IN THE LAND OF BLOOD AND MONEY:
meditating on the dread allegorical Zone Wars
in the twilit and allegorical film art
of Angelina Jolie
by Gary W. Wright
Like most other film artists of the dread allegorical Zone War era, Angelina Jolie used her film art to address the helicopter crash that killed actor/director/writer Vic Morrow and illegally hired and employed child extras Renee Chen and Myca Le around 2:20 am in the early morning hours of July 23, 1982 on the George Folsey jr. produced John Landis set of the twilit, allegorical, Frank Marshall executive produced, Kathleen Kennedy associate produced, and Landis and Steven Spielberg executive produced Landis, Spielberg, Joe Dante and George Miller docufeature film TWILIGHT ZONE: THE MOVIE (1983). However, unlike most other film artists but like Sofia Carmina (SCC) Coppola, Jolie was born into a film family and started off her film art career as an actor, thus allowing her to draw on a wealth of experience in the creation of films before creating her own film art. In addition, Jolie was linked forever to the twilit and disastrous year of 1982 forever by way of her small role as Tosh Warner opposite her father Jon Voigt’s Alex Kovac in the allegorical and Voigt co-written Hal Ashby docufeature film LOOKIN’ TO GET OUT (1982), released on October 8, 1982. Thus, Jolie was also the living embodiment of the fateful and fatal year of 1982, making her inclusion in any film a signal that the film was addressing the TZ disaster in some way.
All of which made Jolie a complex and twilit figure, indeed, and one with a wealth of experience seen and heard when she donned the writer/director/co-producer hats and leapt furiously into the Zone Wars with an implicit roast of James Cameron in the twilit, allegorical, gut wrenching, unflinching, and slightly CGI enhanced indie docufeature film IN THE LAND OF BLOOD AND HONEY (2011), released on December 22, 2011.
“Are you my enemy?
Am I your enemy?”
Indeed, this moving and unflinching look at the callously violent and rapacious war in the Republic of Bosnia-Herzegovina during the breakup of Yugoslavia in the early to mid-Nineties began almost ironically with a shot of a city nestled peacefully in a valley at what appeared to be sunrise in 1992. Then the camera point of view (POV) suddenly began pulling back from the left eye of a woman in a painting, slowly revealing that the painting was a self portrait that was being finished by a beautiful young brunette woman who turned out to be a Muslim woman named Ajla Ekmecic-who resembled a young and beautiful Margaret Trudeau, implying an interest in Canada and its film artists, and was played by Zana Marjanovic. This implicit interest in Canada and its film artists was soon affirmed by the sight and sound of the young single mother and her sister Lejla-played by Vanessa Glodjo-joking around in their apartment as Ekmecic got ready to go out on a date, for it evoked the sight and sound of Sarah Connor and her girlfriend Ginger-played by Linda Hamilton and the fittingly surnamed Bess Motta, respectively-joking around as they both got ready for dates in the twilit, allegorical, CGI enhanced, Ozian themed and implicitly George Lucas and David Lynch roasting James Cameron indie docufeature Zonebuster THE TERMINATOR (1984). Thus, it was no surprise that after leaving the apartment, Ekmecic wound up at a Sarajevo club meeting and then dancing with the Cameron resembling and implicitly linked Serbian police Captain Danijel Vukojevich-played by Goran Kostic-whose surname affirmed his implicit link to Cameron as it evoked L.A. police detective Hal Vukovich-played by Lance Henriksen-one of the doomed police officers gunned down in their divisional headquarters by Arnold Schwarzenegger’s time travelling and remorselessly killing future cyborg CSM-101 T-800 Terminator in THE TERMINATOR.
