It was announced recently that Marvel Comics were ‘retconning’ their Thor character to make him female, the surgery being less physical than metaphysical in that ‘she was always a woman’. One could hardly accuse Marvel of tokenism given that Thor is one of their pre-eminent creations, having a comic history stretching back 50 years. Yet some ‘canonical’ fans may be disgruntled at such a radical change, even women, who are said to make up half of Marvel’s readership (partially explaining the success of big-screen transfers). It’s not as if they haven’t got enough strong female superheroes (Captain Marvel, She-Hulk, Spiderwoman, Black Widow, the Scarlet Witch, Pepper Potts, Sif and Jean Grey to name a very few). Nor may it impress those who would embrace such a change normally – one feminist was reserving judgement, saying: “We’ll see how many clothes she’s wearing.” And what will become of the character Thor Girl? But the one thing you can say about sci-fi mythology is that the possibilities are limitless as the imagination when it comes to changing circumstances if they don’t pan out as planned – when all else fails, one can always fall back on the flexibility of the comic multiverse.
So now might be a good time to offer my reminiscences on Captain America: The Winter Soldier and Marvel’s Agents of S.H.I.E.L.D. I was hesitant at first to see Cap, despite solid reviews from the critics, planning to wait for this instalment to debut on the small screen but hearing positive assessments from those closer to me, I decided ‘why not’, catching it on the last day of its screening in these here parts.
I was glad I did. Not only very good in itself but it tied in with a key storyline developing in TV’s Marvel’s Agents of S.H.I.E.L.D., that is, the terrorist organisation H.Y.D.R.A. coming into the open. Suddenly, all the pieces from the Avengers’ Hollywood juggernaut and its spurs into various superhero narratives fell into place – something that would not happen were one to wait for Joss Whedon’s Avengers: The Age of Ultron, in the way that one could ignore the first of the franchises for Iron Man, Thor, Captain America and Hulk before Whedon’s Avengers Assemble. One learns why Gary Shandling’s oleaginous Senator Stern held such antipathy for Tony Stark/Ironman, for example, but also why he may be making no more appearances. The defenestration of S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement and Logistics Division) is more crucial.
Captain America: TWS develops as a conspiracy thriller in which Cap (Chris Evans), Natasha Romanoff/Black Widow (Scarlett Johannson), S.H.I.E.L.D. Director Nick Fury (Samuel L. Jackson) and Deputy Director Maria Hill (Cobie Smulders) all have to go on the run. Anyone with a modicum of intelligence would figure out quickly who was the covert main villain. Continuing the liberal theme identified in Star Trek: Into Darkness, there is a distinct anti-drone strike agenda, critiquing this aspect of US foreign policy as illegal. As to other double agents, I already learnt from TV’s MAOSHIELD that Agent Jaspar Sitwell was treacherous, making him being zapped electrically into unconsciousness in the first series so retrospectively pleasing. He was slightly wasted in CA:TWS though – having served his purpose, Sitwell was summarily dispatched by the script writers as much as the Winter Soldier, when I would like to have seen here his character would have gone now that his treachery was exposed.
The plot that S.H.I.E.L.D. was hopelessly compromised from inception by infiltration from H.Y.D.R.A. mirrors the comics. It also has an analogue in real life because for many years after World War Two, Interpol dragged its feet over pursuing Nazi war criminals as its highest echelons were populated by former Nazis. H.Y.D.R.A. (in the Marvel world) was itself initiated by Nazis and the American capture of German scientists in the dying days of WWII is stated here by the loathsome Dr Arnim Zola (Toby Jones) – reconstituted as a massive computer memorybank (as he is a robot following organic death in the comics) – as how these Nazis could return their murderous ideology to positions of influence.
In addition to the high-paced action, there are moments of humour sprinkled throughout: Fury’s souped-up SUV has seven shades of something else knocked out of it and finding most relevant systems are failing, Fury asks in exasperation of his onboard computer what does work; the reply: “The air conditioning is fully operational,” as air already courses through several holes. Another instance is the Cap and Romanoff, as disguised figures, interacting strangely with an Apple store attendant. The best bit though is for those in the know: Fury’s gravestone is inscribed with his famous thundering line from Pulp Fiction.
