*This review is solely based on the series as I have never read the original text.
For far too long, the majority of superheroes have been white and male. Thankfully, things have been changing to include women, people of color, and members of the LGBTQ community.
Ms. Marvel premiered last Wednesday on DisneyPlus. Based on the comic book of the same name, Kamala Khan (Iman Vellani) is a Pakistani-Americanteenager who is going through the same growing pains that we all went through at that age. Her parents are overprotective, she is unpopular at school, and desperately wants to spread her wings. She is also also a Captain Marvel Superfan.
Living in Jersey City, New Jersey, Kamala is torn between her own needs and being true to the family /faith that she was raised in. When she unexpectedly gains superpowers, she must use them to save the world.
Like Peter Parker before her, it is her ordinary ness that makes her stand out. What I have watched so far, I like immensely. As the child of immigrants, she speaks to and represents the mindset of many children and grandchildren who chose to leave the land in which they were born and make a new life in the US. I love that she is a nerd and proud of it. I love her imagination and I love her spirit.
Do I recommend it? Absolutely.
New episodes of Ms. Marvel are released every Wednesday on DisneyPlus.
The reimagining opens as San Juan Hill, a neighborhood in Manhattan, is being torn down to become what we know today as Lincoln Center. Not surprisingly, the residents of this neighborhood are people of color, immigrants, and low-income Caucasians.
The Montagues and Capulets have been replaced by two warring gangs of young men, fighting to retain unofficial control of what is left of their neck of the woods. Riff (Mike Faist) is the leader of the Jets, who are all White. Bernardo (David Alvarez) is the leader of the Puerto Rican gang, the Sharks. Though he has a career as a boxer, he is equally concerned with protecting his family and his fellow Puerto Ricans.
Their fates are changed when Maria (newcomer Rachel Zegler) and Tony (Ansel Elgort) meet at a dance. Maria is Bernardo’s younger sister. Newly arrived in NYC, she is both idealistic and stubborn. Without their parents, the only maternal influence she has is Anita (Ariana DeBose), Bernardo’s girlfriend. Anita is spicy, whip-smart, and is eager to take advantage of the opportunities that lay before her. Tony is Riff’s best friend and his former second in command. After spending a year in prison, he wants more from life than being a hoodlum.
As the two fall in love and envision a life together, their relationship is tested by the violence around them. If they could get those closest to them to find a way to get along, Maria and Tony could have a chance at a future. But as lovely as that idea is, it will take a miracle to make it happen.
Kudos go to director Steven Spielberg and screenwriter Tony Kushner. They took a chance on remaking a classic and succeeded. What makes it stand out from its 1961 predecessor is both the casting of Latinx actors and the understanding that socio-economic issues, politics, and racial strife is the backbone of this narrative.
The deliberate decision of seeking out and hiring performers who are from Latin America or of Latin American descent adds a feeling of authenticity that is missing from the original film. Even Rita Moreno, who is also Puerto Rican (Anita in the 1961 movie and Valentina, the co-owner of the pharmacy and widow of the late pharmacist in this adaptation) had her skin darkened.
If there is one performer who stands out, it is Rachel Zegler. In her first on-screen role ever, she shines as Maria. Her voice is absolutely stunning. Most young actors start out as background players or in small roles, slowly building up their resume. To come out of the gate in the lead role in a major movie and blow everyone away shows that she has nothing but a bright future ahead of her.
This narrative is as timely and powerful as it was sixty years ago. The problems have not changed, they just have different names and different faces. If nothing else, it reminds the audience that we have two choices. We can continue to figuratively shoot ourselves in the literal foot, or find a way to work tother.
Though it clocks in at a little over two hours, it is worth sitting through.
Writergurlny 