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Marvel Studios’ First Female Solo Lead Makes Powerful Debut in “Captain Marvel” (Spoiler-Free Review)

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Marvel Studios’ First Female Solo Lead Makes Powerful Debut in “Captain Marvel”

By Melanie Gable

*I was invited as media to attend a press screening for “Captain Marvel.” All thoughts and opinions are my own.*

“Captain Marvel” checks all the boxes for an entertaining Marvel Studios origin story: Wisecracking hero learning how to wield their super powers responsibly? Check. Villainous alien invaders? Check. Complex and thrilling fight sequences? Check. S.H.I.E.L.D. Agent Nick Fury attempting to maintain control of an insane situation with his signature surly attitude? Check. So what makes “Captain Marvel” stand out from the other films in the Marvel Cinematic Universe (a.k.a. the MCU)?

Namely, it’s Captain Marvel herself.

Captain Marvel in the Desert

First introduced by Marvel Comics in 1967, Captain Marvel has been the superhero alter ego of a variety of characters, both male and female, since the series first began. The new film is based on Captain Marvel’s most recent mantle holder, Carol Danvers, a determined and talented U.S. Air Force pilot with a dry sense of humor and strong moral compass. Played with pluck and confidence by Academy Award winner Brie Larson, the new Captain Marvel is an awesome (and welcome) addition to Marvel Studios’ roster of superheroes.

Though there are already formidable heroines in the MCU, like Black Widow, Gamora, Scarlet Witch, The Wasp, and pretty much every woman in Wakanda (shout-outs to Okoye, Nakia, and Shuri), none of these characters have been featured in their own stand-alone, solo franchise. Captain Marvel is the first female superhero to do so, and it’s long overdue.

But that’s not the only unique aspect of this film in comparison to other Marvel Studios flicks – it also acts as a prequel of sorts to the entire Marvel Cinematic Universe. Set in the 1990s, “Captain Marvel” is not only an origin story for the title character, but also for S.H.I.E.L.D. agents Nick Fury and Phil Coulson, and the Avengers Initiative itself.

The movie begins in media res, with Carol Danvers waking up in another galaxy on Hala, the home planet of the Kree alien race. She has no memory of her life on Earth, but is haunted by vivid nightmares that hint at a past very different from the life she’s living on Hala, where she’s simply known as “Vers.” She spars with a Kree military commander named Yon-Rogg (Jude Law), who acts as her mentor and is training her to serve on an elite team of Kree military officers known as Starforce. Vers believes her super powers, specifically her ability to fire photon blasts from her fists, were given to her by the Kree, and she’s eager to put those skills to use. The Kree are embroiled in a war with the Skrulls, a race of shapeshifters, and Vers is sent on her first Starforce mission to help retrieve a Kree spy from Skrull-occupied territory.

Through a series of misfires, Vers is captured by the Skrulls, who are seeking information about an energy core that could turn the tide of the war. The Skrulls use a device to comb through Vers’ memories of her life on Earth, but she’s uncertain as to whether or not the memories are real or a mind game being played on her by the Skrulls. Vers is able to make her escape and crash lands on Planet C-53, otherwise known as Earth, and that’s where the real fun begins.

Vers soon encounters a younger, slightly less jaded Nick Fury (Samuel L. Jackson, de-aged by visual effects technology) and his partner Phil Coulson (Clark Gregg), agents in the specialized U.S. law enforcement and counter-terrorism division known as S.H.I.E.L.D. Vers is Fury and Coulson’s first encounter with a visitor from another planet, and Fury is quickly drawn into Vers’ search for answers as to who she was on Earth and the real reasons behind why the Skrulls are seeking the energy core.

Directors Anna Boden and Ryan Fleck, a married couple who are also creative partners, are best known for helming indie films “Mississippi Grind,” “It’s Kind of a Funny Story,” and “Half Nelson.” The pair were originally in the running to direct “Guardians of the Galaxy,” but Marvel Studios ultimately hired them for “Captain Marvel,” in part based on an eloquent pitch by Boden. Though the film is a bit uneven in tone, their direction is overall adept, especially in the quieter scenes where the actors are given the chance to have more intimate conversations. With this film, Boden and Fleck have proven they can tackle a big-budget adventure just as skillfully as a character-driven indie.

