Seventeen minutes into Guardians, we see our very first ray of sunshine. It’s hard to believe that a summer blockbuster, and a movie held in people’s minds as a comedy, could be so dark for so much of its runtime. The sun in question shines on Xandar, a planet where it’s always daytime and blue-skies. Xandar is like the Washington DC of the Guardians universe, if Washington DC wasn’t a corruption-riddled sinkhole. It’s a cultural center, a government capital, a monument to liberty. Xandar’s streets are wide, its buildings low-rise and humane, its populace diverse (well, white folks and aliens) and affluent. There don’t seem to be any slums on Xandar, and a wisenheimer raccoon with a sidekick talking tree don’t merit even a raised eyebrow. In this cold, wet, stormy galaxy, Xandar is a paradise, a beacon of hope. It’s the flip side of Mos Eisley Spaceport, it’s a wretched hive of niceness and class.
The raccoon, Rocket, looks down on the Xandarians as “losers.” Happy people with money and leisure disgust him. Given the “I’m Not in Love” theme of Guardians, one is tempted to posit, right off the bat, that Rocket secretly longs to settle down and have a family, a “normal life.” His George-and-Lenny act with Groot (the tree) suggests that Rocket keeps Groot going by “telling him about the rabbits,” the life of ease they’re going to have once they get one last big score. Groot may be slow, or even stupid, but he’s all the family a genetically-modified raccoon can find in this cockeyed caravan.
What do Rocket and Groot want? To catch Peter for Yondu’s 40,000-credit bounty. That’s the end of the movie for them. What they don’t know is that their plot-lines are about to collide with at least two others. If Ronan’s want is planetary-sized, and Peter’s want is orb-sized, Rocket’s and Groot’s want is as flat as the bounty-wanted screen he looks at Xandar through.
Thirteen minutes into the narrative, the chief antagonist is introduced, Ronan the Accuser. He lives in a tank of goo on a Kree spaceship called the Dark Aster (possibly a reference to the classic early John Carpenter movie Dark Star?)
What does Ronan want? His actable goal, his cinematic goal, is “to get the whatsit that Peter stole.” It was his goons who tried to get it from Peter already. But what will that get him? What does the antagonist want?
After its heart-rending “cold open” in the hospital, the narrative of Guardians leaps ahead a few decades. Peter is now in his 30s, and is engaged in some high-tech sci-fi shenanigans. As the titles roll, a one-man heist sequence plays out, an affectionate parody of the opening of Raiders of the Lost Ark. Peter is no longer a sobbing boy or a helpless victim, he’s now a swaggering space-pirate looting ancient cities for lost treasure. His Walkman is no longer his shield, exactly; it’s now more like the vessel of his mojo. Instead of Indiana Jones carefully reading clues, dodging traps and insisting “That belongs in a museum!” we have Peter casually jiving his way through a ruined planet’s rainy landscape, kicking deadly lizards out of his way and even using one as a pretend microphone.
For a big-budget, gee-whiz, goofy-space-opera summer blockbuster, Guardians of the Galaxy begins surprisingly quietly.
A boy sits in a hospital corridor in 1988 cradling his Walkman. “Awesome Mix Vol 1″ reads the label. He’s listening to “I’m Not in Love” by 10cc. “I’m Not in Love,” from the summer of 1975, was instrumental in launching the career of 10cc. Originally written to a bossanova beat, it was reworked to feature an all-choral backing, made up of hundreds of overdubbed voices. Whether this was on the minds of the makers of Guardians or not, but the strength-in-numbers / linking together vast chains of individuals theme resonates throughout the movie. The subject matter, oddly, is a young man refusing to say he’s in love, until finally he’s deluding himself.
What does that have to do with the boy in the corridor? Well, his mother in dying in the next room, and he’s intent on holding in his feelings. His Walkman here is his shield, his way of holding the world and its horrors at arm’s length. And we will find that, in a way, the whole narrative of Guardians, with its reluctant hero who eventually joins society and does so, successfully, on his own terms, is about a boy who insists that he’s not in love until he finally admits that he is.
