***Cross-posted from SuperversiveSF.com***
On one level, The Fate of the Furious is the easiest movie
to review:
1. Great fun
1. Great fun
2. Leave your brain (especially the part that understands
physics) at home
And now, folks, your seat belts (HA!) because I will try to
make this post deep. How deep? Glad you asked. I’m going to take the
recent discussion of what qualifies as superversive fiction and apply it to
this movie. If you’re rolling on the floor in fits of laughter, I don’t blame
you. But stick with me here. Just because something is lowbrow, doesn’t mean it
can’t be superversive, at least in part. And if we can see superversive elements
in this piece of schlock, maybe they would become easier to identify elsewhere.
Thus, let the experiment begin!
Aspiring/Inspiring.
Our heroes are far from being role models, that’s for sure. But are they
reaching for something higher? Are they attempting to improve the world, what
little of it is in their control? The opening segment includes a prolonged
drag-racing sequence that ends with Dom Toretto acting with both generosity and
honor towards a person who really deserves neither. Much later, when the
villainess questions why Dom seemingly rewarded the man who tried to kill him,
the response is, “I changed him.” Does it work like that in real life? Probably
not. Thugs don’t choose to join the side of light because of one event, not
commonly anyway. Is it possible? Yes, I suppose it is. Is it something we’d
like to occasionally see in our art? Absolutely.
Virtuous. I can
see how this requirement can be viewed as problematic at first glance, but we
need to remember that superversive heroes don’t need to be perfect. They do,
however, need to know right from wrong, and more importantly, the story itself
must be clear on the matter. An advantage of a well crafted dumb action movie
is that the central conflict is very clear. The good guys are… maybe not all
that good, not all of them, but they are working for a good cause. And the
villainess Cipher, played with obvious delight by Charlize Theron, is as cold
and vicious as they come. Her purported justification sounds vaguely noble from
throwing around words like “accountability,” but at no point are we sympathetic
or thinking, “Well, she’s kind of right…” Nope. Not even close. In this story,
shades of gray are non-existent.
Heroic. This one
is easy. Unlike in some of the other entries in F&F franchise, the
protagonists’ motives here are mostly pure: family, loyalty, honor and oh yeah,
saving the world. There is revenge mixed in for some, and an opportunity for a
second chance for others. In particular, Deckard (Jason Statham), a villain
from one of the previous films, is at first hard to accept as one of the good
guys, but he does redeem himself in one of the more spectacular and absurd
scenes in a movie that’s full of them. In the end, they all rise to the
occasion and do what they must to fight evil, no matter the cost. Additionally,
in what to me is the stand-out moment of the movie, Letty bets her life,
without hesitation, for a chance to reach and save her husband who appears to
have gone rogue. It plays much better if you know the history of these
characters, but it’s powerful in either case.
Decisive. Again,
easy, as per requirements of the genre. The protagonists don’t have time to
agonize over their choices, in part because there aren’t too many. Saving the
world is a non-negotiable goal. While there are heart-breaking scenes, we see
not a hint of the modern “why me?” angst that has infected even many of the
superhero movies. They hurt and they grieve, but never stop moving towards the
goal.
Non-subversive.
You’d think a movie in a franchise built around essentially glorifying outlaws
would be subversive by definition. Not so. This entry in particular has a
villainess whose main intent is destruction of the current order, but there’s
even more than that. In one of the obligatory Villain Exposition scenes, she’s
intent on convincing Dom Toretto, the man who values family and faith, that he
is wrong in his priorities. It’s not enough for her to use Dom’s skills. She
has a need to destroy who he is, to prove that his life has no meaning, and by
extension, no one’s life has meaning. This is an important point. If life is of
no value, if family, faith and honor are but an illusion, then mass murder is a
perfectly acceptable stepping stone to one’s goals. The villainess is a nearly
perfect embodiment of subversion. She would not, in fact, be out of place in an
old-fashioned fairly tale, from the time before our culture has developed a
need to understand, justify, and sympathize with villains rather than to
advocate and celebrate their unconditional defeat.
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