An all too timely reminder of that unexpected attack, for an equally unexpected CGI enhanced bomb blast took out the club as Ajla and Danijel danced happily in each other’s arms, a bomb blast that signalled that the civil war that tore apart Bosnia-Herzegovina had unfortunately begun. A civil war whose fighting in the ruins of Sarajevo evoked the dreams and memories of future battles against the pitiless blockbuster machines in the ruins of the future Earth seen in THE TERMINATOR and the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lynch roasting Cameron indie docufeature Zonebuster TERMINATOR 2: JUDGMENT DAY (1991), reaffirming the film’s implicit interest in Cameron. A civil war that made Ajla and Danijel now enemies, as she was Muslim and he was a Serbian Christian. So much so that four months later, Serbian soldiers in red and white buses that evoked those in Toronto rounded up Ekmecic and other Muslim women in her apartment building and neighbourhood-one of whom resembled and was implicitly linked to Margaret Atwood to affirm the film’s implicit interest in Canadian film artists like Cameron-and took them to their headquarters where they were forced to work as cooks and cleaners and submit to humiliating and degrading rapes. All except Ajla, for luckily for her Danijel was amongst the ranks of the soldiers, and saved her from assault by giving her a room of her own and banning the other men from beating and raping her.
Thus, the implication was that Captain Vukojevich’s attempt to save Ekmecic from rape and murder during the conflict symbolized the attempt of Cameron to save film art from being raped and killed by the equally vengeful and vicious film artists of the dread allegorical Zone Wars. Indeed, the fact that one of Captain Vukojevich’s fellow soldiers was surnamed Darko-played by Nikola Djuricko-affirmed the implicit Zone War film artist addressing intent of the film, as the surname evoked the twilit, allegorical, slightly CGI enhanced, Ozian themed and implicitly Lucas addressing Richard Kelly indie docufeature film DONNIE DARKO (2001). Alas, the fact that Captain Vukojevich angrily and despondently killed Ekmecic, in the end, implied that Jolie felt that Cameron had not just failed to save film art, but had personally killed the vital humanity of film art, no doubt with the increasing size, budgets and CGI of his films, particularly the twilit, allegorical, CGI enhanced and implicitly Lucas and Martin Scorsese roasting indie animaction Zonebuster AVATAR (2009).
Significantly, the murder was caused in part by strained relations with Vukojevich’s implicitly Stanley Kubrick linked father General Nebojsa Vukojevich-played by Rade Serbedzija-implying that Jolie also believed that Cameron’s obsession with creating one bigger film after another was spurred on in part by a quest to top the allegorical and CGI enhanced Kubrick indie docufeature artbuster 2001: A SPACE ODYSSEY (1968), a film which was alluded to in AVATAR. Indeed, the fact that Serbedzija played Milich in the Kubrick’s final twilit and allegorical indie docufeature artbuster EYES WIDE SHUT (1999) openly affirmed that implication. At any rate, not only had the increased CGI of Cameron’s Zonebusters threatened the vital humanity of film art, but the huge and CGI enhanced size and equally huge cost of films like AVATAR had killed off small and inexpensive film art and much of the medium sized films as studios increased the size and budgets of their films to compete with Cameron and make equally beastly blockbuster profits. Indeed, the fact that Ajla was an indie painter openly affirmed her link to small indie film art. An implicit link to low budget indie art and film art reaffirmed when the film ended with a shot of the camera slowly zooming in on the last and most creative, colourful and fittingly blue eyed self portrait of Ajla before slowly fading to black, a deathless portrait that existed in an eternal world of art midway between life and death.
And so this fine first feature film made clear that Jolie had indeed learned much from her life in film art and had emerged, like SCC and Jason Reitman, as a shrewd, knowing, creative and confident film artist. IN THE LAND OF BLOOD AND HONEY also revealed that her style of film art was neither as feminine as SCC or as unusually masculine as Kathryn Bigelow, but balanced in between the female and male mind and gaze-literally, as the film was balanced between the stories of Ajla and Danijel. And so Jolie continued her competition with Cameron when she donned the director/co-producer caps, teamed up again with John Hutman-production designer of IN THE LAND OF BLOOD AND HONEY-leapt once more into resolute Zone War battle with her curiously named Jolie Pas Production company, embraced the same epic and CGI enhanced size favoured by Cameron and traded civilian prisoners of war for military prisoners of war in the unflinching, embattled and moving twilit and allegorical indie docufeature artbuster UNBROKEN (2014), a film released on November 17, 2014 which was inspired by the twilit and allegorical Laura Hillenbrand book Unbroken (2010).