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“Mary Poppins Returns” is a Dazzling Sequel That Aims to Delight Fans of the Original

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“Mary Poppins Returns” a Dazzling Sequel 

By Melanie Gable

*Hi, everyone! I’m so excited that Erin invited me to guest write this review for her blog! I attended a press screening for “Mary Poppins Returns” for the purposes of this post. All thoughts and opinions are my own.*

When Walt Disney Studios first announced that they would be making a sequel to their beloved, Oscar-winning 1964 film “Mary Poppins,” Disney fans’ reactions on social media were decidedly mixed. A movie musical that combined live action film with animation, the original “Mary Poppins” has stood the test of time and captivated multiple generations. Some of the film’s enthusiasts were elated by the prospect of revisiting Cherry Tree Lane (the setting of the first movie) and seeing a new Poppins story, while purists thought the property should be left alone.

But fans needn’t have worried, because “Mary Poppins Returns” simultaneously pays homage to the original film and does its own dazzling thing, exploring new territory in the Poppins-verse, with nostalgic nods to “Mary Poppins” peppered throughout the sequel. Deftly directed by Rob Marshall (“Into the Woods,” “Chicago”), who certainly knows his way around a musical, “Mary Poppins Returns” is a lively, enchanting, and loving tribute to P.L. Travers’ Poppins books and a (practically) perfect companion piece to the first film. If you missed what the cast had to share about the film the other day, make sure to check that out too!

The movie takes place in Depression-era London, two decades after the events in “Mary Poppins.” Jane and Michael Banks, the sibling charges of the magical nanny in the original movie, are all grown up, with grown-up problems. Michael (Ben Whishaw), now a struggling artist and father of three children, is dealing with the recent passing of his wife and the subsequent chaos his house is thrown into as he attempts to keep up with the financial and emotional responsibilities of single fatherhood. Jane (Emily Mortimer), a busy, independent woman campaigning for workers’ rights, still has the warmth and sweetness of her childhood self, checking in on and helping her brother whenever she can. Michael’s loyal housekeeper and cook, Ellen (Julie Walters), is getting on in years and, though well-intentioned, is prone to being scatterbrained and clumsy. The Banks children – Annabel (Pixie Davies), John (Nathanael Saleh), and Georgie (Joel Dawson) – assume additional responsibilities to help with the household as various tasks, such as grocery shopping, fall through the cracks. We are also introduced to Jack (Lin-Manuel Miranda), a charming, optimistic lamplighter and acquaintance of Bert, Dick Van Dyke’s chimney sweep character in “Mary Poppins,” who is soon drawn into the Banks’ family drama.

Fidelity Fiduciary Bank, the place of Michael’s employment, soon comes calling with bad news: due to late payments, Michael must now pay back his entire mortgage on 17 Cherry Tree Lane by the end of the week, or he will lose the property. Though the sum is more than Michael makes in a year and all seems lost, there is one ray of hope – the shares his father, a partner at Fidelity Fiduciary, owned in the bank. As Jane and Michael search the home for the shares certificate, they come across various mementos from their childhood, including the lovingly patched kite featured in the song “Let’s Go Fly a Kite” at the end of “Mary Poppins.” In a moment of frustration and grief, Michael takes a box of his childhood relics to the curb, including the kite, to be picked up for disposal. The kite almost immediately catches a gust of wind, skittering along the street and eventually taking to the sky.

 As the Banks children cut through the local park on their way to the market, Georgie spots the old kite flying wildly in the wind and begins to chase it. As the kite ascends higher and higher into the cloudy sky, Georgie finally catches hold of the string and crosses paths with Jack the lamplighter, who helps him reel it in. Into the fray floats Mary Poppins in her signature style, holding the kite in one hand and her parrot umbrella in the other, chin held high, toes pointed outward, and an air of mystery and magic about her. Jane and Michael are shocked when Mary Poppins arrives unceremoniously at 17 Cherry Tree Lane with Michael’s children in tow. She’s clearly the same nanny they remember, and shows no visible signs of aging since they were children. At Jane’s insistence (because Poppins might be down on her luck and need the work), Michael reluctantly hires Mary Poppins to care for his children. As is her way, Mary Poppins begins infusing fun and whimsy back into the Banks’ children’s lives, while steering the family toward the solutions to their problems behind the scenes.

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The Cast & Crew of “Mary Poppins Returns” Share the Stories Behind the Magic

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The Cast & Crew of “Mary Poppins Returns”

By Melanie Gable

*Hi, everyone! I’m so excited that Erin invited me to guest write for her blog! I attended the press junket for “Mary Poppins Returns” for the purposes of this post. All thoughts and opinions are my own.*

The Montage Beverly Hills was decked out in sparkling holiday decor on November 28, but the hotel became even more magical when the cast and crew of Walt Disney Studios’ “Mary Poppins Returns” held a press conference to talk about the process of making the enchanting new film.

