Amongst the vast and increasing compendium of films in the Marvel Cinematic Universe, Captain Marvel has been generally defined by its critical designation of mediocrity and aberrant narrative structure which deviates from the established adumbrations categorical to the introductory films of other Marvel superheroes. These distinctive attributes and the quality of their execution were subject to variable perceptions by its audience and incited numerous conversations appertaining to the value in implementation of an amnesiac arc for its protagonist. The experiences and gradual development of Captain Marvel herself are also notable as intentionally metaphorical for the almost ubiquitous situations and societal encumbrances which unfortunately pervade the lives of most women in our current culture. Much of the allegorical language employed in the film therefore finds resonance within a female audience, however, the existence of familiarity to these circumstances does not render the film insusceptible to fallibilities in writing nor the occasionally overt, more literal and resultantly weaker conveyance of these themes. It should be allowable to impose a framework of analysis which lauds the subtle inclusion and subsequently inspired discussions on the generalized treatment and perception of women while also critiquing the flaws and squandered potential that paradoxically compromise the reception and strength of these desired messages.
The typical delineated plot of a superhero creation film often explores the initial adoption, emergent dexterity, and learned moral responsibility concomitant with the application of the newly acquired powers. Captain Marvel demonstrably subverts this arc by having Carol Danvers retain her extant confidence in her capabilities and personality, relegating her development solely to the remembrance of her past and realization of the duplicitous manipulation by her Kree companions. This arguable stagnancy to her internal conceptualization of self throughout the film was often interpreted by audiences as a lack of growth and consequential monotony to her characterization, since, essentially, Carol maintained unwavering control over the utilization of her powers and assurance in her ability to effectively dissipate encountered threats. Structurally intentional, the desired arc appears to be the recognition of the Kree’s deceit and the relinquishment of the artificially imposed limitation to the scope and accessibility of her true power. In conjunction with the repetitious and clearly mendacious remarks by the Kree to control her emotions, it appears that Carol’s journey was supposed to be emulative of the commonplace female experience, whereby impediments to success are oft wrought by those who injudiciously claim women’s abilities and pathos are weaknesses preventing elevation in status while ignoring their own culpability by undermining these very women. Carol is inculcated with the notion that she deserves this restraint for her own protection until she can prove herself, which is reminiscent of the automatic presumption of ignorance, a concept that defines the need for a woman to laboriously earn the respect that is immediately granted to male counterparts. From an allegorical standpoint, this deviance in storytelling is purposeful and effective in establishing resonance with all individuals who are peripherally regarded for their differences, deemed liabilities instead of assets, and made to believe the fault for said relegation lies in some intrinsic internal flaw which must be expunged or obfuscated in order for success to be gifted. The Kree represent these pernicious aspects of society that seek control, homogeneity, and forced repression of diversity in exchange for acceptance and promotion, while promulgating a false image of their own benevolence and magnanimity.
However, no matter the accuracy and tactful presentation of this subject matter, the lack of integration of Carol’s personal arc with these more general metaphorical discussions renders her a somewhat bland character rather mentally unaffected by the realizations and anguish she endured as a result of the Kree’s manipulative influence over her. In a sense, the confidence she demonstrates protracted across the film’s duration should have been an acquired attribute, considering the constancy of the Kree’s subtle disrespect and her attempts to achieve within a societal framework innately exclusionary to humankind. Carol should have been portrayed more avidly as an outsider, someone with cognizance of their own literal “alien” status who is impelled to work with greater ferocity than her peers yet is still disregarded. The frustration and consequential internalization of this treatment would be reflected in her self-perception and relationships with her Kree companions, as is oft redolent within a stratified culture.
The imagery of Carol rising and physically liberating herself from her tactile shackles is a rather potent moment celebrating her personal and emotional victory over the oppression and perfidious control she supposedly suffered by the Kree, interspliced with instances of her overcoming smaller repressive episodes throughout her life as a female. Though certainly eloquent in the visual conveyance of the sudden accruement of inner confidence, this intended, momentous scene felt underwhelming for a character never shown to be truly perturbed by the actions of the Kree against her. Had she endured corrosion to her self-esteem and hesitancy when employing her powers due to the Kree’s words, this representation of her ascension would solidify her final severance from the repressive forces in her life and depict her development into the confident superhero she could have already been.
In general, the failures of Captain Marvel should not be attributed to its aberrant structure nor its attempt to explore and explicate the faults mirrored in our own society. Conversely, the potency of the themes and inspired discussions should not grant immunity against critical analyses concerning the execution and quality of the character arcs and the narrative overall.