Since the launch of Marvel’s Cinematic Universe in 2008, every year seems to be a Big Year for superhero action films, but 2017 in particular saw the release of several notable hero flicks that broke box office records and, miraculously, reintroduced the discussion of female heroes. Directed by Patty Jenkins, “Wonder Woman” premiered in theaters on June 2 and has ruled over the conversation about women in film for many months. “Wonder Woman” was extraordinarily well-received by DC comics fans and critics alike. To date it has earned over $821 million worldwide and currently holds a 92 percent positive rating on Rotten Tomatoes.
Taika Waititi’s “Thor: Ragnarok” premiered on November 3. The Marvel franchise has had no shortage of discussion relating to the significance given to its female characters (or lack thereof). Despite its inclusion of both a female warrior and a female villain, “Ragnarok” doesn’t even pass the Bechdel Test, which, for all its controversies, is still a fair indicator for female characters’ treatment in film.
An interesting way to compare these two movies is to examine the ways in which they use the mythologies their stories are rooted within. “Wonder Woman” relies heavily on the myth of the Amazons and in turn creates a rich history for its titular character. It also simply has more women than any other superhero film. Conversely, “Thor: Ragnarok” largely turns its back on the myth of the Valkyries, gives viewers a female hero with watery characterization, and eschews the strength of the bond between warrior women.
The Amazons of “Wonder Women” benefit significantly from the beginning of the film, in which much of the introduction is dedicated to establishing their place in the canon of Greek mythology. This is integral to establishing their culture as simply that: a culture, with its own myths, its own governance, and its own heroes.
This is notable because the Amazons themselves bear major cultural significance. As figures of Greek mythology, they are known as a tribe of warrior women who live isolated from mainstream society, independent of male influence. As far as authenticity goes, “Wonder Woman” has received praise for its adherence to the mythology of the Amazons — especially its costuming. One major difference in characterization actually serves the plot well, and it’s that the Amazons of the film see themselves as protectors of mankind. As such, “Wonder Woman’s” Amazons are defined by their heroism and their sense of duty.
The women warriors of “Ragnarok” are also rooted in genuine mythology. The Valkyrior are based on the Valkyries, a clan of female fighters in Norse mythology who preside over the battlefield and attend to those slain while fighting, eventually determining the course of their afterlives. Interestingly, in Marvel’s comic book universe, “Valkyrie” becomes the name of the “Ragnarok” character herself, which is rife with implications. Think about it: a group of legendary female warriors is reduced to being represented by just one woman.
It’s not just in name that Valkyrie stands alone. Before the events of “Thor: Ragnarok” take place, she joins a skirmish along with her Valkyrior sisters — all of whom perish in battle. Valkyrie’s solitude and survivor’s guilt take a significant psychological toll on her, and she’s shown to shed her warrior’s identity and turn instead to bounty hunting, excess drinking, and emotional repression.
The character of Valkyrie has attracted some attention due to actress Tessa Thompson’s confirmation that she played the character as bisexual, which would have made her the first LGBTQ character in the Marvel Cinematic Universe. However, a scene that would’ve made Valkyrie’s sexual orientation clear was reportedly cut, and little that is left in the film supports the idea that Valkyrie is, indeed, bisexual.
While it would have been groundbreaking to feature an LGBTQ-identifying character, the other opportunities to strengthen the character of Valkyrie — as well as her fellow Valkyrior — were not capitalized upon, either. Her early life is a mystery, her rise to prominence on Sakaar is not explored at all, and her motivations for her return to her heroic role are barely discussed. Most notably, the reason Valkyrie survives the battle is because of the sacrifice of one her sisters, who is left unnamed. In “Wonder Woman” the titular character is also saved due to the sacrifice of another, but she’s at least given the dignity of a name. It’s Antiope.
In all, despite Thompson’s best efforts, Valkyrie is exceptionally underdeveloped. It’s unclear why, exactly — perhaps she suffered from being a new character in the third film of the “Thor” franchise, and in the 17th film in the Marvel Cinematic Universe. Perhaps Marvel has become so invested in its own mythology that it has ignored the wonderful stories that are right in front of them. Nevertheless, Waititi and his all-male screenwriting team (itself a possible reason for the oversight) squandered an opportunity to explore the richness of the Norse mythology of the Valkyries, and their film is all the worse for it. It seems like they just didn’t care about the history of these characters in the way Jenkins’ team did.
At the end of the day, this isn’t about the films’ adherence to mythology: it’s about real opportunity and representation. Jenkins’ dedication to portraying the Amazons created opportunities for many female actors of varying ages, body shapes, and racial identities. They appear together as strong, empowered characters that are an integral part of an egalitarian, all-female culture. It’s arguably the first time this has been the case, and that’s something to be proud of.
The perfect storm of rich, women-oriented mythology and the seemingly endless resources of a major studio doesn’t come along that often. Those behind “Thor: Ragnarok” wasted their chance to be a part of the conversation about women in superhero films. Here’s hoping that we get to learn more about Valkyrie and her fallen sisters in upcoming Marvel projects, because if anything, the success of “Wonder Woman” should show producers that it’s smart to bank on female heroes.
