Black Widow was a self-aware sendoff to Scarlett Johansson’s Natasha Romanoff
Recently, Scarlett Johansson sued Disney for the hybrid release of Marvel’s Black Widow. While Disney got back with a strong-worded statement the news is Marvel head Kevin Feige is ’embarrassed.’ While it’s true that the hybrid released did hurt the box-office collection of the movie there are other factors as well.
24 – that’s right – that’s how many movies Marvel Studios has released to date, earning billions of dollars in box office success. The once bankrupt comic book behemoth, Marvel has cemented itself as an entertainment juggernaut and its story of success is definitely a Cinderella tale for other studios. But, post (what will be referred to as a genre-defining arc) the third phase, there are now rumblings of a stale Marvel aesthetic that has come to be expected from its multiple releases. Case in point: the newest addition to the MCU – Black Widow.
Watch: Marvel Studio’s Black Widow Trailer
Made By The Women
Black Widow’s solo hits all the right marks for all the “right reasons” (post-Weinstein and Me Too) helmed by a woman director, with women leads and produced by women. The movie makes it a point to be self-aware of the spectacle often forced on by women leads to be considered as part of “the boys”. Whether it’s Black Widow’s bodycon little black dress in Avengers or Margo Robbie’s hotpants in Suicide Squad, leading ladies often have to go to ridiculous lengths to prove their on-screen worth.
When Yelena makes fun of Natasha’s crouched pose, it’s a jab at the absurd and sometimes campy superhero-ness that we have come to expect from the Avengers and other superhumans. Yelena in the entirety of the movie is the reality check that Natasha and the other superheroes need. It’s also a quality that makes Florence Pough’s Yelena stand out from Johannsen’s Natasha – but more about that later in the article.
The Marvel-ous Asthetics
The aesthetics and tone of the movie are reminiscent of the early work of the Russos – especially Winter Soldier. This can be seen in the font choice and colour palette which is clean, utilitarian and has come to represent what Marvel’s production is all about – substance over the show (of course peppered with ample amounts of practical or special effects). The slick fonts and production design, make it a spiritual companion of Phase 3. And yes, we are aware of the production delays which hindered its release, but at this stage, it just feels stale.
What should have been an introspective look into what makes Natasha Romanoff in the Black Widow, the elite assassin she is, ends up being a poser flick culling another villain from the Marvel-verse. In doing so, Natasha’s standalone piece looks like an afterthought of the Civil War. Going by the canon, this should be good. But going by the deliciously creative decisions that made Marvel such a heavyweight (just look at Guardians of the Galaxy!), this is a bit unfair to Black Widow’s personal arc.
Nowhere is this clearer than in what Florence Pough brings into the equation, as the feisty younger sibling Yelena. Yelena often seems like the one dissident beacon that is quick to call out the tonality shown by the Russos in Phase 3. This is why when she’s critiquing Natasha’s battle poses, it’s also calling out why Black Widow needs to be its own vehicle. When she is criticizing Natasha’s driving, she’s calling out the ridiculousness of driving a massive SUV through the busy streets of Budapest.
Yelena Belova – The Next Black Widow
Yelena seems to be more grounded and human than Natasha. The dinner scene where the covert family of Alexei, Melina, Natasha and Yelena are reunited, is a poignant and emotional one. Natasha wants no part in reminiscing the good old days when the family was together, while Yelena says that she believed they were a real family. At times it feels like Yelena is trying to reach through and remind Johansson that this is her own movie – she doesn’t have to pose anymore and be an Avenger.
In the end, Black Widow is a somewhat satisfying send-off to Natasha’s sacrifice that truly makes her a hero in Endgame. It’s not the slick action sequences a-la Winter Solider that make the movie what it is, but rather defining relationships. Even if Natasha is blinded by murderous rage to take out Dreykov and the Red Room, it’s a formidable attempt at Natasha showing the ropes to her younger sister.
Remember the opening sequence where the two sisters play in the twilight? Just as a younger Natasha sowed the seeds of competition in a small Yelena, an older Natasha culls the world of the Red Room, freeing the likes of Yelena and hundreds of other young women. Don’t watch Black Widow for the action – because honestly there isn’t anything new to be expected. But do watch it for Johansson’s concerted attempts to make a movie about the coming of age of women.