“We beat them
by making it to the end of the war alive.
…That is our revenge.”
Significantly, and ironically, however, not that the film gave any hint of its embattled nature in its opening moments, for it started off with the sun silently rising on a beautiful blue sky morning with light and scattered clouds, evoking the equally and ironically peaceful, dawning and silent shot that opened IN THE LAND OF BLOOD AND HONEY. A silent and beautiful dawning that was quickly rent with the sound and sight of dozens of B-24 Liberator bombers of the United States Army Air Force (USAAF) flying across the beautiful blue sky on a determined daylight bombing raid on a Japanese target in the Pacific War in April of 1943. At this point, embattled was indeed the word, as the film focussed on the story of real life American Berlin 1936 Olympics track star and USAAF Bombardier Louis “Louie” Zamperini-played by CJ Valleroy as a wild child, and as Jack O’Connell as an adult, respectively-and how he survived an oceanic crash in May of ’43 during the search and rescue mission that followed the opening mission and imprisonment in the Japanese Omori Detention Camp and the Naoetsu Prison Camp, despite the brutal treatment he received from its commanding officer, first Corporal, and then Sergeant, Mutsuhiro “the Bird” Watanabe-played by Miyavi.
Curiously, by the time Louie and the blonde pilot of his bomber, Lieutenant Russell “Phil” Phillips-played by Domhnall Gleeson-the sole survivors of the crash of their plane, were found floating on the Pacific in their yellow rubber dinghy by a Japanese naval vessel, the two resembled King Arthur and Patsy-played by Graham Chapman and Terry Gilliam, respectively-in the allegorical, madcap and implicitly New Hollywood bashing Gilliam and Terry Jones indie docufeature film MONTY PYTHON AND THE HOLY GRAIL (1974). This resemblance to King Arthur and Patsy reminded us that one of the personnel on their bomber on the first raid, perhaps the engineer, was named Lambert-played by Marcus Vanco-a surname that often popped up in the allegorical MONTY PYTHON’S FLYING CIRCUS indie docufeature telefilm series (1967-1790). This evocation of MONTY PYTHON’S FLYING CIRCUS also reminded us of a famous sketch involving Royal Navy sailors floating aimlessly in a life boat waiting for rescue that appeared in that series.
This evocation of MONTY PYTHON’S FLYING CIRCUS continued at the Omori Detention Camp, for the sight of another POW, Blackie-played by Ross Anderson-playing a kind and helpful fairy godmother complete with magic wand who came to the aid of poor discouraged Cinderella aka “Cinders”, played by an equally discouraged third POW, Fitzgerald-played by Garrett Hedlund-in a play put on at the Omori Detention Camp reaffirmed the implicit Gilliam addressing intent of the film, for it reminded us of the equally kind and helpful female fairy-usually played by Eric Idle-who came to the aid of those in need with a ping of “her” magic wand in the MONTY PYTHON’S FLYING CIRCUS telefilm series and in the allegorical Ian MacNaughton indie docufeature film AND NOW FOR SOMETHING COMPLETELY DIFFERENT (1971). However, shortly before this grimly amusing presentation of CINDERELLA, Commandant Watanabe, who had taken a strong dislike for Zamperini and in particular dislike his refusal to help Japan propaganda efforts, ordered all of the POWs in the Omori camp to punch Louie in the face, a cruel punishment that evoked a bizarre “punch the poor” scene in the visit with the kindly and avuncular Robin Hood-played by John Cleese-in the twilit, allegorical, madcap and implicitly New Hollywood roasting Gilliam indie animaction film TIME BANDITS (1981).
