As all the Marvel movies go, my hands-down favorites feature Captain America. So I approached Captain America: The Winter Soldier with some trepidation that it wouldn’t live up to my expectations. How wrong I was.The first Captain America film did a lovely job borrowing nostalgic pixie dust from films like Dick Tracy and The Rocketeer, and director Joe Johnston grounded those proceedings in postmodern yet earnestly American messages of anti-bullying and of championing the underdog. The follow-up, directed by Anthony and Joe Russo, takes that Americana quilt-work and ups the ante, delving deep into the dark heart of post-millennial U.S. society.
In the years since September 11th, we have seen fear and anxiety chip away at the most American of values: tolerance and courage, freedom of thought and sincere kindness. The film attacks that dilemma square on, albeit with Marvel Studios’ now-trademark escapism, wit, and whiz bang effects.
I dare not spoil any of the twists and turns, and, while some have compared this sequel to 70s government conspiracy classics like Three Days of the Condor, it is more of a pulpy roller coaster ride than a tightly coiled potboiler. Regardless, it is smart and well done and expertly paced.
Chris Evans returns as Steve Rogers/Captain America, and, unlike his flippant work as another superhero Johnny Storm in The Fantastic Four series, he exudes a soulful sadness as a man quite literally out of his own time and depth. His heartache over an America that has strayed so far afield from his World War II-era “Greatest Generation” perspective is palpable.
The plot details the explosive corruption that runs through all levels of the S.H.I.E.L.D. organization – that CIA/Interpol-hybrid that has been a unifying element in all Marvel’s cinematic output. This sequel draws cleverly on thematic elements established in the first Captain America entry, specifically the Nazi villains’ monstrous notion that ethnic, spiritual, intellectual cleansing will bring about order in a chaotic world. Winter Soldier neatly turns that concept on its head, alluding to how some Americans today seem to share that same nefarious concept: that the only way to avoid anarchy, violence, and societal decay is to quite literally eliminate all those people who threaten “order” in their questioning of the powers-that-be.
Robert Redford is a fascinating and welcome addition to the Marvel Universe, playing Alexander Pierce, a Washington bureaucrat whose Machiavellian intentions are simultaneously noble and suspect. Bringing a nuance we don’t always get to see in these movies (with nary a glib moment), Redford telegraphs sincere, profound, and arguably misdirected concern for a world that he feels has gone totally off the rails. He is the kind of comic book heavy that only a steady diet of FoxNews and MSNBC could inspire.
The other supporting players, including Scarlett Johansson, Emily Van Camp, Cobie Smulders, Hayley Atwell, Frank Grillo, Samuel L. Jackson, Toby Jones, Jenny Agutter, and Anthony Mackie, rise to the material, providing gravitas and the occasional (much-needed) lighter moment (or two). Sebastian Stan as the titular Winter Soldier is a heaping helping of imposing glower, and he makes the most of a rather underwritten role (not unlike Tom Hardy’s Bane in Dark Knight Rises).
Unfortunately (and this is the only minor quibble I had with the film), the movie does little with the Winter Soldier’s fascinating, Terminator-meets-Manchurian Candidate back story. Hopefully, the inevitable third film will fill in those gaps.
Superhero flicks have, in aggregate, become an ever-expanding cinematic metaphor for the angst that blankets our planet – movies of note include Bryan Singer’s X-Men films (e.g. civil rights/tolerance), Christopher Nolan’s Dark Knight trilogy (e.g. class warfare, Orwellian nanny states), and now both Captain America entries. These films employ a kind of four-color funnies code with larger-than-life heroes and villains standing in for the mundane, insidious cruelties we enact daily.
Samuel L. Jackson notes at one point early in the film, “This is the world as it is … not how we’d like it to be” – nailing a haunting fear and sadness most of us over 40 grapple with daily. Not sure where the movie Marvel Universe goes from here as the studio’s architects are clearly picking poignancy and punch over popcorn and pizzazz. But I for one can’t wait to see what’s next.
Bonus! ( … apropos of nothing … )
This Thursday, April 10 at 7 pm, Common Language in Ann Arbor (317 Braun Ct.) will host a mixer. I will be signing books, and theatre colleagues from The Penny Seats (including Rachel Murphy, Lyn Weber, Rebecca Biber, Nick Oliverio, Barbara Bruno, and now John Mola) will offer interpretive readings of some of my wilder essays. Light refreshments will be provided. See you there! Nice coverage from Sarah Rigg and MLive here.
Finally, enjoy this video interview of yours truly from last week’s Legal Marketing Association conference. Thanks to Lexblog and the Lexblog Network and Kevin McKeown for this opportunity!
Reel Roy Reviews is now a book! Please check out this coverage from BroadwayWorld of upcoming book launch events. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan; by Green Brain Comics in Dearborn, Michigan; and by Memory Lane Gift Shop in Columbia City, Indiana. Bookbound and Memory Lane both also have copies of Susie Duncan Sexton’s Secrets of an Old Typewriter series.