, and enough back-story to create the grudges necessary to sell the thing.

But, more than that, this movie is a bit of a miracle in that, even if it isn't as artistically successful as the first Black Panther movie, it is successful enough without its lynch-pin title character present (and its charismatic lead actor irretrievably absent) and, instead, depends on the superb supporting cast that enriched its predecessor. Imagine a Batman movie without Batman. Nope. Not gonna happen. But, Black Panther: Wakanda Forever is engaging even without a Black Panther character for the majority of its running time (consider that a SPOILER alert). I can't imagine another film franchise that would be able to pull that off and get away with it, let alone excel in its own way. 

As these super-hero movies start to merge together and become indistinguishable from one another, that is a remarkable accomplishment.

Wakanda forever!

 

 Prince Namor ("The Sub-mariner") has been around since 1939

 

Black Panther (2018)

Black Panther 1; Hamlet 2
or
It Takes a Wakandan Village

First off, let me express my prejudices; I am becoming increasingly disenchanted with super-hero movies. I find them to be a bit one-note and superficial and I really (really) am tired of the "revenge scenario" that seems to dominate super-hero movies, especially when it's the hero who seeks revenge. I'd rather my heroes be heroic. Is that too much to ask—to fit the job-title? And I'd rather that their aspirations be un-ironically for the good. Too often these superhero movies have toughened up their heroes, dressing them in leather and dimming the lights to make them "credible" in a live environment. Credibility isn't a bad thing, it's just that it has a tendency to muddy up the motivations of do-gooder's. I mean, if you want to do good, don't mope about it, or don't be so cavalier that you tend to come off like a jerk. I like humble heroes. I like them spreading the wealth. I like them having a good purpose and a good soul.

I love Black Panther. Oh, it has its issues—some dodgy CGI (don't they all...really?), very confusing early action sequences—you see director Ryan Coogler (Fruitvale Station, Creed) gain confidence and communicate arena-geography very quickly on a steep learning curve—a derivative story-line (but derivative in an interesting way), the usual things that make me hesitant going to "another" super-hero movie.

But, this one has a good heart. That may be because its story is a bit of a fairy-tale about a distant mystical land and the stuff of kings. There is a child-like wonder to it, its kingdom of Wakanda (located in Nigeria) has a fleshed-out, fully-formed quality to it that you don't get no matter how many times we've seen Asgard in the Thor movies, and the major characters all have a purpose and a clearly defined function that makes you care for each and every one of them. Nobody's an empty plot-device, nobody is marking time, this is a community on film all to the service of the story and (mostly) to the service of the newly-crowned King, T'Challa (Chadwick Boseman) who is taking the mantle for his slain father.*

Wakanda has been blessed (? cursed?) with a huge store of the Marvellian super-metal vibranium—deposited aeons ago by meteorite—and has kept it secret for its own gain, establishing itself as a technological power while keeping the knowledge of it "off the grid." To the world, Wakanda is a peaceful land of textiles and subsistence farming, while beneath an obscuring force-field, the five tribes of Wakanda maintain an alliance of wealth and power which is ruled by succession mitigated by the challenge of ritual combat, their leader taking on not only the mantle of King, but also that of The Black Panther, protector of Wakanda, who is given extraordinary powers by imbibing the broth of a native herb suffused with vibranium.

Except for the vibranium story (which is given a nice "Tell me a story" beginning with a reverberating end question), this is all pretty much communicated by plot and visual story-telling, which, frankly, is just plain wonderful film-making. We, the audience, learn as we go, even as our eyes are popping with incredible art-design and costuming, making the learning part and parcel of the whole experience. Coogler and his artisans have done such an effective job that one wonders if, when the inevitable sequels come out, that uniqueness will fade as it has with other Marvel films, and for a similar leap in imagination, Star Wars, but it's a bit premature to be worrying about that. One should be grateful for what's there that such a worry even exists.

The story proper begins in 1992 in an Oakland project. While the neighborhood kids are out playing B-ball with a basket made of a broken milk-crate, two men are approached by the guards of the King of Wakanda, T'chaka (Atwanda Kani—the son of the actor who plays the older, late King, John Kani). He greets one as his brother, N'jobu (Sterling K. Brown), but it is not a joyous reunion; N'jobu has been sent to America as a Wakandan spy—the nation's only way of keeping tabs on the outside world without betraying its advanced status. It seem N'jobu has been dealing with an international arms smuggler, Ulysses Klaue (Andy Serkis—and not just a CGI Andy Serkis—who's been hovering around the last couple Marvel team movies) to get weapons for giving the villain much prized vibranium. This, the King says, cannot be allowed. There is a family quarrel about this and N'jobu ends up dead for his duplicity. Hidden by a cloak of clouds and night, the Wakandans take off back to Africa, leaving the basketball players to look up in wonder.

