This weekend, on Salt + Light Radio Hour, I talk about two of the latest theatrical superhero film releases: Wonder Woman and Spider-Man: Homecoming. Both are a return to the lighter superhero film and more in tune with what I had come to think of as a “comic book” movie. Perhaps this is a reaction to so many recent superhero films Batman vs. Superman: Dawn of Justice, Deadpool, Netflix’s The Defenders, Iron Fist, Luke Cage, Jessica Jones, and Daredevil, that are so dark and grim. Both Wonder Woman and Spider-Man: Homecoming are true superheroes, not anti-heroes, following a classic hero’s journey arc. It was also refreshing to see that both films seemed to be less violent overall, and more focused on special effects.
A Closer Look ~ Wonder Woman
Wonder Woman is a comic book movie with a strong fantasy bent—more of a fairy tale than most comic book films. A mythical past (rather than a scientific “accident”), magical powers associated with magical objects, and a “love at first sight” kind of romance. My childhood partiality for fairy tales has carried into adulthood with a strong partiality for fantasy. (If a story has a dragon, wizards, magic, and a hero(ine) with a huge handicap, I’m in!) But that is not all I found appealing about Wonder Woman: the acting is superb, the romance is an important and integrated part of the story rather than just an obligatory minor plot line thrown in for convention’s sake, the characters are interesting and appealing, and the entire story—while there are probably some loopholes—is solid, if not-too-surprising. I really enjoyed the special effects because not only was I blown away, I could follow all the action.
Wonder Woman’s warrior costume alone probably deserves a whole blogpost. Her costume is one of the reasons my mother wouldn’t let us watch the TV show when I was growing up, and I have always disliked the Wonder Woman character because of it. Unfortunately, the costume is kept in the film, but it is more tasteful than I expected. (Some day, I hope we as a culture can get beyond this kind of superhero costume that oversexualizes heroic characters.) Some references to Diana’s physical attractiveness are made; most are clearly meant to be distasteful. (A couple comments meant to be humorous I found offensive.) These comments, in addition to some splendidly awkward dialogue between character Steve Trevor and Diana, plus an implied night spent together, make the film suitable for a slightly older teen (and could also open the door for dialogue about why certain comments are disrespectful). The comic book violence focuses more on the special effects, but there is still plenty of violence.
Windows to the Soul
Two points about the film I especially appreciated. Diana Prince (aka Wonder Woman) is an amazing warrior, but she is also a woman who embraces her femininity. Wonderfully self-confident, she accepts and uses her powers, but is still very womanly. Her compassion, her passion to to “save humanity” from the violence of war—seeing war (or the god of war) as the enemy are all gifts that women can bring to the world. Diana Prince is, in many ways, a wonderful role model for girls today. (I think it is very, very cool that the first film about a superhero directed by a woman is about a female superhero, and I think Patty Jenkins’ directorial influence shows here.)
The film addresses the problem of evil head-on, not in a theological sense, but in addressing the question: “With all of the evil that human beings do, is humanity really worth being saved?” And in this sense, it is her experience of being loved, not her super-powers, that enable her to make the right choice and be true to her mission.
In her choice to see humanity in the midst of war’s depravity through the lens of love, I find that Wonder Woman is a Christ-figure. And it is this lens of love that gives a lightness to the film, even amidst the tragic circumstances. This sense of hope—that love makes everything worthwhile—is also present in the other superhero summer release, Spider-Man: Homecoming.
A Closer Look: Spider-Man: Homecoming
Like Wonder Woman, Spider-Man was a character I heard about from others, but didn’t grow up with. I became a fan with the Tobey Maguire films. (Spider-Man 2 is still, I believe, one of the best superhero movies ever made.) Like many others, I also wondered, do we really need another Spider-Man movie?
I don’t know if we needed one. But Homecoming is a light, entertaining, and worthy addition to the growing comic book movie collection, and it is better directed to its primary audience of pre-teens and teens.
With excellent acting, Homecoming is a superhero film that looks at how a superhero develops—and not just his superpowers, but how he matures as an individual to responsibly use those powers. In this film, romance is not much of a storyline, which is appropriate to a story about a teenager who has plenty of other things he needs to focus on.
