"I am Diana of Themyscira, daughter of Hippolyta, and your wrath upon this world is over"

Rating: 9/10 (20 August 2017)

In times of cholera like these, we must thank psychologist William Moulton Marston for having conceived the first superheroine of comics of the history, who has managed to proclaim her history and ideology to thousands of ears, minds and hearts thirsting for peace, love and justice after seventy-six years of comings and goings.
Lynda Carter got, not only the sex symbol label in the seventies at the expense of her courageous performance over three seasons in the DC Comics TV series, she also was proud of embodying for the very first time a strong, intelligent, charismatic and comprehensive woman both on the small screen, in the comic universe of superheroes and in that misogynist society of which we have not been getting away yet. However, like everything in this earthly life, the exuberant actress had to say goodbye to her time of victory, leaving as a reminder an unblemished legacy, inherent nostalgia emerging from this character and seven decades of vignettes that made the delights of comic lovers of yesteryear. However, the social, political and cultural phenomenon threatens to come out again thanks to the triumph of a war/comic/superhero/dramatic/romantic—and before all these banal classifications—inspirational and transcendent production, which was conceived by director Patty Jenkins next to new and perfect Wonder Woman actress, Gal Gadot, of course, with the extensive assistance of a unisex crew, captained economically, by American monster film production company Warner Bros.
As a general rule, each released movie must follow, at least, a specific storyline in connection with the universe that the studio wishes to put together, such as its counterpart Marvel Studios, because of which, the events are placed just after the ending of "Batman V Superman", with a seasoned and circumspect Diana Prince receiving a package, which motivates the corresponding presentation of her origins, using as a narrative conductor a shabby photograph taken on her first vacation to the harsh, fierce and paradoxically inhumane real world: the World War I. However, the film slides much further back, promptly to Themyscira, Diana's origin land and an idyllic Greek kingdom where the most powerful, clever and complete females reside, thanks to work and grace of Zeus in order to inspire peace and union in a world tamed by Ares brutality, the main rival of both the father of the gods and the Amazon warriors, a tribe led by overprotective Queen Hippolyta and her sister, General Antiope. The hurdle that, sooner or later, they had to face will come after Steve Trevor, pilot and spy of the United States Army, who accidentally falls into the ocean of the island with a bundle of horrid realities under his arms, forcing the predicted awakening of Wonder Woman.
It was neither for lack of intent nor because of scarcity of support and execution sources, it was by a shortage of professionalism that the superheroines world had not had the succor that male heroes possess today. However, the American huge studios — so similar but so dissimilar — have taken matters into their own hands, either by the unfading desire of fans or by the boom around the absolute abolition of misogyny in the different human fields. Warner Brothers Pictures was the one which took the initiative several years ago, using Zack Snyder as casting director to finally select Gal Gadot, the Wonder Woman from cover to cover by reason of her acting skills and dominant emotional strength as she pops on the screen. While the company was recovering from the colossal setback that meant the inaugural stage of its cinematic universe — incited by Christopher Nolan's near excellent trilogy — at the hands of the grandiloquent "Man of Steel" (2013), a vilified and muddled "BvS" (2016) and the oversaturated and decaffeinated "Suicide Squad" (2016); the high members deliberated what would be the course that the mega project should take, since although all previous movies had a lucky reception at the box office, they don't convince any one within critics circle. Then, the next step fell into the hands of Jenkins, a director whose experience was strictly based on the small screen and her prestigious directorial debut: "Monster", which Charlize Theron won an Academy Award. The writers' and the filmmaker's ambitions to bring back "WW" were so fervent, fascinating and prevailing that the company gave a vote of confidence for an Amazon princess with a nuance much more from Marvel, she is who lifted that vile shade flying over DC, once and for all. And what a success!
With a smaller budget, besides other productions, this origin story communicates an anti-war message of brotherhood and innocence through the different angles that story touches, from her formation as a warrior until the frigid and cutting confrontation with the land of men.
Sequences as the ascension of the walls of a high tower, the sublime struggle in the arenas of Themyscira, the combat in the village against the German officers or the self-same Zeus or her already classic allegorical scene in which she arises among bullets and explosions, encouraged by the masterful composition of Hans Zimmer; A portentous setting, cinematography and photography that remind the work of "Fantastic Beasts"; first-grade special effects that, although on several occasions are perceptible and somewhat ineffective, draw each of the locations and struggles with an enviable sophistication, a story brimming with love and bravery — thanking a fascinating twist —; high octane performances and a direction teaching in each frame, all that make "Wonder Woman" a wonderful and, for someones, painful triumph.