Film Review: The Utopian Pleasures of “Black Panther” (2018)

Every so often a film comes along that really and truly changes the contours of Hollywood filmmaking.

Black Panther is one such film.

I tend to be a bit hyperbolic in my praise of films that I really enjoy, and I will warn you right now that this is going to be on of those reviews. From the very beginning, I loved everything about this film, from the cinematography to the acting to its utopian sensibility. Indeed, I would go so far as to say that it is without question my all-time favourite of the MCU to date.

Coogler’s camera is a remarkably graceful one, and he relies less on the sort of breakneck editing that marks so much recent action cinema (and that can be quite disorienting and distracting when used, as it often is, to excess). There are several instances in which his camera actually follows the movement of the actor rather than relying on  It’s largely this graceful camera movement that grants Wankada its graceful beauty, which we are frequently invited to consume from above as the camera glides over the mountains and plains, all of it bathed in the piercing African sun.

Coogler’s camera is matched by the sinuous and smooth grace of Chadwick Boseman’s T’Challa, who commands the screen with an understated intensity. While Boseman lacks the imposing physicality of his counterpart Michael B. Jordan (in the person of Killmonger), he nevertheless has a power all his own. The two are an intriguing mirror image of each other, each representing very different views of the world that systematically devalues the lives, experiences, and bodies of black people. While T’Challa believes in the necessity of looking after his people, even if that means turning his back on the rest of the world, Killmonger believes that it is only through violent revolution that the wretched of the earth can at last take control of their own destinies. The film ultimately argues that is only a synthesis of such ideas that can succeed.

Indeed, if I have one complaint about the film it’s that we don’t get to see more of Killmonger’s backstory. If we’re being completely honest here, Andy Serkis’s criminal mastermind Klaue is a bit of a distraction that could have been dispensed with in order to give us more time to learn about the tortured psyche of this film’s compelling antihero (I use that term rather than villain quite deliberately). While we do get some suggestive scenes of Killmonger’s backstory, more attention to his specific experiences as an African American would have allowed his personal philosophy–as tortured and destructive as it is–to have more heft within the film.

But let’s face it: the real stars of this film are the black women: T’Challa’s lover Nakia (Lupita Nyong’o), his general Okoye (Danai Gurira) and his sister Shuri (Letitia Wright). These are some of the most kickass female characters to grace the silver screen, and they own every second of it. Can we talk about the fact that the elite corps of  Wakanda is comprised of women so powerful that, in one of the film’s climactic clashes, they can only be overcome with the use of war rhinos? And can we talk about the fact that finally (finally!) there is a young woman of color who is shown to be an acknowledged tech wiz (and a kickass warrior to boot)? And can we also talk about the fact that we have a woman of color who is a spy on the order of 007 himself?

And let us not forget Angela Bassett. While she doesn’t have a very large role in this film, she nevertheless grants some further grace and gravitas to the proceedings. She is also a pillar of strength for both her son and the kingdom at large, a reminder of the fundamental role that women play in Wanakda.

This film, like so much of Hollywood–and of superhero films in particular–offers up a utopian sort of pleasure. As Richard Dyer has outlined it, utopia provides imaginary solutions to the problems and shortcomings of everyday life in capitalist modernity, providing intensity, energy, community, transparency, and abundance. All of these are clearly on display in Black Panther, whether in the form of Wakanda’s phenomenal wealth or the scenes of action that sweep us up in their intensity. What’s more, Hollywood encodes into its form a sensibility that one can take action, that one’s body has the ability to transform one’s lived reality. Of course, for many of us we take that for granted, even as we acknowledge our own bodied limitations.

One can see this sensibility in the film’s sinuous cinematography that lifts us free of the mundane burdens of the regular world, but it also emerges in the stunning feats of action. T’Challa has strength that is both innate and also buttressed by his suit, and this allows him to move through the world–and to mold it–in ways that are denied those of more pedestrian origins. The fact that it is a man of color whose embodied agency controls the narrative makes its utopian pleasure that much more intense.

Black Panther is also utopian in terms of its reception. While there have been some who have (rightfully) critiqued the film’s politics, there have been just as many who have seen in it exactly the sorts of utopian pleasures that have long been explicitly offered to white audiences. There is something profoundly joyous about simply seeing so many beautiful black stars in one place, in a film that has been buttressed and funded by one of the most powerful entertainment conglomerates. Tempting as it is to wring our hands at the perils of being incorporated into the gears of mass entertainment, we must also acknowledge the profound emotional resonance such representation has for those who consume it.

It is my sincere hope that Marvel, Disney, and all of the Hollywood studios recognize what should have been obvious for quite some time now: it is indeed possible to make (financially) successful films that center on the experiences of nonwhite people will at last find the representation they deserve.

Hollywood, are you listening?


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