That is the past. In present day, T'chaka's son, T'challa, is on his way back to his kingdom to claim the throne, ferried by his personal guard Okoye (Danai Gurira) of the Border Tribe and head of the elite Dora Milaje forces. But first, they must pick up T'challa's former love Nakia (Lupita Nyong'o) of the River Tribe, who is working undercover as a Wakandan spy, freeing kidnapped Wakandan women from a slaver group. All safe and sound, they enter the camouflaging force-field hiding the technologically advanced city from the eyes of the world and are greeted by T'Challa's mother Ramonda (Angela Bassett), his techno-whiz-kid-sister Shuri (Letitia Wright) and Zuri (Forest Whitaker), the tribe's spiritual leader. Amid much pomp, T'Challa is installed as King, but not before he is challenged for the position by M'Baku (Winston Duke) of the Jabari Mountain Tribe in a fight for supremacy against a de-powered Black Panther. In a fight to the death, T'Challa convinces the proud M'Baku to yield because "your people need you!"

Already, Black Panther has set itself apart from other "superhero flicks:" it's hero is a combatant, but he must continually prove his place as champion—he has a birth-right, sure, but he has to earn his stature, and he can lose it if he falls short—that sets him apart from the heroes-by-accident and privilege of most of the genre. And that "your people need you" cry has a charitable diplomatic streak that you don't find, either, amongst the "all of nothing" spandex-set. He also has a vast support-system surrounding him, guiding him in his actions, whether supportive or adversarial, to find a path that is most beneficial to all sides. This tests the new Wakandan leader to become the King that he might not otherwise be if left to his own devices.

T'Challa goes to "the spirit realm" to talk to panthers with "Kubrick" eyes.

He'll need it. His greatest challenge in this particular chapter will come from an incident in the past that will ultimately alter the course of the nation of Wakanda in the form of Killmonger** (Michael B. Jordan), who has sided with that Klaue guy to steal vibranium. Here's another thing I like about Black Panther—they do make room for the standard "revenge-story" trope that I find so tiresome in super-hero motivation. However, it is Killmonger who is in the "you shall be avenged" business, following Hamlet, The Lion King and Inigo Montoya to seek revenge for the slaying of his father to the obsessive point of caring about nothing else. That "bit" feels far much more comfortable as a villain motivation than for a hero and as bad a dude as Killmonger is, the film still manages to evoke some sympathy for the guy and his circumstances—an empathy that provides one of the best "grace" notes of the film and sets the movie far above the usual fare by making its "super-hero" a...well...an actual hero.

After so many years of these films, have film-makers actually started to get it right? There are very few really good super-hero films that are good as merely films, but I can count on one hand how many espouse some sort of selfless heroism—the first Christopher Reeve Superman, Captain America: The First Avenger, Wonder Woman...and this.*** And I will be so bold to say that of every superhero movie I've seen, this and that first one are the only ones I'd recommend for kids. It's the spirit of the thing. And their eyes will pop at the sight of it all. It's good imagination-stirring stuff.

Now, the challenge comes. The second films of the Marvel Studio series all take a large step downward in quality (with the exception of Captain America: The Winter Soldier). Black Panther is on such sure footing, one hopes that the second isn't a mis-step. Director Coogler is saying he'll be back for another and that gives me the most hope that it will be just as edifying—even if the visuals will not be as surprising—as this effort. Very worth seeing.

"I did not yield. And, as you can see, I am not dead.
The challenge continues."

* As seen in Captain America: Civil War —"Jaunty" Jim

**  I know, I know "Killmonger" (shudder), but, trust me, it could have been worse—in the comics, M'Baku is known as "Man-Ape."

*** Okay, I know YOUR favorite may not be there, but I'm talking about completely heroic movies that go right out and un-ironically espouse and show heroism and not make some crack about it. So, yeah, Dark Knight, sure, Winter Soldier and Civil War, okay, Ant-Man, Guardians of the Galaxy, The Avengers...then....