As any Marvel’s Avengers appreciator can tell you, a staple focus of each story is on team dynamics. What does it take for a group of people with different agendas and backgrounds to effectively work together for good? How does a team find common ground, and account for each others’ strengths and weaknesses?
As anyone who’s lived in Christian community (or worked in social justice) knows, these ideas come up as much in everyday life as they do when taking down a supervillain. But what Marvel hasn’t looked at is the other side of intentional community — what happens when a team can’t work.
From the first Avengers film, Whedon has shown that his primary interest, apart from the utter coolness of watching Hulk destroy a city block, is the dynamics of the Avengers team. This is a group of people with different backgrounds, ideologies, and agendas who might never have come together on their own. That they are forced to work together under impossible circumstances forces those tensions to their breaking point, but also creates a sense of camaraderie that’s thrilling to watch in action.
Working within the conventions of postmodern superheroism, Whedon also addresses the side effects of frequent exposure to violence. It might seem ironic that Captain America (Chris Evans), introduced as the ideal patriot, is one of the group’s more peace-loving members. But as the sole military veteran on the team, his outlook makes sense for someone who’s sacrificed a lot in battle. When he tells Stark, “Every time someone tries to end a war before it starts, innocent people die,” you know he speaks from experience.
THE CLASSIC COMIC book hero is given a post-WikiLeaks spin in the film Captain America: The Winter Soldier. He realizes that he is being asked to participate in the extrajudicial killing of people whom a magic formula has decided might threaten the established order in the future. It’s intriguing that even Nick Fury, one of Captain America’s “bosses” at the superhero super-agency S.H.I.E.L.D. (lines of authority are never particularly clear when super powers are in play), almost goes along with this.
To build a new world, sometimes you have to tear the old one down, says character Alexander Pierce, played by Robert Redford in a role that both echoes and inverts the ones he often took in the ’70s—where, in films such as All the President’s Men and Three Days of the Condor, he fought the system from within for good. This time Redford’s having fun as a bad guy, while Captain America (aka Steve Rogers) is the golden boy flirting with the audience and inviting us into his subversive politics (indeed the first words he speaks—the first words of the movie—are “on your left”).
So The Winter Soldier is striving for far more than your typical comic book movie and has been clearly influenced by the Dark Knighttrilogy in aiming for philosophical depth. There are interesting ideas here—S.H.I.E.L.D. being part of the problem and the character Winter Soldier’s name evoking the 1972 documentary Winter Soldier about Vietnam vets expressing regret. There are fun bits of business with Steve Rogers’ difficulties in adjusting to the contemporary world (such as the dawning reality that Star Wars andStar Trek are different things). And there’s real character development, especially in Rogers’ interactions with the Black Widow.
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