If you put all of the Marvel films in a chronological order based on the events depicted in them, the newest entry in the Marvel Cinematic Universe, Black Widow, actually falls somewhere in the middle, between the interwar period between Captain America: Civil War and Avengers: Infinity War. While it’s not impossible to make a compelling prequel or midquel (see the current Planet of the Apes trilogy or Alien: Covenant, for example), it’s also a notoriously difficult feat. That Black Widow struggles with this problem is a reminder of why it is so late at the beginning: For some reason, until recently, Marvel was resistant to the idea of a woman-led superhero film – 2019 Captain Marvel was the first, despite the fact that it was is the 21st part of the franchise, and Black Widow is now the second. The delay also means Black Widow will come out even after its main character dies, which poses another problem: where’s the tension in the story when you already know how it ends? This is the question that preoccupies the film. While fun, Black Widow can’t attribute the thrill it has to its title character. It’s less of the superhero’s long-awaited breakout film than the spirit of the standalone that should have been.
There are three major threads at work in the film. The first is to discover that Natasha is not alone in this world because she has her adoptive family. The second reveals a little more of Natasha’s backstory, forcing her to reckon with the nature of the mysterious Red Room. The third is Yelena setting up to take on Natasha’s coat in the future Marvel films. Unfortunately, all three threads are fraying, and for reasons that are all knotted together.
The fact that Black Widow will have to use Yelena as a player in future MCU films and shows already means that Natasha is shedding some of the limelight, under which she has waited for 24 films, and the atomic bomb of charisma that Florence Pugh sets off on screen every time, it feels like Natasha is already being pushed off the stage. In addition to making fun of Black Widow’s superhero poses and hair flips, Yelena has a more compelling arc of character as she finally faces the fact that her childhood, which she remembers as the best years of her life, is essentially the work of. was fiction and is beginning to take ownership of their lives. (A scene in which she explains why a vest – the very first item of clothing she bought for herself – is important to her is a movie highlight, and Natasha has to inherit it second-hand.)
In contrast Natasha’s bow in the film is pretty listless. The idea that Natasha needs to find a family or have no friends feels insincere after seeing billions of dollars worth of Avengers films that rallied her super powerful teammates as the two of them. We’ve seen her literally give her life for her fellow heroes – her self-sacrifice for the Soul Stone in Avengers: Endgame is based on an Avengers’ need to sacrifice someone they love – and their reluctance to accept their second found family ( Aleksei, Melina and Yelena) is solved without a fuss. As for the resolution of her past, this is how she feels manufactured. In all appearances in the other films, she has moved on and made peace with her widow past, and the film begins with Natasha assuming that her tormentor Dreykov has been dead for years and the Red Room is over. In other words, the film spends two hours making up the resurrection of Dreykov and the Red Room, only for Natasha to kill them again and land more or less where she started, which feels more than a little anti-climatic. The events of the film are not perceived as something earth-shattering, but as a slip on Natasha’s radar. (Not to mention everyone else: apparently the events of the film never deserved a flyby from another Avenger or a mention in any other entry.)
The only part of the Dreykov storyline that gets recorded is that Fact that Natasha was once willing to kill a child as collateral damage, but the movie’s ultimate resolution for this storyline is similarly unsatisfactory. What the movie’s answer assumes is: maybe she didn’t? And she’s very sorry, too – just ignore the rest of the red ledger!
But that’s a quirk that is bigger than just Black Widow who has more pressing problems. Even the stinger in the credits of the film underscores how much this is Yelena’s story, not Natasha’s, as Natasha only appears as a name on a tombstone. The purpose of the scene is not to promote Black Widow mythology, but rather to plan future adventures for Yelena, a character who benefits from not being dead. Black Widow just doesn’t feel like a Black Widow movie, which is a shame considering this is apparently the last chance it’s going to get. It’s more like a Black Widow reflection and a Yelena prequel, too little too late to make up for the fact that Natasha never got her own movie when she was alive.
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