Cutting to the chase, the MCU’s latest superhero extravaganza is rich in action, circus-act set-pieces, and rife with conflict, both political and emotional. It’s the combination of these elements that make the film a stand-out in the realm of superhero cinema. The film isn’t without flaws but the Russo Brothers deftly manage a smorgasbord of plot, character, and action in a way that few could, and that alone is an achievement.
Warning: there may be spoilers below. Proceed with caution.
I’ll start with the flaws. The main complaint with the previous MCU films has been its inability to tell a complete story. The stories here are culled from decades of comic books, which as a medium is defined by its serial nature. This week’s issue is a continuation of last week’s while also being the precursor of next week’s. Film has never really been that way, unless there were planned installments (i.e. Harry Potter, Lord of the Rings, Star Trek). The arc created in previous installments is rarely concluded within a single narrative context. In other words, comic book superhero narratives are longer than your typical narrative. They are resolved over the course of several issues, or films, while only black-and-white struggles get resolved. The actuality is, these films prove it is much easier to vanquish a physical enemy than it is to get rid of a metaphysical one (i.e. Steve and Tony’s internal struggles linger long after their enemy has been killed or imprisoned at the end of the movie). So the problem we run into in films such as Captain America: Civil War is one of a structural nature.
What I’m working towards is the reason for the inclusion of characters and moments that don’t necessarily complete the narrative we’re watching, but they add to an existing narrative outside the confines of the current story, or they are planting the seeds for another story to begin.
The most obvious example is the massive shoehorn the Russos employed to wedge the MCU’s returning hero, “Spider-Man”, into Cap’s adventure. When Robert Downey Jr’s Tony Stark goes to Queens to recruit the high schooler with the superhero abilities, it brings the Civil War storyline to a grinding halt. I am aware that “Spider-Man” was present in the comic book version of the Civil War storyline, but he existed within that world long before the big battle takes place. In this film, he is brought in for three reasons: to give Tony Stark a moment of levity in an otherwise emotionally vulnerable story for “Iron Man”, to provide some humor and fun to the heavy-handed proceedings, and to introduce “Spider-Man” into the MCU. Narratively speaking, he serves no purpose. He doesn’t choose a political side or fight for a reason. He fights because his idol asked him to, which is most dubious considering how well and how long the film sets up the emotional and political reasons for all the characters to fight for their side (except maybe Paul Rudd’s “Ant-Man”, who seems to fight for almost the same reason “Spider-Man” does, albeit on Team Cap).
There are conflicting ideologies at work that truly elevate the story in a way that no Batman v Superman ever could. Both films deal with the collateral damage inflicted upon civilization and the consequences thereof. Where Civil War succeeds is in creating grey areas for the characters to exist within. Steve Rogers understands the ramifications of civilian casualties in the process of stopping the bad guys, but he also understands the agendas of those that would force him to or keep him from taking some necessary risks. Have we learned nothing from the scheming Hydra agents from Winter Soldier? Imagine if they had final say in where, when, and under what circumstances the Avengers were sent into action?
But we are also shown the toll that the events of the previous movies has taken on Tony Stark (Robert Downey Jr. is fantastic in this film). The amount of damage resulting from the existence of the Avengers is tremendous and Tony doesn’t want the burden anymore. I’ve seen people writing pieces about the reversed allegiances and the backwards ideologies of the two main characters. This is where that notion of incomplete storylines and serial narratives comes back to bite the MCU. What do we know about Cap? He’s a soldier who fights for truth, justice, and the American way. And we know Iron Man is an arrogant, stubborn loner who revels in the attention of being a superhero and billionaire playboy. So how is it we got to the point where Cap becomes a government outcast and renegade fighter while Iron Man fights for the rights of the government to control the actions of superheroes? You have to read (see) last week’s issue!
The best parts of this film are character moments: interactions between Anthony Mackie’s “Falcon” and Sebastian Stan’s sympathetic, dangerous and conflicted “Winter Soldier”; “Spider-Man” interacting with everyone he meets from the Avengers; Chadwick Boseman’s intense performance as the grieving, vengeful king of Wakanda, T’Challa (A.K.A. the “Black Panther”); Paul Rudd’s what-am-I-doing-here comedic shtick (as well as an amazingly fun action sequence centered around his “Ant-Man” abilities); and one of my favorites, the insecure and frightened performance of Elizabeth Olsen’s “Scarlet Witch”, who carries the burden of causing the catastrophe that sets the story in motion as well as the being the “outcast” of the group because of the intensity of her powers.
The joyous, huge action sequence between the two superhero teams is a much-deserved payoff after we are given ample reasons for each team to fight for their cause. This is why it pays to set-up, set-up, and set-up some more. By the time we have reached the fight, the backstory of political ideologies and emotions have been firmly established. Of the two main fights in the movie, this is the political struggle narratively created into an actual fist-fight, complete with humor and over-the-top action beats. The climactic battle between Cap, Iron Man, and the Winter Soldier is equally rewarding, if not moreso, because this fight embodies the emotional baggage of each character and succeeds in embodying the sheer intensity of an emotional fight. The explosion of emotion that ignites this battle is lit literally from the very first seconds of the film. The fact that we have to wait until the very end to get the payoff makes it even more satisfying.
When we are served a superhero film that combines this many characters with this level of thought and planning, we are all lucky customers. The inherent structure of superhero films begs for the creation of a thousand think-pieces about the nature of story and cinematic narratives, but I’ll leave that to much smarter people and enjoy the ride the Russo’s have given us.
I was off last week (too busy) so this week I tried to gather up all the nonsense from this week and last and give a few thoughts on each. I talk about 50 Shades of Grey, the Sony/Marvel deal with Spider-Man, Jon Stewart, and get into a couple movie reviews that I wrote about here and here.
Also, I mention a satirical post a feminist writer put up on her site during my discussion of 50 Shades of Grey, which can be found here. I highly recommend it. Enjoy!