The producers scored a coup in recruiting Robert Redford to this enterprise, though he does look as raggedy as Nick Nolte these days. Evans does decent enough as Cap, though it seems a long time ago the actor was the Human Torch in two Fantastic Four movies and he doesn’t appear to have aged much. Scarlett Johannson breaks out the red hair dye (in the same way Kirsten Dunst did for Sam Raimi’s Spiderman trilogy) and adds lustre for the male eye, especially through her power-dressing, yet on the run, even with an unreferred bolthole, Romanoff’s clothing and boots are remarkably immaculate and uncreased. The introduction of Agent 13 i.e. Sharon Carter (Emily vanCamp) is welcome as I do like to see the fuller fictional universe of the comics realised, with the same applying to Anthony Mackie as Falcon/Sam Wilson. Stan Lee never disappoints in his cameos as again he proves here as unnerved security guard. And Samuel L. Jackson is watchable as ever. In lesser roles, Gary Sinise puts in stint as the(voice-only) Smithsonian narrator, Thomas Kretschmann portrays in a mid-credits sequence Baron Wolfgang von Strucker, Elizabeth Olsen as Wanda Maximoff (AKA the Scarlet Witch) and Aaron Taylor-Johnson as Pietro Maximoff (AKA Quicksilver) – the last three all uncredited, with the Maximoff siblings set up to be initial villains through recruitment not by Magneto but by H.Y.D.R.A.
There are a few slip-ups which is not altogether unsurprising. With the aforementioned Black Widow’s wardrobe, there are a few other niggles such as Fury temporarily upgrading the Cap’s clearance from Level 8 to Level 10 in order for our Avenger to see the helicarriers, yet there to seem to be hundreds of engineers, technicians and security guards all over the hangar – are they all also on Level 10 clearance thus hitherto outranking the Cap? Yet for a film in which the pace rarely lets up one can forgive such oversights. All in all, I’d give it four out of five.
Despite the gluttonous nature of the overarching franchise, each film is a standalone (as it should be), understandable even in the ignorance of others, though it gets more complicated if you see some but skip others. The same goes for Marvel’s Agents of S.H.I.E.L.D. Joss Whedon largely delegated this to his family and associates and they played a very high stakes game, where essentially the whole first season was a pilot for the second. A lot of people were turned off (and did turn off and not return) by how formulaic and boring it was, as we gradually got to know each of the characters as they went chasing the ‘monster/device of the week’. I had a higher tolerance threshold and attracted to the periphery as I am – to know about the places and people that don’t get the spotlight – I found Agent Phil Coulson (Clark Gregg) endlessly watchable.
The second season though was where it took off after the long background tease of the first. This became quite noticeable when the narrative, for reasons of plotting, briefly jerked back into a low-rent Scooby-Doo escapade, such was the quality that was now surrounding it. I think Whedon, seeing the direction of travel, righted the vehicle before stepping back again. That it was getting up to full speed was shown by Stan Lee giving it his imprimatur, acting out as a Hugh Hefner-alike on an Italian train. One chase episode was also of high quality, introducing Lorelei (with Asgardian heritage recalling the Enchantress) and Sif straight from the comics. The link with Captain America: The Winter Soldier is quite explicit (unlike the in-passing note of Thor: the Dark World), the film making sense of otherwise nonsense phrases such as “Captain America has defeated the helicarriers at the Triskellion.”
Agent Coulson no longer becomes the one-note character he was lambasted for being (by certain critics), as we learn more of the life he left behind after he was ‘killed’ in Avengers Assemble – his widowed mother now grieving for her son, the girlfriend who still pines for him – plus his utter desolation when S.H.I.E.L.D. is wound up and he is apparently left without a purpose – this organisation to which he has given so much of his life. We also informed of how he was brought back from the dead, the pain he endured and the false memories sown. The spying of Melinda May (Ming-Na Wen) on Coulson for Fury and the destructive impact it has on her relationship with Coulson sends spikes of tension coursing through the narrative’s veins. We learn that Skye (Chloe Bennett) is alien in origin and that her parents are ruthless and terrifying. The relationship between Fitz (Iain de Caestecker) and Simmons (Elizabeth Henstridge) blossoms even though Simmons is torn in her affections. And cyborg Deathlok the Demolisher also makes the crossover from the comics, the unfortunate Mike Peterson (J. August Richards) made into a Frankenstein’s Monster. All this is interweaved to the backdrop of H.Y.D.R.A.’s emergence into daylight.
