Like its hero, the film is a beacon of hope in the summer movie season.
Joe Johnston’s Captain America: The First Avenger may not be instilled with flashy special effects, a flawed protagonist or cynical tone—all the criteria of modern superhero fare—but it’s all the better for it. The film’s traditional visuals, selfless hero and optimistic presence make it, like Captain America himself, a symbol of hope—not just for the state of movies but for this seemingly hopeless world.
The story, set during World War II, first centers on the origins of Captain America. Before wielding a special shield and strength, the Captain lived a normal life as civilian Steve Rogers. Played precisely by Chris Evans, Rogers does everything he can to enlist in the military and go to war, but he’s too small, too weak. His willingness to put his life on the line and heart to serve his country simply aren’t enough.
That changes when he meets Howard Stark (Dominic Cooper) and Dr. Abraham Erskine (Stanley Tucci). Before long, the two masterminds have him in a secret lab where they turn the sacrificial lamb into a super soldier destined to save the world. The storyline surely finds derivations from a more famous story in which a savior takes the form of a lowly servant and gives up his life, but its agenda isn’t as religious or moralistic as it is political and nationalistic.
Seen early on in Rogers’ character, this patriotic facet shines through candidly in the second half of the film. After acting as a propaganda figure for the country, the Captain eventually finds his way abroad and behind enemy lines. This leads him on a mission to save a platoon of American soldiers and later on a plot to stop Nazi villain Johann Schmidt, aka Red Skull—a well-cast Hugo Weaving—and his HYDRA army from taking over the world.
This urgent plot entails some riveting action sequences, like a chase through the streets of New York and a shootout outside a Nazi base, but Johnston refuses to let any of it get away from him. He keeps the fine special effects harnessed and lets the actors give the action scenes most of their force, particularly Evans. The strapping young actor doesn’t just totally fit the part—he infuses his character with just enough humor and humanity to make him convincing.
Johnston’s style, which comes out most vividly in the action, certainly invokes Spielberg and his Indiana Jones movies. That’s not just because the film includes Nazis or because Johnston worked with Spielberg on that series. It’s because Johnston shoots with a sense of scope and a proper knowledge of his film predecessors. He may not break new ground or blows us away like Michael Bay has, but it’s hard to fault him for sticking with an approach that’s proven successful.
His classic direction merges well with the solid story and pleasing performances—not to mention an amusing Tommy Lee Jones as Colonel Chester Phillips. The culmination of these elements gives the alleged popcorn flick some legitimate weight. It also makes its patriotism—the good, not arrogant, kind—intrinsic and potent, challenging us to both appreciate our soldiers and regain faith in this country.
Unfortunately, the film probably doesn’t hold quite enough appeal to encompass that kind of impact, to make that powerful of a point. As with its own superhero, it should undoubtedly stand the test of time, but throughout history, it will cyclically be remembered and forgotten. Nevertheless, Captain America stands as a beacon of hope, if only in this summer movie season.
David Roark is a film critic for RELEVANT and Dallas Morning News. Check out his blog and follow him on Twitter.