Peter Parker is a super-believable and accessible character. His personal growth/hero’s journey through the film is, I think, immediately identifiable to pre-teens and teens. He is going through typical teen struggles, whose consequences are magnified by his superpowers. The plot is quite predictable (and also a bit messy in wrapping up, with three endings), but as a whole, the film is still enjoyable–especially with Tony Stark mentoring (!) the young Peter Parker.
Windows to the Soul?
In Peter’s search for his true identity and how to live it, he must “harmonize” these two very different aspects of his life: the “ordinary teenager” and the “extraordinary superhero.” The title of the film really is the theme: Peter needs to be at home with himself, and all the different aspects of himself.
In our own lives, we are called to bring together the different aspects of ourselves, especially our ordinary life with the gift of grace, or the life of God. In a time when we can feel so fragmented by a demanding world that vies for our attention and participation in a variety of roles, Peter Parker’s journey of unifying his various identities or roles into one life in which he can be most truly himself, is a journey to integrity all of us can learn from. It is not a decision or journey made in a vacuum, either: Peter’s commitment to the people of New York is his guide in his final decision. In this, Peter can also be seen as a Christ-figure—of Christ, the Good Shepherd.
Note: The PG-13 rating seemed appropriate; comic book violence and spoken sexual innuendo. There are also plenty of “in-Marvel’s-universe” jokes, from earlier Spider-Man, Iron Man, and Avengers movies.
A Question for Today’s Superheroes
In many ways, watching these two films reminds me of the times in which these superheroes were created, when Judaeo-Christian values were still mainstream and woven into many stories of the culture. As desirable as it is to have these values in both films, a “story hole” arises. Where did Peter Parker learn humility and justice tempered with compassion? Where did Diana’s conviction to guard and protect humanity come from? And where did each of them find the strength to live these virtues? If, as seems to be implied, our two superheroes lack the religious faith that creates such values as self-sacrificing love, humility, integrity, generosity, and kindness (to name a few), where do our superheroes get their values from?
While there are certainly many good people who do not have faith yet live good lives, it is also true that faith in God and God’s grace—whether known or unknown—is what gives us the strength and ability to love in a way that transcends ordinary human love. To love the betrayer, the enemy, the unworthy, the nemesis, is not always seen as an ideal any more. In today’s entertainment culture, revenge is seen as a matter of justice, and forgiveness as weakness. In watching several recent teen movies, I have been shocked by the blatant narcissism and utilitarianism of the protagonists: the happy ending is when the protagonist gets what she or he wants, no matter how they got it or who is hurt along the way. There is no recognition of moral values at all—it is what you succeed at, what you get away with, that counts. And everyone is okay with the blatant selfishness.
Yet, Peter Parker’s idea of justice is deeply Christian, as is Diana Prince’s.
It seems to me that superhero movies are successful right now in great part because they give us heroes with these kinds of virtues. On the one hand, these virtues are admirably presented as an ideal: as good, desirable, heroic. But I would also love to see more films in which these kinds of virtues are upheld, as well as positive reference to God and to the practice of faith as the source or strength of these kinds of virtues. (This is one reason I enjoy aspects of the Netflix series Daredevil—his conscience-driven behavior, qualms, and guilt, as well as his confessions and ongoing dialogue with his pastor clearly reveal his faith and his values deriving from his faith.)
The superhero is not a perfectly Christian model, yet superhero portrayals that are faithful to the spirit of the originals are deeply based in Christian virtue. I am not sure that any other culture but the 20th century Western, Christian-based culture could have created Spider-Man, Wonder Woman, or Superman as entertainment.
Is it possible to have Christian virtue without Christianity? These movies seem to say, “yes.” But as we have watched our society becoming post-Christian, we also have witnessed a troubling uprise in a blatant disregard for the importance of each human life. Christian virtue becomes much rarer when society is not built on Christianity, where Christian values and even the golden rule are no longer commonly held. Perhaps it is enough that superhero movies remind us of the ideals and virtues, attract us to them, and show us how how being Christlike—even in the face of great suffering and self-sacrifice— can transform us and the lives of others.