Bill Paxton as Agent John Garrett gave the second season a shot in the arm, a heavyweight presence that upped the game of the whole narrative. Most famously, he was the US president in Independence Day and like Evans, he seems not to have grown much older in the intervening decades. As Agent Garrett, he exuded a freewheeling charisma. This likeability and coolness was shaken when it was revealed that he was, in fact, a top H.Y.D.R.A. commander. This shock is compounded before the episode is out by the dependable Agent Grant Ward (Brett Dalton) – who was the first S.H.I.E.L.D. agent we encountered on television and whose action man attributes falsely suggested that he would be the main character of the series – exposed as Garrett’s aide, killing in cold blood to rescue his briefly captured mentor. Veronica Hand, played by Saffron Burrows, is one of those murdered. Making an appearance in the first season, her role is expanded in the second to make her death scarcely believable and thus to knock us further sideways – initially, we were led to believe that she was top H.Y.D.R.A. foe; readers of the comics would doubly have drawn this conclusion as she was there the Deputy Director of H.A.M.M.E.R., the villainous Norman Osborn’s (Green Goblin) replacement for the discredited S.H.I.E.L.D., in addition to being a triple agent. So when it turned out she was the loyal one and Garrett the turncoat, it really spiced up the narrative when she was bumped off. For the next two episodes, before the team realised Ward’s double agent credentials, there was a palpable tension – primary characters defecting, important secondary ones being eliminated – it was impossible to tell what would happen and who would live or die.
Garrett’s unwitting sidekick, Agent Antoine Triplett (B.J. Britt) is recruited as a like-for-like replacement for Ward, though Melinda May, who had a sexual relationship with Ward, has the final say: “Just like old times,” quips Ward as he straddles May, whilst pushing her head towards a buzzsaw. “You were never on top,” Mary shoots back as she turns the tables – innocent yet dirty dialogue. The grandfather of Triplett was in the Howling Commandos – a reference to Nick Fury’s comic book incarnation’s first team. Maria Hill makes another crossover from the big screen to help out Coulson. The audience is constantly teased about the immediate appearance Samuel L Jackson as Fury in the second season (after a brief cameo in episode two of season one) – an opportunity to hear him, but no; a chance to see him, but no. There is a still shot of him in Coulson’s flashback but this could just be stock footage. Then, in the final episode, there he is and what a contribution he makes; even Coulson is surprised to see him at long last: “Sir?” to which Fury replies, “Don’t Sir me. I dress like I live under a bridge [so as t be undercover].”
Garrett’s and Ward’s backstory gets ample if tight treatment and Garrett is revealed to be the first Deathlok, even if the timeline is a bit squiffy – in 1990, Yugoslavia had not descended into civil war and IEDs (Improvised Explosive Devices) were not part of that conflict. At first, Garrett claims he joined H.Y.D.R.A. because he ‘saw which way the wind was blowing’ – “This is about me being realistic, Phil.” “No, it’s about you being a psychopath John, Coulson snaps back. We learn though that S.H.I.E.L.D. abandoned Garrett, when he suffered his life-threatening injury, allowing H.Y.D.R.A. to play on his bitterness to lure him into their structure. Ward is shown how he can betray his former team so dispassionately. His unswerving devotion to Garrett derives from the latter rescuing him from prison, teaching him life skills but also the need to detach one’s emotions for the line of work he has in mind for Ward.
Eventually Fury entrusts Coulson with rebuilding S.H.I.E.L.D. In the comics, there have been various directors of this elite espionage organisation – Fury, Hill, Tony Stark – and now Agent Coulson joins that roster as Director Coulson. The commissioning of a third series has been delayed (albeit it is ‘green-lit) possibly because of the drop-off in viewing figures as a result of the first season. Were it to stay in development, Coulson would still at least have a re-entry into the main film franchise and becoming Director was a fitting touch if it was the final act of Marvel's Agents of S.H..I.E.L.D. The second season definitely qualifies as brilliant drama.