‘Black Panther’ is exhilarating, groundbreaking
‘BLACK Panther’, an adaptation of the iconic comic book that has been decades in coming, proves to be more than worth the wait. This lush, impressively wellacted film, about an African king learning how best to marshal the superpowers with which he’s been endowed, comes draped in anticipation, not only from hardcore fans of the source material, but filmgoers already steeped in breathless hype. Director Ryan Coogler, working with a script he co-wrote with Joe Robert Cole, doesn’t just meet but exceeds those expectations, delivering a film that fulfils the most rote demands of superhero spectacle, yet does so with style and subtexts that feel bracingly, joyfully groundbreaking.
Chadwick Boseman, until now best known for channelling the likes of Jackie Robinson, James Brown and Thurgood Marshall, comes masterfully into his own here as T’Challa, crown prince of the mystical kingdom of Wakanda, who
‘Black Panther’ is great fun to watch and shot through with delicate threads of lighthearted humour, mostly delivered from Wright’s cheeky, sarcastic whiz kid .....
assumes the throne when his father is killed while giving a speech at the United Nations. After an elaborate initiation ritual, T’Challa is tasked with hunting down an evil arms merchant named Ulysses Klaue (Andy Serkis), who has stolen a Wakandan artifact made of the precious metal vibranium. Outfitted with adhesive footwear, a fearsome feline mask and a suit that can absorb and redirect power, invented by his technogenius sister Shuri (Letitia Wright), T’Challa sets off for South Korea with his allies, General Okoye (Danai Gurira) and Nakia (Lupita Nyong’o), an accomplished operative who also happens to be T’Challa’s exgirlfriend.
That game, once it’s afoot, is plenty entertaining, even if it never veers beyond the most conventional contours of modern-day movie action. In a recent interview that went viral, the music producer Quincy Jones noted that most rap music is “just loops, beats, rhymes and hooks.” The same formula applies to the comic book movies that, at their most uninspired, feel like thinly cobbled-together series of battles royal, windy expository encounters, spatially challenged chase scenes and epic standoffs.
The difference with ‘Black Panther’ is that, while observing the outlines of the traditional comic book arc, Coogler and his creative team have enlarged and revitalized it. Drawing on elements from African history and tribal culture, as well as contemporary and forwardlooking flourishes, ‘Black Panther’ pulses with colour, vibrancy and layered textural beauty, from the beadwork and textiles of Ruth Carter’s spectacular costumes and Hannah Beachler’s warm, dazzlingly eye-catching production design to hairstyles, tattoos and scarifications that feel both ancient and novel.
Although that universe might not seem to need yet another origin story, this one possesses urgency and genuine propulsive interest most others lack. Once T’Challa’s true challenge is revealed, ‘Black Panther’ becomes something deeper than the mere formation of one superhero, engaging such subjects as: the legacy of colonialism; collective memory and interior geography; the tension between autonomy and social conscience; and the need for solidarity within an African diaspora at political and cultural odds with itself.
Make no mistake: Coogler doesn’t use ‘Black Panther’ as an awkward delivery system for such Deep Ideas. Rather, he weaves them in organically and subtly. ‘Black Panther’ is great fun to watch and shot through with delicate threads of lighthearted humour, mostly delivered from Wright’s cheeky, sarcastic whiz kid and Martin Freeman, who shows up midway through the film as an earnest if unlikely ally.