Director Patty Jenkins could make the film she wanted, even though she had to fight the sexism of the studio for years for the first time.
Warner Bros. is definitely vulnerable to an executive intrusion or two for a studio that prides itself on having directors do their job. At least, that’s how it appears at first glance when you read the latest remarks on Marc Maron’s WTF podcast by Patty Jenkins (Wonder Woman 1984), which were subsequently picked up by media outlets around the world. Jenkins revealed that she initially clashed with the studio to push forward her vision of a wet, caring Diana of Themyscira, eventually winning against an approach that would have seen the character in intense ultra-violence, talking about Gal Gadot’s first appearance as an Amazonian heroine in 2017’s critically acclaimed Wonder Woman. I felt like they wanted to recruit me as a beard; they wanted me to walk as a female director around the set – but it was their story and their dream,” Jenkins says of her first studio experience, “Even when I started on Wonder Woman, they were like, ‘Uhh, yeah, okay, but let’s do it the other way.’ But I was like, ‘Women don’t want to see that.’ For her to be so tough and cut people’s.
“Let’s set aside the sensational headlines such as “fight.” https://t.co/V7Tj1rOTBS- January 6, 2021 Patty Jenkins (@PattyJenks)
Since then, Jenkins has pointed out on Twitter that she was rarely “at war” with Warner Bros. and spoke of meetings that took place about a decade earlier, (presumably) with somewhat different executives from those who ultimately greenlit Wonder Woman. In 2007, the Monster filmmaker started talking about a Wonder Woman script, but it was not until almost a decade later that she was invited to direct the film with it.
The sequences are magnificent, especially the bravura vision of Jenkins of the opening marathon across Themyscira, which makes the modern Olympics look like an egg run for children. The Mandalorian’s Pedro Pascal brings to the role of villain Maxwell Lord an odd combination of humanity and furniture-chewing villain brio, Gadot is as delightfully statuesque as ever in the lead, and her fish-out-of-water
When it comes to depicting masculinity at its most toxic, the film does not mince words, but at the same time avoids any regression into myopic misandry. There are complexities to appreciate – so what’s not to like? Maybe the only critique that can be levied at Jenkins is that there is something new to the underlying structure of Wonder Woman 1984, aside from the ’80s setting and a wacky new MacGuffin.