Tag Archives: Chadwick Boseman

Black Panther

MLD-01496_R.JPGThe Marvel Cinematic Universe is so bloated at this point that Marvel usually crams as many superheroes as possible into the “solo” movies in between Avengers instalments.  For example, Iron Man pops up in Spider-Man: Homecoming, Falcon briefly gets in Ant-Man‘s way, and everyone other than Cap and Bucky in Captain America: Civil War are clearly uninvited guests.  The result is that every movie is more or lScrooge-McDuck-Money-Biness the same movie.  Clearly, that’s Marvel’s goal with a shared universe as that way, we movie-loving rubes have to see them all, and throw even more cash into Disney’s money bin (which by now must be bigger than Scrooge McDuck’s).

Black Panther is different than those other movies.  It feels fresh.  This is a side of the Marvel Universe we have not seen, with new characters, new challenges, and new disputes.  There are no distractions in the form of random heroes from other movies (full disclosure: there are two supporting characters we’ve seen before but I am willing to overlook that, because both felt like they belonged).  Instead, we are introduced to a whole host of new characters who we quickly feel like we’ve always known, thanks to director/co-writer Ryan Coogler’s stellar work (he’s now three for three in his young career, having already giving us Fruitvale Station and Creed).  Refreshingly, none of these new characters are white, and the female characters are just as important as the men (and maybe even more so).

Best of all, this part of the MCU is not based on good versus evil.  Most of the “bad guys” aren’t bad at all, and the biggest bad, Michael B. Jordan’s Killmonger, is one of the most complex villains we’ve ever seen in a superhero movie.  I’d put him second only to Sir Ian McKellen’s Magneto (and that’s a largely unfair comparison because Magneto has been both hero and villain throughout his 55 year career) and well ahead of Heath Ledger’s Joker (who for all his awesomeness is essentially one-dimensional in that his goal was simply to destroy everything). Rather than having a standard comic-book focus, the conflict in Black Panther stems from a substantial philosophical and political question, the answer to which shapes your view of the world.  This is nationalism versus globalism, superhero style, which means that rather than choosing and lobbying elected officials who then debate and vote on these important issues, these weighblack-panther-comic-con-25jul16-02ty disputes in Black Panther are resolved through lots of punching and kicking (which, for all its flaws, is clearly a more efficient political system than the one the USA is currently using).

Black Panther does absolutely everything right.  This is essential viewing and, along with Wonder Woman, shows why diversity in Hollywood is so valuable.  It’s not about political correctness at all.  It’s because a fresh perspective and cultural diversity makes the movie-going experience that much more real and, moreover, provides vitality and energy to a genre that otherwise has been beating the same horse for the last ten years.

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Marshall

Thurgood Marshall was the first lawyer working for the NAACP to defend people falsely accused of a crime because of their race. You may know him as the first African-American Supreme Court Justice, and this is one of the career-defining cases that set him upon that path.

The (true) story: Connecticut socialite Eleanor Strubing appeared on a highway in Westchester County, New York, soaked, beaten, and scared one night in December 1940. She claimed her chauffeur had raped her four times, kidnapped her, forced MV5BMmE5MTMwNTUtYTlhMS00YzlhLTk3MTgtMmI3YTA5ODc2NjM0XkEyXkFqcGdeQXVyNDg2MjUxNjM@._V1_SY1000_CR0,0,1500,1000_AL_her to write a ransom note for $5,000 and then threw her off a bridge. Papers called her accused assailant the “Negro chauffeur” or “colored servant” but his name was Joseph Spell, and he claimed he was innocent. Lucky for him, his case caught the attention of the NAACP and Marshall was dispatched to try his case. Only he couldn’t; the racist judge wouldn’t let him on the grounds that he was “from out of town” so Marshall had to team with another lawyer and somehow stay silent through the infuriating trial.

Thurgood Marshall probably deserves a legitimate biopic, but this isn’t it. Its narrative is tight, keeping its eye on this single court case. The rest of his accomplishments are relegated to title cards at the end. That’s not really a complaint, but it does somewhat reduce a great man to a courtroom drama. But his greatness is communicated well by a self-possessed and commanding Chadwick Boseman in the lead role. He’s starred in a number of impressive biopics – what does this guy have to do to break through? Josh Gad plays the lawyer assisting him, Dan Stevens opposing counsel, James Cromwell the judge, and Kate Hudson as the woman pressing charges. And most interestingly, it’s Sterling K. Brown as the man who stands accused. Audiences will know him from This is Us, or else The People Vs OJ Simpson: American Crime Story. Even if Spell is innocent, Brown’s still playing against type, and it’s a great move.

All the pieces fall into place and it’s a perfectly solid movie. But for bearing the simple title ‘Marshall’ I expected it to be a little wider in scope – and having been baited with this little bit, I’m disappointed it wasn’t.