In 2019, Martin Scorsese described Marvel Cinematic Universe movies in such a way that “Vandavision” proved to be the ultimate truth. The filmmaker told Empire, “I can think of the closest thing to them, as well as the way they become, the actors do the best they can in the circumstances, the theme park.” “It’s not human cinema that tries to convey emotional, mental experiences to other human beings.”
In the end, “Vandavision” proved Scorsese’s eloquence correct – but not all of it. 30 minutes out of 50 minutes of the final was one of those rides. This diversion happened to star witches throwing the ball of raja at each other while floating in the sky. Neighboring neighbor Agnes, who turns out to be the centuries-old witch Agatha Harkness (Catherine Hehn), drops her glamor to fight Wanda Maximoff (Elizabeth Olsen) while Wanda’s Vision (Paul Betney) joins her teen man, Jenny. Was revived as a weapon.
Cars fly out of houses; The hero is surrounded by asphalt. New PowerPower Monica Rambou (Teyonah Paris) beats a mysterious man who masks like Wanda’s brother Pietro but turns out to be an anonymous person whose last name sounds like “Bonner”. And, warning the spoiler, Wanda loses everything and wins. She created a sitcom version of West View and her most loving version of Vision to avoid facing her grief. This is the only way the pain can end painfully – it’s not the kind that physically bleeds or draws blood. The type that robs your heart.
No problem This is an MCU creation, eventually everything comes to blows. . . And explosions, screams and flames. Thrills in the amusement park, as the man said, and not such a particularly pulse-pounding version.
However, once the fight is over, Scorsese’s assumptions about the title of superhero finally boom and return to the features that make “Vandavision” such a marvel. To save the people of Westview, she ends her entire small world and locks Agatha in the role of Agnes’ assistant “lucky neighbor”. And in her final heartbreaking moments with Vizoin, Wanda does her best to choose to be synthetic to her emotional, mental experience of humanity.
“Wanda, I know we can’t live like this,” Vision says softly as his death approaches. “Before I leave, I think I must know: what am I?”
“You, Vision, are a piece of the stone of the mind that lives in me. You are the body of wire and blood and bones that I have created,” she tells him. “You are my sadness and my hope. But mostly, you are my love.”
He sheds tears, kisses her hand and observes, “I have been a voice without a body. Not a body, but not a human. And now, a memory has come true. Now who knows what I can be ?. .We have said. ” Before goodbye, so it stands for logic – “
She finished, “- We’ll say hello again.”
This was not an easy roller coaster dialogue. This romantic movie was magic as Scores defined it in a subsequent episode that was published in the New York Times. If, as the saying goes, cinema “expresses people’s complexity and their contradictory and sometimes contradictory nature, the way they can hurt each other and love each other and suddenly come face to face with themselves,” then “Vandavision “It’s the first MCU. A title that meets Scorsese’s qualifications.
And the only way he could do that was as a TV series.
“Vandavision” should not be denied to get away from the standard violence canvas of genre to work its emotions creatively, who is Wanda and not only that, who is Vision and Monica Rambou has not always been at heart
True, Wanda’s wanderings have had the devastating effect of harassing a city full of innocent neighbors, leaving us in the sense that her despair has permanently damaged her psyche and her reputation. None of the most interesting super perfect times are straightforward. Comic book fans get this, as do people who love daytime and primetime soaps.
That’s why Marvel put Wanda Maximoff’s story on TV, a medium whose large networks historically cling to women – certainly on ABC for a good chunk of recent history. Probably Dis Disney, a brand created on princesses and brides, is forever.
Since “Vendavision” is the bridge between Disney + and theaters, and between TV and movies, why not build that bridge with the story of a woman who is also a witch, wife and mother, and whose only job is to keep the world running and happy and Fixed? The best TV versions of superhero stories, after all, are about women. This was true of “Wonder Woman” and certainly “Agent Carter”. Even after the woman took over as the leader of that team, it became necessary to watch “Legends T tomorrow”.
This woman just tells us to get away from the deadly lasers and roller coasters of fistfights, telling us “What is grief, if not constant love?” Let us appreciate the beautiful suffering in such thoughts.
Betty delivered that sentence in a quiet setting free from all that long mental humility and threats or loud noises.
“Vendavision” started a lot of ideas because there are so many ways to think about it. But its ending proves that someone at Marvel took note of the great filmmaker.
The disappointing part for movie lovers may be that the result was a beautiful, thoughtful TV series as opposed to any annoying but concise superhero feature. But the artistic dimensions that the filmmaker loves all boil down to one concept, intimacy, that no franchise action flick can channel with any depth.
Television can. Therefore, “Vandavision” worked best when the wars were psychological and emotional, while relying on VFX-heavy estimates of some of the combined contradictions. This is the reason why such a story can only be about a woman who does not have supernatural strength, exceptional combat skills or bulletproof skin and who was not a perfect hero or villain. Wanda is a grief stricken person.
Whether it’s for the benefit of the series or its disadvantages depends on what you expect from the Marvel title, or from the impressions of DC or any other comic book.
Common complaints among people who don’t like “Vendavision” are frequent over its lack of fight scenes. My husband, who only saw it because he didn’t want to miss any of the narrative threads moving into future movies, wrote it as a soap opera.
But all comic book hero stories are soap operas. What is soap if the stories are not reported through loss, psychological trauma, despair, tortured love affairs and revenge? If you mourned the death of Iron Man at the end of “Avengers: Endgame”, it is likely that MCU spent nine features to create an emotional profile of Tony Stark, including three “Iron Man” films. In which the bones of the love affair between Stark were made and the pots of pepper along the way.
His great love has been threatened, kidnapped, he dies and was reborn. Sorry to break your bubbles, but it’s premium sudder stuff.
And on TV, using playful images and guttural dialogue rather than the front and center of cruelty, we are given an understanding of the human complexity and contradictory nature that Scorsese was talking about. In its quiet, the show has provided us with a backstory about these two people while bringing us face to face with some part of ourselves.
Unfortunately there won’t be a “Vendavision” sequel, only the later chapters of the stories born there and within the story of another character – especially “Doctor Strange in Madness’s Multiverse” and the subsequent Spider-Man movie, are guaranteed to jam with everyone. Eye popping visual effects and digital destruction.
Equally sad, at least from a filmmaker’s point of view, it means that the second Marvel series to follow, the latter “The Falcon and the Winter Soldier,” influences their respective theatrical release for the psyche or its level. The emotional complexity Olsen, Betny and Paris bring to their performances here. Instead they will further blur the line between the need for streaming services between TV and movies and the loneliness of the theater experience.
If we’re lucky, we’ll get more shows like “Vendavision” in the deal, instead of adopting new ways to show stories that show boring Scorsese with emotionally scared impossibly muscular men breaking each other’s bones. Stories from the heart and about heartbreak are more than a thousand artificial fireballs and explosions of rage permanently embedded in our memories, and we can use many of them.
TV and comic books share something else that doesn’t park the theme, which is the view that successful narratives can end, but the stories that give birth to them are not entirely dead. So the final thing about “Vendavision” may not be a definite farewell to all who have tried to achieve it. Maybe it’s just a vague “so long, darling.”
All episodes of “Vendavision” are streaming on Disney +.
