Black Panther (2018): T’Challa’s Character Arc

Instead of writing a traditional review of Black Panther, I’m going to dive right into some analysis.  Before I get into spoilers, here’s a link to the trailer for the movie:

A good amount of pixels have been spent praising Michael B. Jordan’s performance as Erik “Killmonger” Stevens in Black Panther.  Killmonger is one of the most interesting characters in any Marvel film, and Michael B. Jordan is one of the finest actors working today.  One of the things I like the most about Black Panther, however, is that the compelling antagonist doesn’t overshadow the protagonist like it does in numerous other superhero movies (e.g. The Dark Knight (2008); Spiderman: Homecoming (2017); Batman (1989); Superman II (1980)).  T’Challa’s (Chadwick Boseman) journey is every bit as interesting as Killmonger’s.

On the surface, Wakanda is a utopia, but below the surface lies a troubling adherence to traditions that cause most of the problems in the movie.  To move forward, Wakanda needs a leader who will dispense with tradition when those traditions no longer make sense.  T’Challa becomes that leader by the end of the movie, but it takes some work to get there.

In Captain America: Civil War (2016), T’Challa dips his toes into breaking with tradition.  At the beginning of Civil War, he has already taken on the role of the Black Panther even though his father, T’Chaka (John Kani), is still alive.  He makes alliances with outsiders in Civil War, but notably, this is done to bring his father’s murderer to justice.  In other words, the alliances are meant to temporary at first.  The fact that T’Challa extends these relationships beyond their initial purpose shows that he has some flexibility as a character.

During the first part of Black Panther, we see T’Challa largely following in his father’s footsteps.  He performs in the same rituals as his father did, and fails to bring Ulysses Klaue (Andy Serkis) to justice just like his father did before him.  This makes sense.  T’Challa has been raised to continue on a thousand-year old tradition.  Breaking with that tradition does not come easily to him.

What T’Challa learns, however, is that being flexible with tradition bears fruit, while following established protocol for no other reason than “this is how it’s done” leads to problems.  He spares M’Baku (Winston Duke) in trial by combat, which leads to an alliance later.  In contrast, when he fails to question whether trial by combat is such a great idea to begin with, he temporarily loses his throne to Killmonger.

The turning point for T’Challa is during his second visit to the ancestral plane.  While he is angry at his father for abandoning his nephew (Killmonger) on the streets of Oakland, when he tells the previous kings that they were “all wrong,” he isn’t doing so out of anger.  T’Challa realizes in that moment that following the old way, with its isolationism, trial by combat, and rejection of outsiders has failed in its essential purpose.  While these conventions were established to keep Wakanda safe, they have instead made it vulnerable.

Had Wakanda not kept the tradition of trial by combat alive, Killmonger would have not ascended to the throne.  If T’Chaka had just taken his nephew in as a child in the first place instead of rejecting him as an outsider, there would have been no Killmonger.  If Wakanda hadn’t kept itself isolated, and helped the peoples of the African diaspora throughout history, there would have not have been anyone like Killmonger.  T’Challa realizes all of this before the end of the movie, seeks to learn from the mistakes of the past, and plans to build a better future.

This is for the best.  An isolated Wakanda will do no one any good once Thanos comes around in May.

(c) 2018 D.G. McCabe



Guardians of the Galaxy (2014)

Guardians of the Galaxy

Directed by James Gunn, U.S., 2014

Superhero movies have gotten a bit too self serious these days.  I suppose one could blame the success of Christopher Nolan’s “The Dark Knight” (2008), but Batman is usually presented a dark, humorless figure these days. Nolan was just perfecting the accepted interpretation of the character.  No, the problem isn’t Nolan’s work but rather everyone else trying to copy it.  There was a time, however, when superheros were supposed to be <gasp> fun for all ages and not brooding stand-ins for the anxieties of our times.

Guardians of the Galaxy is not serious in any way whatsoever, and it is a stronger film for it.  It presents to us Peter Quill (Chris Pratt), or Star-Lord as he likes to call himself, a wisecracking, womanizing, thief and scavenger.  After finding a valuable artifact, he is pursued two bounty hunters (Rocket and Groot, voiced by Bradley Cooper and Vin Diesel) and an assassin (Gamora, played by Zoe Saldana).  After a street brawl, these four are sent to prison, where they meet the humorless he-man Drax (Dave Bautista).

The plot can be summarized as follows – everyone wants to kill everyone else over the artifact that Quill recovered, but eventually our heroes stop trying to kill each other and start trying to kill the bad guys.  Where both of these ventures are concerned, our heroes are all thumbs.

The sometimes convoluted plot and vast number of characters make it a bit confusing at times, but Guardians of the Galaxy is the ultimate summer popcorn flick.  It’s at once a fun action movie and a goofy farce – superhero film as comedy without trying too hard.

You might like Guardians of the Galaxy if: You’re bored with self-serious superhero fare and looking for something a bit more fun.

You might not like Guardians of the Galaxy if: A space opera with lots of characters and a complicated plot isn’t your cup of tea, even if it is really, really funny.

(c) 2014 D.G. McCabe