(Spoiler Alert: The following notes assume big plot twists and a knowledge of the film.)
My wife and I saw Wonder Woman last night, and thank God, it was a good flick. I was worried the hype was just, well, hype, but it turned out it was a really solid superhero film and will be seen by most as the best of the DC franchise. It probably is, but I actually enjoyed Man of Steel and did-not-hate-kinda-liked most of Batman v. Superman (the extended edition, which actually makes way more sense).
In any case, as is my tendency, I had theological thoughts about the film as I was watching. I mean, I am a Systematic theology student.
Still, superhero flicks lend themselves to this sort of analysis, since they’re explicitly concerned with quasi-divine figures rescuing humanity from destruction. They, therefore, typically contain an implicit soteriology (view of salvation), and therefore a corresponding anthropology (view of humanity) and hamartiology (view of sin, or what’s wrong with the world). I know it’s the ultimate cliche to find “Christ-figures” all over the films, but with Superhero flicks, it’s like shooting fish in a barrel.
Wonder Woman is no different. Indeed, it’s quite explicit about these things. One of the main plot tropes is Diana’s encounter with the world of men off the Island of Themascira. It’s what generates much of the humor (confused outsider a la Splash), as well as the moral energy. Yes, Diana is on a mission to defeat Ares, god of war, whom she believes is behind the carnage of World War I. But she is also on a moral journey; she is a goddess learning what it means to be a savior in the world of men.
One thing she has to learn is an alternative anthropology. In her myths about the creation of men, she learned that they are basically good, but they have been perverted and twisted towards violence by the powerful sway of Ares. She thinks, “If I can just kill Ares, men will be released to be good.” In other words, her hamartiology is reduced to a demonology: “the devil made them do it.”
And so whenever she encounters duplicitousness in the world of men–the lies and cowardice of even the “good guys”—she declares, “You too have been corrupted by Ares. You’re under his influence as well.”
A key movement of her moral journey involves recognizing the problem is much deeper. She comes to realize that humanity itself, apart from Ares, has evil within it. Humanity wars against itself, regardless of Ares, and in this war there are no pure figures. At the key hinge dialogue in the film, Steve Trevor (Chris Pine) struggles to make clear to her, “Maybe we’re all to blame.” In other words, it’s the flesh, not just the devil at work in human evil.
Actually, this is where the demonology of the film gets interesting. Ares, as it turns out, is not the obvious devil figure you’re led to expect through the film. Ares turns out to be a moral misanthrope. And it is in his role as an Accuser of men that he makes his case to Diana against saving them. He hates men because he sees their weakness, their evil, their inherent proclivity towards hate. He tells her he has never had to control them–he has only had to suggest, to whisper, to stoke ember of evil that were already there in order. He has only fomented the war in order that men might destroy themselves–receiving in themselves the due penalty for their corruption, as it were.
It’s here that the goddess must learn the lesson of grace. Before she goes off the Island to fight, her mother Hippolyta tells her, “They do not deserve you.” She’s pure. She’s good. She doesn’t lie. As soon as she sees the good, she is immediately moved to pursue it.
And it is precisely for this reason, she must learn the lesson of grace. She has to learn why she’s a hero, why she ought to struggle to save humanity. Before she thought it was because they’re basically good, deserving victims of Ares’s oppression. And while that latter statement is true, they are victims of Ares’s machinations, they are also victimizers. “They do not deserve you.”
And so in that same climactic scene, as the weight of human evil strikes Diana, Steve must play the role of advocate of sorts arguing, “It’s not about what they deserve–it’s about what you believe.” If humanity is going to be saved, it can’t be a matter of merit. They have all sinned and fallen short of the glory of Diana, in that regard. In which case, it must be a matter of mercy and grace. It has to be a decision Diana makes beyond desert.
Now, here the statement “it’s about what you believe” is a little limp. Pressing deeper, reflecting on Steve’s character, his valiant sacrifice, and the other men she has become friends with, she recognizes there is more to humanity than the evil within. There is love and goodness as well. The image of Zeus, if you will. And so she decides that is worth fighting for, even if humanity doesn’t deserve her.
This is one of those places where, coming from a Christian theological perspective, I thought they could have pressed deeper. Because, narratively, it’s not merely a matter of what she believes about humanity, but who she is for humanity. She was created in order to save humanity from Ares, from war, from the hell they make, apart from consideration of their merit. In that sense, it is about Diana’s purpose and the consistency of character as good, merciful, and just; it’s about the obligations that she has to be herself in the face of evil. Diana saves men, because Diana was created to be a savior.
Of course, Diana is not Jesus. And obviously, this wasn’t a “Christian” movie–for all sorts of reasons. All the same, for a being a comic flick about a hero rooted in a Greco-Roman, pagan mythology, there was a lot of theological good sense that makes me curious how it will be received by our friends and neighbors.
Well, that’s about it for now.