Thus, the implication was that Louis “Louie” Zamperini and his embattled life symbolized Terrence “Terry” Gilliam and all of the battles Gilliam fought to make his brilliant and madcap indie animaction film art, particularly after the failure of the twilit, allegorical, CGI enhanced and implicitly Cameron roasting indie animaction film THE ADVENTURES OF BARON MUNCHAUSEN (1988). The fact that the film was co-written by Richard LaGravenese, the screenwriter of the twilit, allegorical, madcap and implicitly Lucas and Spielberg roasting Gilliam indie animaction film THE FISHER KING (1991) reaffirmed the implicit Gilliam addressing intent of UNBROKEN. And so the sight and sound of Zamperini surviving all of his triumphs and disasters, in the end, implied the hope of Jolie that Gilliam would also survive all of his disasters and triumph over his detractors in the end, as well-as long as none of those detractors came at him out of nowhere armed with a grape, that is.
In fact, given that the film’s intercutting of Zamperini’s travails in World War II with nostalgic memories of his pre-war youth evoked the similar embattled present intercut with memories of the past structure of the twilit allegorical and implicitly Gilliam roasting Sean Penn indie docufeature film INTO THE WILD (2006), Jolie also implied that she was not just coming to the support of Gilliam but replying to INTO THE WILD and roasting Penn in the implicit form of the Zamperini abusing Bird in UNBROKEN. Indeed, the fact that Christopher “Chris” McCandless-played as an adult by the O’Connell resembling Emile Hirsch-the anti-establishment and implicitly Gilliam linked young wanderer of INTO THE WILD, adopted the Louie Zamperini evoking alias of Alexander Supertramp after cutting ties with family and society and heading out on his own epic travels, epic travels that saw McCandless do his best to live off the land like Phillips and Zamperini did their best to live off the Pacific Ocean in their floating dinghy after their crash, reaffirmed that Jolie implicitly responded to INTO THE WILD on one level with UNBROKEN. The sight and sound of Louie and Phil slowly wasting away of starvation and thirst as they floated in their life raft waiting for rescue after the crash in the Pacific Ocean, and Louie and the rest of the POWs also wasting away in their camps due to lack of food and drink and to brutal working conditions and beatings also affirmed Jolie’s implicit interest in roasting Penn in UNBROKEN, for the privations Louie and his fellow POWs suffered reminded us that McCandless wasted away of starvation and thirst as a result of eating the wrong plant while camping in the wilds of Alaska in INTO THE WILD.
And so UNBROKEN was another fine, confident, knowing and moving film that again displayed the balanced and neutral sexual gaze seen in IN THE LAND OF BLOOD AND HONEY despite the fact that no woman played a central role in the film or even showed up in the film at all. And so its reasonable success implicitly encouraged Jolie and Jolie Pas Productions to team up again with Universal Pictures, Hutman and Patricia Rommel and Gabriel Yared-editor of, and composer for, IN THE LAND OF BLOOD AND HONEY, respectively-but turn away from the epic and CGI enhanced scale of UNBROKEN to enjoy a well earned respite from the Zone Wars by travelling to a hotel on picturesque Mgarr-ix-Xini Bay on Gozo Island in Malta and donning the co-producer/writer/director hats and again embracing her distinct sexually neutral gaze to create the smaller, more intimate and effects free and most feminine but still unflinching melodrama of her next ironically and bitterly daylit, allegorical and CGI free indie docufeature film BY THE SEA (2015), released on November 5, 2015.
