The Woman King
Gina
Prince-Bythewood (director), Dana Stevens (writer), Polly Morgan ASC
(cinematography), Terilyn Shropshire ACE (editor)
Viola Davis, Thuso Mbedu, Lashana Lynch, Sheila Atim, Hero Fiennes Tiffin, John
Boyega (cast)
Content
warning: Sexual assault, racism, slavery
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| Image credit: Courtesy of TIFF |
Set in West Africa in 1823, The Woman King follows the Agojie, women warriors who defend the Kingdom of Dahomey and their King Ghezo (John Boyega).
When a new
threat emerges, General Nanisca (Viola Davis) implores the king to rethink
his policies. While the king is willing to listen to new suggestions, he also
has open trade routes that are keeping Dahomey wealthy. But will Dahomey remain
that way if enemy forces join together to defeat him?
Set
against the backdrop of not only in-country battles, but also the emergence of
the slave trade, The Woman King is a high-octane action film that is
gripping but also distressing and angering.
Gina
Prince-Blythewood brings a stunning cinematic experience alive with carefully
choreographed action scenes and excellent pacing. It can’t be said enough,
the action scenes are unbelievable and what’s even better are the training,
bonding and dance sequences. You feel the sense of community among the Agojie,
even when they’re competing against one another.
The banter
between the different sets of characters was another hallmark of The Woman
King. They added a great deal of natural levity to an otherwise tense tale,
and allowed the characters to interact and share their stories organically. It
never felt like we were saddled with exposition.
The
performances are all superb in this film. Each actor brings a completely
different dynamic and presence to the screen.
Lashana
Lynch is a scene stealer. Her comic timing was unmatched. And the physicality
she brought to her action scenes made her a believable warrior.
Sheila
Atim was captivating. Usually, characters that lean on spirituality can be
tedious or overwrought, but she brought sincerity to the role. She also had
excellent chemistry with Viola Davis, giving us the impression that the two characters
had a long and close history with one another.
Thuso
Mbedu looked way too young. While I’m glad they didn’t hand this traumatic role
to an actual teenager, I think the filmmakers went overboard trying to compensate
for her age. Mbedu looks like a child. I really wish they’d cast someone who
looked a little older. She was great in the role and carried much of the film,
but her youthful looks made some of the scenes she was in even more
disturbing.
Viola Davis rules her action scenes and looks the part of a respected general. But her storyline was so reminiscent of Annalise Keating in How to Get Away with Murder. I actually do wish her backstory had been left a mystery or was simply different, because it was one of the more distressing parts of the film, especially since the story kept going back to it.
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| Image credit: Courtesy of TIFF |
How many filmmakers would be courageous enough to make a film about heroic warrior women whose male king just sits about? And how many male actors would take that role? John Boyega is a gem in this film. He is so obviously enjoying every second of playing this narcissistic, pedantic, and downright comical king. He’s hilarious, but he’s imposing and a little scary when he wants to be. Boyega is absolutely mesmerizing.
I did feel
that the script needed some story editing. There were a few plot lines that
felt superfluous while others were underbaked—Nanisca becoming embroiled in
more of the political machinations would have been much more relevant to the
overall story than the backstory we were given. I also feel like that would
have strengthened the bond between Nanisca and Nawi.
This isn’t an entirely feel-good film. Yes, there are plenty of moments, especially in the third act, where the audience at the screening I was at burst into applause. You are going to want to stand up and clap as well. But there are also other scenes that make your stomach drop, your heartache, and make you see red. What’s worse is we know how the future turned out for the African continent, but at least for 2 hours viewers can revel in a West Africa as yet unsullied by Europeans. It’s also difficult to acknowledge how countries often played a role in harming themselves, the way Dahomey was involved in the enslavement of their captured neighbours, but The Woman King does not shy away from this shocking aspect of history.
I truly
love that the film takes the time to celebrate Africa, African landscapes,
architecture, society, culture, and clothing. The Woman King includes significant
scenes that showcase community dances and singalongs that never slow down the
pace; instead, they add joy to the film. Hollywood films usually portray
African countries in a singular light, irrespective of the era, so The Woman
King is a refreshing new take.
The film
is unflinching in its look at how civil wars had a part to play in the decimation
of the African continent’s fortune, but the fault is more obviously placed on
the Europeans and their disdain for the African people. I was expecting this
film to be more of an escapist fantasy than it turned out to be. The realistic
elements make sense given the story is inspired by real history, and history is
brutal. I still think some of the more upsetting elements could have been
eschewed for a more powerful tale about shifting political ideologies.
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