Directed by Rob Marshall (“Into the Woods,” “Chicago”), this all-new, original musical is a sequel of sorts to Disney’s Oscar-winning “Mary Poppins,” which was released in 1964 and starred Julie Andrews in the titular role. “Mary Poppins Returns” revisits the charming setting of the first film, Cherry Tree Lane, but it is now the 1930s, and Jane and Michael Banks are adults navigating their way through “The Great Slump,” a time of economic downturn in England. Emily Blunt steps gracefully into the Poppins role, with Broadway superstar Lin-Manuel Miranda as Jack the Lamplighter, and Ben Whishaw and Emily Mortimer as grown-up siblings Michael and Jane Banks.

In the ballroom waiting area of the Montage, members of the press, bloggers, and special guests were treated to animated photo ops and a close look at some of the gorgeous costumes from the film, including several that were hand-painted by costume designer Sandy Powell. In the ballroom itself, a lovely scene was set for the film’s luminaries, with faux cherry trees adorning the stage and a bright blue backdrop featuring the movie’s title.

Producer Marc Platt served as the moderator for the conference and introduced the cast and crew in attendance:

  • Emily Blunt (“Mary Poppins”)
  • Lin-Manuel Miranda (“Jack”)
  • Ben Whishaw (“Michael Banks”)
  • Emily Mortimer (“Jane Banks”)
  • Director Rob Marshall
  • Producer John DeLuca
  • Composer Marc Shaiman
  • Lyricist Scott Wittman
  • Screenwriter David Magee

Platt began by asking Marshall why he chose to direct “Mary Poppins Returns.” Throughout the conference the cast and crew expressed how influential the original “Mary Poppins” had been on their respective childhoods, and Marshall was no different. “I really felt like I have that film, as many of us on this panel do, in our blood. And I wanted to be able to, in an odd way, protect the first film and treat this film with great care and love,” said Marshall. He also shared that it was “a dream” to be at helm of an all-new musical, and create it from scratch.

As for the role of Mary Poppins, Marshall gushed that there was “not another person on this planet who could have played that part” than Emily Blunt. Marshall directed Blunt in Disney’s film version of “Into the Woods,” so they have a history of collaborating on musical projects. When it came time to cast the movie, Marshall called Blunt and told her they’d been digging through the Disney archives and were returning to the company’s “most prized possession.” After keeping Blunt guessing for a bit, Marshall revealed that it was “Mary Poppins” and Blunt said, “the air changed in the room.” It was an extraordinary moment for her, and she said she instantly wanted to play the role. But her acceptance was with trepidation, because Mary Poppins is so iconic and has had such a profound impact on her life and the lives of so many others. “People hold this character so close to their hearts,” Blunt began, “And so, you know, how do I create my version of her? What will my version of her be because…no one wants to see me do a sort of cheap impersonation of Julie Andrews, because no one is Julie Andrews. And so she should be preserved and treasured in her own way of what she did.”

Blunt found inspiration for her own portrayal of Mary Poppins by turning to P.L. Travers’ books, which were “a huge springboard and enormously helpful” to her. Blunt loved the duality of the character – Poppins’ laughably quirky and off-putting characteristics, like vanity, sharpness, and occasional downright rudeness, paired with her deep empathy, altruism, and kindness. “She has to herself have such a childlike wonder in her in order to want to infuse these children’s lives with it, and there must under there be a generosity of spirit to want to fix and heal in the way that she does,” Blunt observed about the character. Marshall and Blunt talked frequently about Mary Poppins in the year and a half before they started rehearsing the movie, and they both shared the desire to capture the many nuances and layers of the character. Plus, Blunt joked, Poppins is “probably a bit of an adrenaline junkie…she loves these adventures.” Blunt described the role as “delicious,” and relished the opportunity to play such an enigmatic character.

Lin-Manuel Miranda, who plays Jack the Lamplighter in the movie, is best known as the writer and star of the smash-hit Broadway musical “Hamilton.” Truly a triple threat (or, more accurately, a quintuple threat?), Miranda is a playwright, composer, lyricist, singer/rapper, and actor with a slew of accolades under his belt, including Emmy Awards, Grammy Awards, Tony Awards, and even a Pulitzer Prize. Miranda also co-wrote the beautiful songs in Walt Disney Animation Studios’ “Moana,” and even showcased his vocal skills on the film’s soundtrack. Though Miranda has appeared in multiple T.V. shows and movies, “Mary Poppins Returns” marks his first starring film role.

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