(“I’m Not in Love” is also a song from an album titled Original Soundtrack, which is a fine enough joke in its own right.)
On top of all that, “I’m Not in Love” sets the tone for Guardians‘s meta-narrative of “modern” humanity and its relationship with culture, especially culture of the past. A pop song from 1975 is an odd thing, I think, to find on the Walkman of a boy in 1988, until you realize, much later, that the “Awesome Mix Vol 1″ was a gift from his mother, the same mother who’s dying in the next room. It’s not “his” music the boy is listening to, it’s his mother’s. The “Awesome Mix” is a kind of parting gift from mother to child, an invitation to popular culture and a sweet sampling of “adult” emotions, to guide a son through the rockier moments of life. The culture the boy’s mother has chosen to share is unabashedly popular, populist, “fun” (as opposed to “serious”) and life-affirming, all of which adjectives describe Guardians as well. Just as the boy’s mother’s mix-tape is designed to guide and celebrate, so is the movie.
When the previews for Guardians of the Galaxy started showing up in theaters, I was struck by the ways they used Blue Swede’s “Hooked on a Feeling.” That song was a nutty novelty hit when I was a wee lad in 1974, and I wondered if anyone else in the theater even remembered the recording, much less felt the sense of nostalgia I did when I heard it. Would people think that “Hooked on a Feeling” was some kind of message from another planet? What could its inclusion in the trailers for a Marvel movie possibly mean, except that, obviously, Guardians of the Galaxy was not a movie to be taken entirely seriously? And yet, that song, and the aesthetic choice that led to its inclusion in the movie, is a key part of understanding the appeal of not just Guardians but of the entire Marvel Cinematic Universe project.
Like a lot of things with me these days, the first thing you have to understand about my reaction to Lucy is that I’m old. I’m old enough to have worked at a movie theater in New York when Subway was released, and watched its delirious blend of kinetic cinema, outlandish violence and heartsick romance repeatedly. I’m old enough to have gone to see La Femme Nikita in a movie theater, many times, thrilling to the many ways it was a vast improvement over Subway. I’m old enough to have felt frustrated over the past two decades as director Luc Besson built his gigantic company in France, became a big-budget producer, made computer-animated movies for children and only occasionally made what I’ll call “Luc Besson movies,” that unique blend of kinetic cinema, outlandish violence and heartsick romance that I fell in love with so many years ago. If nothing else, Lucy is a stunning return to form for Besson, at once a thrilling summation and a brilliant leap forward.
Many years ago, I was up for the gig writing the movie adaptation of Scott Westerfeld’s wonderful sci-fi (then) trilogy Uglies, Pretties and Specials. I liked the books a lot and the idea, I thought, was a real fire-cracker: a dystopian future, a sci-fi trilogy, with a female protagonist, where each movie in the trilogy would examine the same society from a different point of view. It had never been done before and it was a huge opportunity. The producer who brought me the books was a respected big-budget sci-fi producer, and the project was set up at a genuine big-deal studio. All I needed to do was get a firm handle on how to tell the story and there was no way the project could not move forward.
Big news in Todd Land, I and my writing partner Holly Golden have sold Medusa, an original pitch to the nice people at Sony Animation. That’s partly why things have been quiet here at What Does the Protagonist Want? We’ll be writing the screenplay, and the movie is going to be directed by Lauren Faust, who created My Little Pony: Friendship is Magic. So we’ll be appealing to both Greek Mythology fans and Bronies. You can read all about it here!
Faithful readers will recall that, a couple of years ago, I co-wrote and directed a movie, Blood Relative, was bought by some folks and re-titled The Occupants. Oddly enough, I’m okay with that title, it suits the movie well.
The movie is now available through iTunes, my favorite music platform, and through Google Play, which is my favorite place to buy Rolling Stones live albums. Watch it today! And, feel free to comment here on whether or not you liked it!
Novelist, performance artist and Friend of Alcott Lisa Lerner has started making short films about the ways that a little girl experiences the adult world. The first, “Underwear,” is now up at the Youtube website, and you should watch it.