As hypothermia-resistant Wonder Woman, the fights are fast and furious. As man-saving Diana Prince, the fashion is fusty and feeble
They love her: the reviewers. So this one must be good, or, at least, not another DC dud. That’s what we were led to believe until all the CGI scenes and slow-mo action started to bore, and you direct your attention at the titular character.
Wonder Woman the film is watchable, but Wonder Woman the superhero isn’t quite enthralling. Sure, Gal Gadot as Princess Diana is a beauty to behold, but her performance belongs to the Angelina Jolie school of acting. As we sat in Hall 4 of Film Garde Cineplex not quite transfixed, we kept spotting Lara Croft spying us from all corners of the screen.
It does not help that Ms Gadot pouts (actually, frown-pouts) when she wants to be fierce. Which means Wonder Woman, too, works her lips, making us wonder why they weren’t part of her arsenal, like those up-to-the-elbows bullet-proof cuff bracelets. And just like the Tomb Raider, Wonder Woman dodges bullets deftly, using her body as an aerodynamic fighting machine. It’s the costume, you see: that amazing armour/swimwear (the earliest version of the comic had WW wear a skirt!) that allows her body to be a weapon of defence rather than an object of desire.
Not that the costume adopted by Lynda Carter as the Amazonian—the one we remember most—is great (too campy, too pageant, as many today would concur), but the leather-and-loin-cloth combo of Gadot’s WW, designed by Lindy Hemming (who, also happen to have designed the Lara Croft costumes), led us to think of Sheena Queen of the Jungle. Perhaps the aesthetic/silhouette similarity should be acceptable since Princess Diana grew up on an island that’s forested, even when her homeland (and training grounds) is a take on Rivendell, and a poor one.
What annoyed us somewhat is the lack of explanation to how WW’s costume came about. This is supposed to be her backstory, but the costume just appeared—in the middle of the trenches of war. Sure, she’s similarly dressed back home on Themyscira (more commonly known as Paradise Island), but she did not pack extra clothes when she left with Steve Trevor, whom she rescued earlier, to fight a war that she believes was initiated by Ares, the god of war.
Nope, there is not the famous spin perfected by Ms Carter on the TV series. Wonder Woman of 2017, in a hooded cloak, merely turns with her back to the camera and then faces front with the superhero costume intact. Until then, she does not know she is a superhero and one who needs a costume. How did it become so calculated? Although the script made sure she could speak many languages, including, gasp, Sumerian (can she read cuneiform text, and, therefore, the Epic of Gilgamesh?!), it did not reveal to us that Wonder Woman could cut and sew, unlike, say, Peter Parker.
When feminism is now worn on the chest, this is the female-empowerment movie of the year. The leather (or PU, or latex?) bustier number should be able to say something about sartorial emancipation. But it seems to revive the body-con ideal that never fails to be the feminine ideal. Less revealing than Lynda Carter’s perhaps, but it is even more perfectly shaped than any costume seen in an action film involving a heroine—clearly requiring sewing technology, which seems at odds with an at-war society that required rescuing from a woman who fights with swords, spears, and bows and arrows.
With much of the action and story taking place in the battle grounds of what is believed to be World War I (which, interestingly, took place before DC’s creation of Wonder Woman), WW’s alter-ego Diana Prince requires almost no fashion, just as she needs no man’s chivalry to feel attractive, desired, or feminine. Maybe just his charity (he had to buy her something decent to wear). Clothes, as her urban contemporaries know them, seem to be hindrance to her as a warrior. In fact, she does not need to hide her identity, morphing from Wonder Woman to Diana Prince and back rather unconsciously and effortlessly. When she fights, she is costumed as WW. When she’s off the battleground, she is an I-have-no-time-nor-interest-in-fashion woman.
In fact, part of the script showed how uncomfortable she was with clothes of the world outside Themyscira. When Major Steve Trevor took her shopping in London (apparently at Selfridges) for a set of garments that would look less like underclothes, she scoffed at the choices offered to her, impressing her minder that no one could fight in outfits that cover so much of the body. Wonder Woman, who grew up in what could be considered temperate clime oddly requires no more than a hooded cape to survive snowfall!
Diana Prince, Major Trevor’s “secretary”, came by accident rather than as a real character to conceal her superhero identity. Part of the Diana Prince look (disguise?) is her glasses. In the comics, Ms Prince wore many different types, including rimless styles and chunky ’70s frames that would delight Alessandro Michele to no end. Lynda Carter’s was glamorous instead of secretary-conservative, just as Mr Michele’s versions for Gucci are geeky-alluring.
But when Diana Prince was treated to a makeover in London—her first port of call in the movie, she was given a pair of specs that looked like it was hastily picked from Owndays rather than something consistent with those worn in the early 1900s. Those glasses strangely appeared so briefly—during an alleyway ambush—that they don’t even amount to a cameo costume role, just as Diana Prince herself is down-played.
We’re no studious followers of the Wonder Woman comics, but we’re aware that there have been many delineations of the character. No matter how she was and is drawn, there has always been an element of sexual tease in the print versions. There too is humour, whimsy, and, dare we say, camp. But, Wonder Woman, the movie, is a dark, serious, not-fun account of the most known female superhero characters. While director Petty Jenkins has been lauded as a terrific first female director of a superhero movie, it is notable, perhaps, that, in order to gain the accolades, a woman directing a woman needs to stay clear of camp. This is a competent virgin outing, but not one with flair, let alone style.
We’re urged to revisit past print portrayals of Wonder Woman: in some, she even looks like Angelica Huston!
Photo (top): Zhao Xiangji. Movie stills: Warner Bros Pictures