Thor is the funniest of the Marvel superheroes. Misguided son of a Paki god, in the first movie —that slop from 2011— he is expelled to Earth for not knowing how to behave —that is, for not participating in a healthy way in his father’s genealogical project—. Here he falls in love with Jane Foster, an astrophysicist played by Natalie Portman, who, although she is zero immune to the muscles of the space bun, knows how to put the points and make him more suitable to inherit the throne of Asgard. Re epic, re solemn.
I don’t remember the second movie, but something must happen with Jane because in the third she no longer appears —we know that, in reality, Natalie did not want anything to do with retaking her character—. In this point, Thor plays the indifferent, the “I’m over it”; he initiates with a useless gesture the parody of his own integrity.
What really happened was that Marvel hired the Australian Taika Waititi as a writer and director of the new movies.Let’s see if his stroboscopic imagination could put a wave to the most boring superhero in the house —look, you have to be more boring than Captain America, huh—. Waititi made it; Thor: Ragnarok is a burst of color and comedy passes. The most memorable is, perhaps, the bros relationship between Thor and Hulk: the two big men measure it -the ego- until they pass the point of ridicule.
In the Waititi era, the solemn virility of the son of Odin has no place only as parody. The character of Chris Hemsworth is in the grip of an existential crisis that he cannot name and that is only nuanced by his outbursts as a man who breaks things. First hit: now Thor is an idiot and everyone around him knows it. The rock soundtrack is there to enhance the effects of that idiocy. Not to mention that Odin died well at the beginning of Ragnarok and left his firstborn on the side with the fate of the kingdom. Thor is never going to be able to take over the throne; that is going to be the role of Valkyria, Tessa Thompson’s lesbian warrior, who in love and thunder he introduces himself to us as king of Asgard. Second hit: “I am the king”, says Valkyria in masculine, shortly before recalling her romances with other warriors. In future movies will we see her playing Captain Marvel as some leaks anticipate?
Another character who speaks openly from his heart is Korg, the rock giant played by Waititi himself. Korg longs to return to the volcanoes on his planet to find a mate there and spawn a lava baby with him. Korg’s story is funny and tender at the same time; above all, he avoids any explanation about the nature of the volcanic link. No one asks for it, no one is scared. Who would want to enclose all the creatures of the increasingly wide multiverse in the same heterosexist corset? The gods certainly don’t. You have to see the avidity with which Zeus summons everyone present at his celebration to an orgy: nymphs, heroes and other inhabitants of Omnipotence City. Literally, Russel Crowe’s character says that “everything goes here”. Going.
Straight love? and thunder
The biggest draw of the film is the return of Jane Foster as Mighty Thor. Natalie liked the idea of returning, not just to play the scientist in distress but the bearer of Mjolnir, Thor’s mythical hammer, It confers good health on the wearer. The reunion between Jane and Thor is awkward and awkward; he is puzzled by the ex’s new empowerment.
However, as the title of the film anticipates, the flame of the couple eventually lights up. We are even told the reasons why they broke up in the first place: among other things, Thor wanted children—oh, the genealogical project!—and she didn’t. The initiative was Jane’s and not Thor’s. The most hegemonic bum in the multiverse was left by his earthling girlfriend. Since then, he counts the days. He can’t get over her because the heterosexual matrix is still intact. Waititi’s greatest success is to expose it in such a way that we can laugh at it.