Curiously, the steamy film opened with another shot of a beautiful, peaceful and daylit landscape, this time looking down a scenic road on a hill, evoking the beautiful and peaceful mornings that began IN THE LAND OF BLOOD AND HONEY and UNBROKEN. The a custom silver 1967 Citreon DS Chapon convertible driven by the once passionate but now luvless and listless American couple, the beautiful and bewitching but depressed and despondent Vanessa and her struggling and deep drinkin' writer husband Roland Bertrand-played by Jolie and Brad Pitt, respectively-drove up the hill and then along winding and equally scenic roads to that hotel on picturesque Mgarr-ix-Xini Bay on Gozo Island in Malta as the sad and wistful sound of the allegorical and Serge Gainsbourg written Jane Birkin tune “Jane B.” (1969) played and the opening titles flickered on the screen. Here we soon discovered that the cool and unhappy relationship of Roland and Vanessa was due to Vanessa’s inability to successfully conceive two children with Roland, implying that Jolie used BY THE SEA to deal with the failure of IN THE LAND OF BLOOD AND HONEY and UNBROKEN to be smash hits, a fate that, alas, also befell BY THE SEA.
We also soon discovered that Vanessa was jealous of the ability of the Sarah Polley resembling and implicitly linked young French newlywed Lea-played by Melanie Laurent-to make luv to and conceive with her young husband Francois-played by Melvil Poupaud-when they showed up in the hotel room next door, luv sessions that Vanessa and Roland watched through a hole in the wall that separated their two rooms, furtive but warm and luving scenes that evoked the one passionate luvmaking of Roland and Vanessa and that were in complete contrast to the cold and brutal rapes that Muslim women had to endure and watch in IN THE LAND OF BLOOD AND HONEY, also implied that Jolie envied the success that Polley had had with her film art. Indeed, the film’s allusions to the twilit and allegorical Bigelow indie docufeature artbuster THE WEIGHT OF WATER (2000) affirmed the film’s implicit interest in Polley on one level, reminding us that Polley played the troubled young wife and successful murderess Maren Hontredt in that film.
And so BY THE SEA was another fine and moving film whose sexually neutral gaze was affirmed by the fact that the film was told through the stories of Roland and Vanessa, evoking the balance between the stories of Ajla and Danijel seen and heard in IN THE LAND OF BLOOD AND HONEY. At any rate, BY THE SEA and the rest of the allegorical film art of Jolie had made a mark, for DC and Warner Brothers also implicitly decided that Jolie was worthy of a super satirical roast in the implicit form of Amazon Princess Diana “Wonder Woman” Prince-inspired by the character created for DC by Dapper Doctor William M. Marston in the despairing depths of World War Two, and played by Gal Gadot-and had her team up with the implicitly Gardevil linked Bruce “Batman” Wayne-inspired by a character created by Brilliant Bill Finger and Bucolic Bob Kane for DC Comics, and played by Ben Affleck-and the implicitly Reitman linked Clark/Kal-El “Superman” Kent-inspired by a character created by Genial Jerry Siegel and Joltin’ Joe Shuster for DC, and played by Henry Cavill-to ironically save the world from the madcap machinations of the implicitly Gilliam linked Alexander “Lex” Luthor-played by Jesse Eisenberg-and his blockbuster CGI enhanced beast Doomsday in the twilit, allegorical and CGI enhanced Zack Snyder super satirical animaction film BATMAN V SUPERMAN: DAWN OF JUSTICE (2016), a film released on March 12, 2016.
Curiously, not long after the release of BATMAN V SUPERMAN: DAWN OF JUSTICE, Penn also implicitly replied to UNBROKEN and linked Jolie, a dedicated Special Envoy to the United Nations High Commissioner for Refugees, to the equally dedicated but traumatized Medecins du Monde Doctor Wren Petersen-played by Charlize Theron-to implicitly remind her how difficult it was to save a world that usually resisted saving in the twilit, allegorical and CGI free indie docufeature film THE LAST FACE (2016), released on May 20, 2016. Significantly, the following year, DC and Warner Brothers kicked off 2017 by again implicitly linking Jolie to the teenaged Amazon Princess Diana aka Diana Prince in the twilit, allegorical and CGI enhanced Leigh Bardugo super satirical animaction novel Wonder Woman: warbringer (2017), a novel released on January 1, 2017.
