"Black Panther": Marvel has released the most powerful and non-standard movie comic in the history of film studios

"Black Panther" - the first film about a black superhero in the universe of Marvel. I believe that, despite the traditional plot scheme for movie comic, the picture about the opposition of different races, genders and social classes turned out to be non-standard, witty and possibly the best in the filmography of the young director Ryan Coogler.

If you are watching only one Hollywood blockbuster for the year, look at this one. It is not known whether Black Panther will collect record money and whether it will have a prize fate, but this film will go down in history for sure.

After last year's "Wonder Woman", the first successful mainstream movie comic of a woman, shot by a female director, the time has come for the first film of the same genre where the director, screenwriter and hero are black. Actually, the blacks are almost all the characters, minus the two emphatically comic and secondary, played by the British Martin Freeman (CIA agent Everett Ross) and Andy Serkis, the genius of motion capture (at one time played Gollum, King Kong, monkey Caesar and supreme leader Snoke), and here - the unlucky and not at all terrible villain Ulysses Klaw. "Black Panther" is based on the comic books of the 1960s and 1970s - the eponymous hero was born at about the same time as the movement of the "black panthers". However, the film is much more radical than hand-drawn prototypes.

Of course, this is a political film. Starting from the prologue, in which the fantastic world of the fictional African paradise collides - Wakanda (its king is Black Panther) - and the poor dysfunctional suburbs of the American city, whose inhabitants will fall prey to the idealism of the proud Vacadians. The real world is a little like a fairy tale, and the more magnificent the Eldorado is in the high-tech and deeply natural Wakanda, the more obvious is its arrogance towards the rest of the African countries, mired in feuds and poverty. If a typical superhero at the expense of supernormal abilities runs out of a boring reality, then in Black Panther everything is the opposite: the film’s characters are forced to leave their idyllic world to experience the hard way the rest of the planet lives.

This movie is about the rich and the poor - those who took all the resources and uses them to their joy, and those who are deprived, angry, deprived of hopes for tomorrow. The fact that such an imbalance eventually turn into a war of annihilation.

This film is about blacks and whites - about racial prejudices that underlie the global system of oppression, which is evasively called "economy" or "politics". And about those blacks who live comfortably, having received the privileges of whites.

This movie is about men and women. In addition, the men here, both the protagonist and the antagonist, are two doubting weak men, and women are stronger than stones. The majestic queen mother, a brilliantly gifted princess, a courageous general and her powerful swat skinhead Amazons — no man can resist them. In addition, behind the scenes, by the way, Rachel Morrison is working - the first female operator nominated for an Oscar.

Non-standard placement of accents helps to transform the archetypical plot scheme. According to the structure of "Black Panther" - something like "Hamlet". The great king dies, the young neurotic prince is forced to become the successor, but an impostor also claims the throne. Only in the "Black Panther" is literally the opposite. It is not the usurper who turns out to be a fratricide, but the noble monarch himself; an aggressive upstart seeks the throne by right, in full accordance with the inheritance ritual adopted in Wakanda. "Black Panther" is linear, like any movie myth, but you cannot call it template or predictable.

Directed by Ryan Coogler also entered his throne by right. His professional fate is impressive: he is only 31 years old, and he became famous at 26, having received the Grand Prix at Sundance for an acute socially based and real-life low-budget film Fruitvale Station about a black man innocently killed by police on New Year's Eve. Coogler's path from independent cinema to the blockbuster of the Marvel studio was surprisingly harmonious: his second tape, Creed, was already made for much more money and was maintained according to the laws of the boxing cinema genre - but did not lose its socio-political pathos. Coogler did not “sell”, but found a form adequate to his talent. As part of the author's cinema, his paintings seemed to be poster-flat; the same ideas, presented to a huge audience of teenagers with a sauce of fights, chases, adventures and special effects, suddenly found volume and meaning. Of course, "Black Panther" is his best film.

It is richly and inventively constructed and independent of the "united universe" (if you have not watched the previous kinokomiks, do not worry). Landscapes of Wakanda, futuristic and archaic at the same time, pull on a separate work of art. Battles and fights against the backdrop of majestic waterfalls and virgin forests - self-worthless rides, as well as a dizzying chase on radio-controlled cars through the streets of night Seoul. The rout of the British Museum is a witty satirical sketch. In addition, the film has incredible costumes, tattoos, hairstyles and make-up of imaginary African tribes.