The Power of Women (2022) Film Review

The Power of Women Film

This action-epic faces the challenge of balancing sincerity and historical accuracy with blockbuster expectations. In a film landscape often prioritizing broad statements on race over robust storytelling, there might be initial hesitation. How can Prince-Bythewood craft a narrative around the Agojie warriors, an all-female group from the West African kingdom of Dahomey, considering their involvement in the transatlantic slave trade? It's a daunting task handled with delicate sensitivity by Prince-Bythewood and screenwriter Dana Stevens, aiming to portray Black women as the authors of their own destinies.

The film opens dramatically, with a group of men in a field by a campfire. Viola Davis, playing Nanisca, the seasoned Agojie general, emerges with a machete, leading her platoon to slaughter the men in a mission to free their imprisoned kin. The scene is intense, filled with gore, yet the women in the village are spared. Nanisca, having lost many comrades, decides to train a new generation of recruits.

After the exciting battle at the beginning of "The Woman King," the story might seem a bit confusing. However, the twists and turns are intentional, fitting the film's blockbuster ambitions. Nawi, a rebellious teenager, is supposed to be a gift for King Ghezo but gets a different fate when warrior Izogie sees her spirited resistance as a strength. Joining Nanisca's training, they become part of the Agojie, a group promising freedom to its members but not to those they conquer. The defeated end up as slaves to the Oyo Empire, creating a cycle of oppression that Nanisca wants to break.

Despite some confusing story points and a twist that almost derails the plot, the heart of "The Woman King" lies in the bond between these Black women. The film beautifully portrays their love and commitment to each other during their intense training. The deep ensemble cast, featuring standout performances from actors like Lashana Lynch, Thuso Mbedu, and John Boyega, brings authenticity to the characters without pandering to white audiences.

While the film has its messy moments, with overused visual effects and awkward romantic subplots, the emotional weight and character development shine through. Cinematographer Polly Morgan captures the powerful fight scenes well, and the actors, including Boyega and Sheila Atim, deliver memorable performances. Despite its flaws, "The Woman King" remains a compelling and emotionally resonant action movie.

After the exciting battle at the start of "The Woman King," the story might get a bit confusing. But those complex twists actually help the movie achieve its big, blockbuster goals. Nawi, a bold teenager, was supposed to be a gift for King Ghezo but takes a different path when the warrior Izogie sees her resistance as a strength. Joining Nanisca's training, they become part of the Agojie, promising freedom to their own but not to those they conquer. The defeated end up as tribute to the strict Oyo Empire, who trade them as slaves to Europeans for guns. Nanisca, burdened by guilt, wants the King to break this cycle. Meanwhile, Nanisca has a haunting dream, and Nawa, a rebellious member, struggles with some Agojie rules, especially the "No Men" part, which might hold the key to her troubles.

Despite some confusing story points and a twist that almost derails the plot, the heart of "The Woman King" lies in the strong bond among these Black women. Their commitment to each other during intense training becomes the film's love story. Scenes of Black women caring for and supporting each other are plentiful, and their rituals and songs add depth to their connection.

Director Gina Prince-Bythewood doesn't shy away from emotional depth in this action movie. Each actor in the ensemble cast gets their own space, facing challenges organically without being forced into teaching roles for white audiences. Sheila Atim, who delivered a stellar performance in "The Underground Railroad," shines as Nanisca’s trusted second-in-command, Amenza. John Boyega is both commanding and captivating as King Ghezo, projecting confidence while still learning to lead.

However, "The Woman King" has its messy moments. Excessive use of visual effects for landscapes, fake extras, and fire sometimes dulls the cinematography. Yet, the film excels in capturing intense fight choreography. The budding romance between Nawa and Malik, a character returning to discover his roots, unintentionally adds some awkward humor. The script also occasionally tries too hard to neatly tie together characters, especially Nawi and Nanisca. Despite these flaws, "The Woman King" remains a compelling action movie with emotional resonance.

When "The Woman King" hits its stride, it's truly remarkable. The costumes by Gersha Phillips and the production design by Akin McKenzie create a vibrant and authentic world, especially in portraying the Dahomey Kingdom with its rich colors and sense of community. Terilyn A. Shropshire's skillful editing lets this grand epic breathe, and the powerful score by Terence Blanchard and Lebo M. adds depth to the Agojie’s fighting spirit.

While Viola Davis shines as the obvious star with a compelling and emotionally intense performance, Thuso Mbedu also stands out, reaffirming herself as a star. Mbedu fully embraces her character, a woman determined to be heard, delivering lines with a glimmer of hope or devastation. One scene, where she mourns a fallen warrior, is particularly impactful, evoking a visceral emotional response.

Some might find the subplots in "The Woman King" a bit overwhelming, but the movie's grandeur and awe are reminiscent of epics like "Gladiator" and "Braveheart." These epics aim to stir your heart, making you overlook logical concerns and immersing you in a splendid experience that tugs at your emotions. Amid the epic battles and the fight against external pressures and oppressive systems, the guiding force in the film is sisterly love, Black love. "The Woman King" is thrilling, emotionally beautiful, and spiritually uplifting – more than just a battle cry, it represents the culmination of Gina Prince-Bythewood's career, and she delivers flawlessly.