“Coup Attempt. Civil War Erupts.
Bombings Increase. Talks Break Down.
Twenty Believed Dead. Hundreds Believed Dead.
[And] a fistfight had broken out
in the middle of
the UN General Assembly.”
Indeed, the fact that the legendary and secretive Amazon isle of Themyscira again evoked Gozo Island in BY THE SEA, and that one of the Amazons forced to leave the island after trying to smuggle a human luver onto Themyscira was named Nessa in another allusion to BY THE SEA, affirmed the implicit Jolie addressing intent of the novel. The fact the novel began with an explosion reaffirmed the implicit Jolie addressing intent, reminding us that IN THE LAND OF BLOOD AND HONEY began with an explosion. Thus, the fact that the explosion led to Princess Diana rescuing the implicitly Diablo Cody linked Alia Keralis and then successfully cleansing her of her war and violence bringing Dark Side, in the end, implied the hope of Bardugo that Jolie would succeed with her film art. An implicit allegorical intent reaffirmed later that year when DC and Warners left behind the adolescence of Princess Diana in the present and travelled back in time to implicitly roast and toast Jolie again in the implicit form of the time travelling Amazon Princess Diana “Wonder Woman” Prince-played again by Gadot as an adult, Lilly Aspell as an eight year old and Emily Carey as a twelve year old, respectively-in the twilit, allegorical and CGI enhanced Patty Jenkins super satirical animaction film WONDER WOMAN (2017), released on May 15, 2017.
“You keep doubting yourself, Diana…
You are stronger than you believe.
You have greater powers than you know.”
Indeed, the film began on the picturesque and hidden from humankind island of Themyscira, a legendary island that evoked the equally picturesque Maltese Mediterannean island of Gozo that was the location of BY THE SEA, immediately affirming the film’s implicit interest in Jolie. The sight and sound of the Pitt evoking American pilot and spy Steve Trevor-played by Chris Pine-soon crashing his battered bi-plane in a bay off Themyscira reaffirmed the film’s implicit interest in Jolie, evoking the sight and sound of the USAAF bomber crashing in the Pacific that began the nightmare for Zamperini in UNBROKEN. Thus, the sight and sound of a doughty and determined Diana taking the Godkiller sword created by Zeus, the Shield of Invincible Innocence, the Brass Bracelets of Perky Power, the truth compelling Golden Lasso of Hestia and the indispensable Headband That Keeps The Hair Out Of The Eyes ironically first worn by the mighty and implicitly Polley linked General Antiope-ironically but fittingly played by Robin Wright, an ex-wife of Penn who played Jojo in the twilit, allegorical and CGI free Penn indie docufeature film THE CROSSING GUARD (1995) and Lori in the twilit, allegorical and CGI free Penn indie docufeature film THE PLEDGE (2001)-and leaving the luv and watchful support of her protective mother, the tall, commanding, fearless and implicitly Bigelow linked Hippolyta, Queen of the Amazons-played by Connie Nielsen-and the rest of the warrior Amazons on Themyscira and sailing off with Trevor to Europe to end World War One-a Great War that evoked the wars found in IN THE LAND OF BLOOD AND HONEY and UNBROKEN-by finding and defeating the god of war, Ares, aka the implicitly Smilin’ Stan Lee linked Smilin’ Sir Patrick Morgan-played by David Thewlis-his implicitly Jolly Jack Kirby linked partner-in-Evil General Ludendorff-played by Danny Huston-and their implicitly Friendly Flo Steinberg linked mad scientist colleague Doktor Isabel Maru aka “Doktor Poison”-played by Elena Anaya-implied the hope of Jenkins that WONDER WOMAN would singlehandedly defeat the Marvel Cinematic Univers (MCU) and that Jolie would put aside her doubts and despair and strike back with a great film.
