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There are not many superhero films that reflect on legacy of colonialism, promote black power and celebrate women. It’s easier not to do that, and quite courageously for a Marvel movie to take on this abundance of stuff. For this, Afroamerikansiche director Ryan Coogler did not reinvent genre. His comic adaptation still feels like a classic three-act Disney adventure, wrestling with same ideas that have made last two Captain America movies great – things you defend are perhaps not as honorable as you Think – and of course movie is supposed to play a lot of money. But Black Panr is also expected to bear hopes of African diaspora. It is already secondary that improver is a bore in centre of film. The hero here is weakest element in his own film. This panr doesn’t holler, he purrs.
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His name is T ‘ T’Challa (Chadwick Boseman) and he is new king of Wakanda, most technologically advanced nation in world. Hidden from outside world by a field of East, country is a successful symbiosis of nature and high-tech. Spaceships float over magnificent waterfalls and skyscrapers with thatched roofs. The women in this country probably do not know word feminism, because y have obviously always been encouraged in belief that y can be anything.
Wakanda is also a nation of self-proclaimed isolationists, who literally spend mselves as a developing country to hide ir achievements from rest of world, a “shithole” would probably call Donald Trump. Unlike rest of Africa, people of Wakanda have never been deprived of ir resources, enslaved, or orwise oppressed. They owe all this to magical Vibranium, a metal that was also forged by Captain Americas Shield. It’s same stuff that T ‘ Challas black, indestructible cat costume is made of. A luminous, purple herb also gives him spiritual power, power of Black Panr.
An act of cowardice
T ‘ T’Challa is one of those who want to keep knowledge of Vibranium secret and to carry out non-binding diplomacy with rest of world. Ors think that decision to hide from world, rar than improve it, is ultimately an act of cowardice. The super villain Erik Killmonger (Michael B. Jordan), an American with wakandischen roots and gangster vibes, now wants to use substance in his new homeland to instigate a black rebellion. It is product of decades of racism. He’s mad–and rightly so.
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“Heroes, as far as I could see, were white, not only because of movies, but because of country I lived in, of which films were only a reflection,” once Afro-American intellectual James Baldwin said about white-screen heroes he had as a child . “And it’s a big shock,” he went on, “If you have to find out at age of five or six years to be in a world of Gary Coopers Indians.” Because, of course, our relationship to characters on screen is not only necessary so that we feel and understand each or, but also so that ors can see and comprehend us. That’s why new superhero blockbuster Black Panr is so important to America.
So talented Ryan Coogler (Next stop: Fruitvale station, Creed), with Black Panr, is dedicated to old debate between Martin Lur King Jr. and Malcolm X, wher path to equal rights must lead to peaceful resistance or militant protest. But while conflict is much deeper than it seems at first, film, written by Coogler and Joe Robert Cole, takes on dimensions of an ancient tragedy, which unfortunately dissolves in pleasure. Black Panr usually fails at same points as or Marvel films: The story is all too predictable, has a klassischeDrei-ACT superhero structure, and in end, re’s a fight that we’ve seen better in or Marvel movies. The action and computer effects are too often too schlampiggemacht. But at least no city will ever be destroyed.
