Avengers Infinity War Revisited – / Movie

For Better or Worse, Avengers: Infinity War is the culmination of all that the Marvel film universe represents.

Un-development of the character

Avengers: Infinity War occupies a unique space in the landscape of Marvel, given his evil Thanos (Josh Brolin), the Mad Titan. Thanos is not the protagonist of the film, notice it; This marketing angle is as false as Ant-Man and The Wasp being a romantic comedy or . Captain America: The Winter Soldier being a 1970s Conspiracy Thriller . However, the main function of Thanos is to annoy (and even sometimes undo) the arcs and intrigues of the protagonists of the film, which lasted a decade, namely: the Avengers, the Black Panther, the Doctor Strange, Spider-Man and Guardians of the Galaxy. As far as narrative issues are concerned, it is a laudable risk.

The six Infinity stones, appeared since Captain America: The first avenger in 2011, facilitate this function. With virtually unlimited control over the Spirit, Soul, Space, Time, Power, and Reality domains, they help Thanos eliminate half of the universe. These all-powerful MacGuffins function as metatextual rewrites, as if the Infinity Gaunt of Thanos reached the series. from some external domain and undoing its very fabric.

Take, for example, the culminating moment when Wanda Maximoff (Elizabeth Olsen) is forced to kill her lover The Vision (Paul Bettany), whose conscience lies in the mental stone. The couple wonders how to control, protect or destroy that power throughout the movie, choosing to sacrifice themselves to save the universe. And yet, Thanos, who has just acquired the Time Stone (a time travel device introduced in Dr. Strange ), simply cancels his decision with a wrist shot. However, he leaves intact his heart-rending emotional crater; Wanda still remembers the killing of The Vision, which Thanos then murdered before taking the stone of the spirit.

In by Avengers: Infinity War the sacrifices of heroes are in vain. the characters are each canceled by intentional steps backwards.

The series has hitherto been based on Trolley Problems superhero with each problem becoming more and more complex and closer to the heroes. In their first films, Thor, Captain America, Doctor Strange and the Guardians of the Galaxy chose to sacrifice themselves to save civilians. In The Avengers Iron Man nearly died preventing the World Council from killing millions of people to prevent a global invasion. The Heroes of Captain America: The Winter Soldier faced a similar problem – HYDRA, the villain, sought to kill millions of people to bring peace to the world – and in Avengers: Age of Ultron The Avengers are facing a dilemma in which failure means global extinction, but success means killing an entire city.

And while the Avengers had a convenient way out of the Ultron plan (the re-emergence of SHIELD), they did not enjoy such luxury in . Avengers: Infinity War, in which Thanos & # 39; Trolley Problem poses half of the universe on one track and the Avengers' relatives on the other. In comics, Thanos kills half of all life to impress the personification of death. In the movies, he is animated by a manic and insensitive utilitarianism. the logical result of an MCU where the humanist heroes refuse to compromise – until they are it.

Thor, the god of nothingness

Developments in earlier films begin in the first scene. The Asgardian refugees – whom Thor (Chris Hemsworth) had saved by destroying his own kingdom in Thor: Ragnarok – are attacked, as are the fate of many refugee ships [19659029]] in the real world. As amusing as the film may be in part, it's not a brilliant and happy story.

The mbadacres of his brother Loki (Tom Hiddleston), his friend Heimdall (Idris Elba) and half of the remaining Asgardians send Thor back to regress. His blindfold was undoubtedly a cool new look that brought him closer to the mythical wisdom of his father, but replacing it with a mechanical eye had a dual purpose. Thor is a victim of Thanos – the children of Gamora (Zoe Saldana), Nebula (Karen Gillan) and Thanos have similar robotic distinctions – and represent a return to imprudence Ragnarok Thor, of same as acquiring a new hammer.

Thor had spent his last five appearances surpbading his arrogant and vengeful bellicose. Here, he is obliged to return to this juvenile state. At the end of the film, he does not only want to kill Thanos, but also to look him in the eyes and to make him suffer – a mission of revenge rather than an act of altruism that saves universes – that the few seconds that separate Thanos and potentially hurt him kill enough to reverse the trend

Rather than committing the act, Thor stops to gloat over and makes fun of the crazy titan. During this interval, Thanos snaps his fingers and removes half of the universe. The moment of catharsis of Thor leads to disaster.

Guardians of No One

Star-Lord / Peter Quill (Chris Pratt) is forced to return to a state of arrested development. His first appearance in a film, Guardians of the Galaxy was about to learn to accept the pain of grief, which linked the death of his mother – the rejection of that- enclosing him in a perpetual adolescence – in Gamora's love. The Power Stone even evoked the image of his mother as he reached out to Gamora, accepting love just as he accepted death. "Take my hand," said the two women.

In The Avengers : Infinity War Quill's bow ends when Gamora asks him to kill her, hoping to stop Thanos from finding the Stone of souls. She even makes him swear on his mother to do it. Quill is forced to give up the love he has given him – shortly after the loss of his father Yondu in Guardians of the Galaxy, vol. 2 – in order to concretize Marvel's heroism: to save people by personal sacrifice.

While he points his weapon at Gamora, he goes through the anger, denial, negotiation and mourning action that he has to commit. And just as he begins to accept his mission, Thanos removes the rug from him, using Reality Stone to turn his weapon into bubbles.

Quill does not have the right to cry. Later in the film, when he discovers that Thanos killed Gamora (while the Avengers are trying to steal the Gauntlet), Quill's return to rash anger forces him to take Thanos and derail him. the mission. This arc is an excellent narrative catalyst, at least on paper. Although Quill's emotional hearts operate in isolation – accepting Gamora's death, then failing later – the time between these moments does not dramatize Quill's emotional journey. In the meantime, he is again making arrogant jokes and jokes.

On the other hand, Thor's grief is a central point every time he is on the screen. That's why his arrival in Wakanda is so catchy. he wins his place in the battle and his opportunity to take revenge. Quill does not feel trapped by the emotions that drive him. He is acting recklessly on Titan, but his story up to that point never outsources the source of his regression: a deep pain, prevented from accepting death again (the dramatic issues only manifesting themselves in the very moment are one of the most important common problems).

Gamora, too, is forced to peak prematurely; her story is essentially over when she thinks she has killed Thanos. She is forced to count on the pain of having murdered her own father, but that turns out to be another trick of Reality Stone. Even when Gamora tries to kill himself to prevent Thanos from acquiring the Stone of Souls, the Mad Titan does not allow him that sacrifice. He also replaces his knife with bubbles and takes his life.

This complete thematic sequence – the sacrifice, what it means and who should do it – is best embodied by Captain America (Chris Evans), whose brief presence says a lot about the series so far. However, the idea of ​​sacrifice is also distorted and corrupted by Mad Titan, making him the twisted reflection of the Avengers.

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