Indeed, the sight and sound of Diana using her Godkiller sword to kill Ludendorff and then discovering that she was the true Godkiller and using her deadly power to terminate Ares, in the end, implicitly affirmed the dual hope of Jenkins that Jolie would put aside her implicit doubts in and despair over her film art abilities and return to the Temple Theatre with another fine film that would win over audiences and that WONDER WOMAN would singlehandedly defeat the MCU. A dual implication affirmed by the fact WONDER WOMAN resembled the twilit, allegorical and CGI enhanced Alan Taylor super satirical animaction film THOR: THE DARK WORLD (2013) and the equally twilit, allegorical and CGI enhanced Joe Johnston super satirical animaction film CAPTAIN AMERICA: THE FIRST AVENGER (2017).
Thus, it was ironic that later that same year, Disney, Marvel and haiku luvvin’ Taika Waititi implicitly hoped that Jolie would end her implicit feud with Cameron and work with him to advance the cause of CGI enhanced indie docufeature film art, for after initially battling the implicitly Cameron linked Thor, god of thunder-inspired by a character created by Kirby, Lee and Laconic Larry Lieber for Marvel Comics, and played by Chris Hemsworth-the bitter, despondent, disaffected, deep drinkin’, short sword favouring and implicitly Jolie linked Valkyrie aka Scrapper 142-inspired by a character created by Jokin’ John Buscema and Rascally Roy Thomas for Marvel Comics, and played by Tessa Thompson-teamed up with Thor, the implicitly Lucas linked Doctor Bruce “the Incredible Hulk” Banner-inspired by a character created by Kirby and Lee for Marvel Comics, and played by Mark Ruffalo-and the implicitly Spielberg linked Loki, god of mischief-inspired by a character created by Kirby, Lee and Lieber for Marvel Comics, and played by Tom Hiddleston-to triumph over the deadly and implicitly Bigelow linked Hela, goddess of death-inspired by a character created by Kirby and Lee for Marvel Comics, and played by Kate Blanchett-the scourge of immortal and implicitly Hollywood linked Asgard at the end of the twilit, allegorical and CGI enhanced super satirical animaction film THOR: RAGNORAK (2017), released on October 10, 2017.
Indeed, a flashback late in the film that saw Val mourn the loss of a fellow Valkyrie, her blonde hair implicitly linking her to Hollywood, in her first battle with Hela affirmed the implicit link of Val to Jolie. For the flashback reminded us that Jolie’s first cinematic salvo IN THE LAND OF BLOOD AND HONEY was soon crushed in the theatres by Bigelow’s all conquering and twilit, allegorical, CGI enhanced and implicitly Landis roasting and Polley toasting indie docufeature artbuster ZERO DARK THIRTY (2012), released on December 10, 2012. Later that same year, DC and Warners also returned the implicitly Jolie linked Amazon Princess Diana “Wonder Woman” Prince-played again by Gadot-and her implicitly Bigelow linked mother Queen Hippolyta-played again by Nielsen-to the Temple Theatre to team up again with the implicitly Gardevil linked Bruce “Batman” Wayne-played again by Affleck-the revived from the dead and implicitly Reitman linked Clark/Kal-El “Superman” Kent-played again by Cavill-the implicitly Jay Baruchel linked Barry “the Flash” Allen-played by Ezra Miller-and the implicitly Luc Besson linked Arthur “Aquaman” Curry-played by Jason Momoa-as the Justice League to prevent the CGI enhanced and implicitly Kelly linked Steppenwolf-played by Ciaran Hinds-from destroying the world with the help of an unholy trinity of Mother Boxes and legions of insect men in the twilit, allegorical and CGI enhanced Snyder super satirical animaction film JUSTICE LEAGUE (2017), released on October 26, 2017.
