As Marvel hurtles towards its intergalactic extravaganza in the summer, it has one more story to tell…in the hidden forests of Wakanda, Africa. Black Panther gives us a glimpse of what life is like in the small (made-up) country in its isolation from the world, and what T’Challa (Chadwick Boseman), the king of Wakanda, has been doing as he’s ascended to the throne. Director Ryan Coolger continues Marvel’s proud tradition of directors who give their characters a sense of style, place, and personality unrivaled among all the other cinematic universes.
T’Challa became the king after his father was murdered during the events of Captain America: Civil War. We see him go about the business of leading his technologically intimidating but hidden country. He seeks out his previous fling Nakia (Lupita Nyong’o) to help him govern; he consults Okoye (Danai Gurira), head of the best Wakandan troops, what to do about Ulysses Klaue (Andy Serkis) and his thirst for Vibranium; and his sister Shuri (Letitia Wright) laughs at him and enthralls T’Challa with the exciting technology she’s created from Wakanda’s Vibranium. T’Challa’s biggest challenge though comes from a man named Eric Killmonger (Michael B. Jordan), an American with several scores to settle who knows a shocking amount about the country.
Ryan Coogler was probably hired to direct Black Panther because of his work ability to create a world for an audience. In Fruitvale Station, he created an Oakland filled with loving hard-working people that also has danger lurking around every corner because everyone knows everyone. In Creed, Coogler created a modern streets heavy Philadelphia that was attached to the roots of the original Rocky movie. For Black Panther, Coogler convinced Marvel to give him a hilarious amount of money to create Wakanda. Now, a lesser director would simply apply Wakanda = black as a formula. Not Coogler. The director really studied many aspects of African culture to give the movie a very specific type of style. The transfer of power is built around tribes and mystics, some of whom have lip plates. Colors are everywhere, especially amongst the different tribes. The score (other than the Kendrick Lamar songs) is very African based. Wakanda the city looks like it grew out of the surrounding forest and plains: there are dirt based markets and communities, as well as jungle skyscrapers with plants sprawling around the exterior. In addition, Coogler did his homework on Wakanda from the comics: the country is the most technologically advanced place on the planet. As a result, the technology used by the country should look sleek and seeped in African culture and be VERY effective. The weapons are twists on African spears and capes; for example, the capes create forcefields. The best example though is the chase through South Korea, where every technolgical advancement of the Wakandans is on display, and giving the chase a distinct style and awe inspiring set piece. Attention to detail like this gives Wakanda a personality, and drops the audiences into a fun luscious new world to look at and enjoy.
What makes Black Panther really matter is the story and questions it is telling, at it is asking a lot. T’Challa’s arc has him questioning what it means to be a great leader. He learns things about his past involving his dad T’Chaka (John Kani) and his dad’s brother N’Jobu (Sterling K. Brown) that completely changes what he knew and makes him question his own rules for governing a country. Nakia, Okoye, and W’Kabi (Daniel Kaluuya) have serious questions about what Wakanda should give to the world: should they remain isolationist? Be diplomatic in revealing there technology? Or help powerless parts of their own race by giving them some advanced weaponry? All these questions have good and bad points, and there is no easy right or wrong to be had, making it difficult for T’Challa to choose the best course of action for his country. However, Coogler’s best parts of the story, refreshingly, revolve around a Marvel villain, which has been the MCU’s biggest weakness. Michael B. Jordan’s Eric Killmonger is driven by anger, like any villain. However, Coogler gives Killmonger one of the most complex backstories of any villain, making his anger and compulsion to upend the current Wakandan hierarchy is completely justified. It’s no small feat that when T’Challa and Killmonger are arguing, I was identifying more with Killmonger, a great testament to Coogler’s compelling story.
Apologies to Martin Freeman (who’s pretty solid) and Andy Serkis (having a ball hamming it up), but the sheer amount of black acting talent on display in Black Panther is hella scary. Chadwick Boseman is perfectly fine as T’Challa, but he’s mostly regally doing his best to listen to the stellar cast around him. Let’s start with the women. Lupita Nyong’o is charismatic as ever playing the probable queen of Wakanda, Nakia, and thankfully Coogler’s screenplay gives her a chance to kick some butt. The revelations though are Danai Gurira and Letitia Wright. Gurira exudes power and strength as the head of T’Challa’s army; not only does she more than hold her own in combat, but she has some strong opinions worth listening to: she makes the boys scared to attention. And Wright is simply a blast as Wakanda’s technology guru, effervescently showcasing delight and Egon from Ghostbusters like humor at just how smart she is and happy to make cool stuff. Sterling K. Brown and Forest Whitaker get just a few minutes of screen time, but they are so good at what they do that they earn every emotion they are trying to elicit. I didn’t even mention Daniel Kaluuya or Angela Basset, who also carry themselves nobly and look awesome in African garb. As good as all these people are though, the movie comes alive every second Michael B. Jordan saunters onscreen. Jordan gives Killmonger a channeled rage that makes him inspiring and frightening in equal measure. There’s a fight on top of a waterfall where Jordan has these looks that just puncture you and beat you before the battle even starts, and his character’s resolution is perfectly satisfying to the point that I was actively questioning whom I should be rooting for, a testament to Jordan’s riveting performance.
Other than the obvious notoriety, I have wondered why Ryan Coogler wanted to direct Black Panther, when he can clearly do whatever he wants. Personally, I think he did it for this one scene, where a little African American kid sees this really powerful black superhero who’s nice to him, and the kid looks up like that type of hero is now attainable to even him. It’s a sweet, lovely moment, and reminds me just how much Coogler probably cares that the Marvel Cinematic Universe isn’t just for one group of people, but welcome to all. I personally cannot wait to see what Coogler does next, and I hope he continues to bring Michael B. Jordan along for the ride, cause that pairing is 3 for 3 so far.