In short, this is straight-up propaganda for the military-industrial complex. It would have looked and sounded identical had it been scripted by a joint team from the Pentagon and the Israel Defense Forces.
My reticence to review the film has lifted after reading the latest investigations of Tom Secker and Matthew Alford into the manifold ways the U.S. military and security services interfere in Hollywood, based on a release of 4,000 pages of documents under Freedom of Information requests.
In their new book “National Security Cinema,” the pair argue that the Pentagon, CIA and National Security Agency have meddled in the production of at least 800 major Hollywood movies and 1,000 TV titles. That is likely to be only the tip of the iceberg, as they concede:
“It is impossible to know exactly how widespread this military censorship of entertainment is because many files are still being withheld.”
One can imagine just how stringent the conditions imposed by the Pentagon must be, if it felt compelled to reject a movie like “Top Gun 2,” the sequel to the “flyboys with toys” killing fest that starred a young Tom Cruise.
The two authors add: “The documents also record the pro-active nature of the military’s operations in Hollywood and that they are finding ways to get involved during the earliest stages of development, ‘when characters and storylines are most easily shaped to the Army’s benefit’.” …
But there is also an undeniable irony to Gadot playing an Amazonian goddess who opposes the militarism of men, and cannot bear to see the suffering of children in war, when in real life she publicly cheered on the Israeli army’s massive bombardment in 2014 of the imprisoned population of Gaza, which led to the killing of some 500 Palestinian children there.
But more importantly, it is not just that Gadot, a former IDF soldier, is now the face of Wonder Woman; it is that the film’s superhero character too almost perfectly embodies the shared militaristic values of the IDF and the Pentagon. If there is one film whose script suggests it was jointly engineered by the Pentagon and Israeli army, it is Wonder Woman. …
Humankind’s ultimate enemy is not Ludendorff, but the kindly Sir Patrick Morgan (David Thewlis), who has spent the entire film counseling for negotiations and peace with the Germans.
The ultimate evil, Wonder Woman finds, is the wolf in sheep’s clothing among us: those who preach fraternity, compassion and turning the other cheek are the ones who make possible the killing of the innocents. …
“War is peace, freedom is slavery, ignorance is strength”–and all of it is good for business, the film Wonder Woman concludes in truly Orwellian fashion.
Wonder Woman is a hero only the military-industrial complex could create