Friday, October 7, 2022

The Woman King (2022, PG-13)

I’m aware that action period pieces/historical dramas are a thing. Take most old-timey war movies. But something about The Woman King feels different. It’s so thoroughly action, so thoroughly period, that it feels like something all its own. I felt so pumped when I walked out of this movie.

In the 1800s, the kingdom of Dahomey is protected by the Agojie, a group of elite female warriors. When Nawi, a young woman who remains unmarried despite her exasperated father’s best efforts, gets an opportunity to train under the Agojie, she throws herself into the fighting but strains at their rules. Under the teaching of strict general Nanisca, powerful warrior Izogie, and spiritual leader Amenza, Nawi and the other recruits see if they have what it takes to defend their kingdom.

Much has been made about the fact that The Woman King is only very loosely inspired by the true story of the Agojie, creating a story that’s more rootable to modern audiences. While that’s understandably disappointing, I remind myself that virtually every based-on-a-true-story film plays fast and loose with the truth under the best circumstances, and it’s not fair to hold this movie to a different standard.

Instead, I’ll take the pieces of history that I can but mainly enjoy this as a damn good film, a compelling period action piece led by a group of truly ferocious women. The film takes us deep into the lives of the Agojie, the traditions they follow, and the sisterhood they nurture. I love the strength and power on display onscreen, what these women train their bodies to do and how they work together in battle to defeat their enemies and look out for one another.

And I love that, for all their fierceness, they also deeply care about each other. I like seeing the relationships develop between Nawi and the other young recruits, the way Amenza tries to offer comfort to the guarded Nanisca, how Nawi looks up to Izogie as a hero, a sister, and a mother figure all rolled into one. Little scenes, like Izogie braiding Nawi’s hair, mean so much, and I appreciate that these softer moments aren’t sacrificed in the name of wall-to-wall badassery.

But, I mean, there’s a ton of badassery. The training scenes are cool as hell, watching the seasoned pros showing the recruits how it’s done and seeing the newbies gradually level up to become warriors themselves. The actual battle scenes aren’t as clean and clear as I might like, but on the flip side, I also think they’re more real. As someone who’s been following a steady diet of Marvel for the last decade, I’m used to clear-cut moves, quips, and awesome tag-team moments. But these battles, despite having plenty of cool moments on display, are also chaotic and frightening, nothing but kill-or-be-killed everywhere these women turn. I appreciate that.

I haven’t seen Thuso Mbedu before, but she’s really great as Nawi, smart and stubborn and longing to be part of something bigger than herself. Viola Davis is imposing and powerful as Nanisca—she comes by her hardass nature honestly, but she’s also capable of great hurt, a fact she tries to hide. My biggest takeaway from the cast was Lashana Lynch (Maria Rambeau from Captain Marvel.) Her performance is so badass, so charismatic, so warm—honestly, it’s just everything I could want. John Boyega turns in some nice work as King Ghezo, who, as the ruler of Dahomey, has the last word in all matters but who follows the input of his general. I also recognized Sheila Atim, who plays Amenza, from the National Theatre Live production of Les Blâncs, and I finally figured out how I knew the actress playing the recruit Ode: she’s played by Adrienne Warren, lately a Tony winner for Tina and Danielle in Bring It On (the musical.)

Warnings

Strong violence (include rape that is explicitly discussed but only shown obliquely onscreen,) strong thematic elements (including slavery,) sensuality, language, and drinking.

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