Not surprisingly, Disney, Marvel and Anthony and Joseph Russo soon reaffirmed their implicit hope that Jolie would end her implicit feud with Cameron by having the implicitly Jolie linked Valkyrie-played again by Thompson-return from limbo and team up again with the implicitly Cameron linked Thor-played again by Hemsworth-to help the rest of the dissemblin’ superheroes and superheroines save the MCU by helping defeat the implicitly Michael Eisner linked mad Titan, Thanos-inspired by a character created by Jaunty Jim Starlin for Marvel Comics, and played by Josh Brolin-at the end of the twilit, allegorical and CGI enhanced super satirical animaction film AVENGERS: ENDGAME (2019), released on April 22, 2019. The following year it was also back to the superdupalooza when Jenkins donned the co-writer/director/co-producer hats and teamed up again with Aspell, Gadot, Nielsen, Pine, Wright, production designer Aline Bonetto, director of photography Matthew Jensen and producers Stephen Jones and Charles Roven to implicitly roast and toast Jolie again in the twilit, allegorical and CGI enhanced super satirical animaction film WONDER WOMAN 1984 (2020), released on December 25, 2020.
“I am not a con man!
I am a television personality.
And a respected businessman with a plan.
With...With...With a great plan!”
A curious and vibrantly colourful film that curiously saw the time travellin’ and fittingly DC based Princess Diana “Wonder Woman Prince-played again by Aspell in a prologue flashback and mostly by Gadot, respectively-team up again in 1984 two years into the dread allegorical Zone Wars with a curiously wished for and reincarnated Steve Trevor-played again by Pine-and, with the help of the famous invisible plane, to curiously triumph over the equally wishful and implicitly Donald Trump and Stormy Daniels linked con man Maxwell Lorenzano aka Maxwell “Max” Lord and geology/gemoloy/lithology expert Doctor Barbara Minvera aka “Cheetah”-played by Pedro Pascal and Kristen Wiig, respectively-perhaps as a way to implicitly exorcise the corrosive, divisive and tragicomic spirit of Trump from the American national consciousness in anticipation of a decisive re-election defeat in November of 2020. Indeed, the sight and sound of Lord taking the U.S. Presidency from the President Ronald Reagan evoking and implicitly linked POTUS-played by Stuart Milligan-towards the end of the film affirmed the implicit link of Lord to Trump. Curiously, in the sight and sound of Lord renouncing the wishful power granted to him by the Dreamstone, a deceptively helpful stone created by Dechalafrea Ero, the God of Lies and Duke of Deception, in order to bring harmony back to the Earth and to save his son Alistair-played by Lucian Perez-in the end, Jenkins also allowed Trump to redeem himself in a way that he never did in reality.
In addition, Jenkins also implicitly roasted Walt Disney in the form of power lusting Egyptian Emir Said Bin Abydos-played by Amr Waked. Indeed, the film’s allusions to the twilit, allegorical, Ozian themed and Lucas executive produced Spielberg indie docufeature films RAIDERS OF THE LOST ARK (1981), INDIANA JONES AND THE TEMPLE OF DOOM (1984) and INDIANA JONES AND THE LAST CRUSADE (1989) affirmed the implicit interest in Disney, given that the Mouse House now oversaw the Indiana Jones films after Lucas sold Lucasfilm Ltd. and Industrial Light and Magic (ILM) to Disney in 2012. Indeed, the resemblance of Alistair to Ke Huy Quan, who played Short Round in INDIANA JONES AND THE TEMPLE OF DOOM, affirmed the film’s links to the Indiana Jones films. Last but not least, Jenkins also implicitly roasted Clint Eastwood in the form of a robbery gang leader-played by James C. Burke. At any rate, WONDER WOMAN 1984 was more implicit support for Jolie, and hopefully inspire her it would to send another moving, unflinching and memorable allegorical dispatch to audiences from deep inside twilit and haunted Hollywood…in the land of blood and money.
Bardugo, Leigh. Wonder Woman: warbringer. New York: Ember, 2019.
Enninful, Edward. “This Woman’s Work.” VOGUE UK (March
2021) pp. 186-199.