Captain America: The First Avenger

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Time to punch some Nazis!

75/100

Captain America has recently come under fire for a new comic from Ta-Nehisi Coates featuring the star-spangled man with a plan that criticizes the American Dream, with superhero actors Dean Cain and Kevin Sorbo accusing Marvel of politicizing Captain America. (This also comes after the villainous Red Skull was depicted with similarities to Jordan Peterson.) Yet, no matter where you stand on the controversies that have followed the Cap comics, from his conception Captain America has been a political construct: Joe Simon and Jack Kirby created Cap and had him punching Nazis in the face even before America had entered World War II. Pointedly, Cap has always tried to stand for what America should be, not what it is or has been (except for that arc where a Cap imposter was a Nazi, which caused no drama whatsoever). 

In the MCU, the movies have had to refrain from anything other than sweeping statements like, “Nazis bad,” or “government surveillance bad,” as they cater to a larger audience than the comics, but the spirit of Steve Rogers’ comic origins are still visible enough throughout his cinematic tenure, starting with the pleasantly old-fashioned Captain America: The First Avenger. (It’s also a lot easier to avoid issues of overly aggressive American exceptionalism when your bad guys are literal Nazis.) 

Part of its winsome charm comes from the 1940s setting, making The First Avenger Marvel’s first period piece—though don’t conflate it with the high-falutin dramas that usually populate the genre; it’s still first and foremost a superhero movie. Director Joe Johnston had already balanced these genres in The Rocketeer, so he seemed a natural fit for this MCU entry, and proves himself more than up to the job of balancing the time period with superheroics. It’s all very Indiana Jones. (While Johnston would only direct this film, screenwriters Christopher Markus and Stephen McFeely would become mainstays of the MCU.)

America has entered World War II, and Chris Evans’ Steve Rogers is raring to go fight the good fight but is hampered by his small frame (Leander Deeny acted as Evans’ body double for the first part of the movie, and the head grafting usually looks decent) and litany of health issues. His childhood friend Bucky Barnes (Sebastian Stan) has already been drafted, and Steve’s frustration has grown to where he has begun to lie on his enlistment forms in an effort to somehow join up. His determination to help in any way he can attracts the attention of Dr. Erskine (Stanley Tucci), a German scientist helping the Allies’ war effort by providing them with a serum to create a super soldier. 

Steve gets whisked away to Camp Lehigh in New Jersey, where he meets the prickly colonel Chester Phillips (Tommy Lee Jones) and the no-nonsense Agent Peggy Carter (Hayley Atwell). Marvel often casts unknowns in leading roles, or, if not unknowns, at least someone unexpected; in this case, Chris Evans was mostly known for romcoms and non-MCU Marvel’s Fantastic Four duds. To compensate for their lesser-known leads, the MCU will populate the roles around their heroes with big names: Jeff Bridges in Iron Man, Anthony Hopkins and Rene Russo in Thor, and, in The First Avenger, Tommy Lee Jones and Stanely Tucci.

These casting choices generally pay off, giving the audience someone new to fawn over while the veterans keep the performance quality high. Here, Tucci and Jones give some of the most memorable one-off Marvel performances; Erskine in particular, while only appearing in the first third of the movie, has stayed fresh in the minds of audiences: he is, after all, the one who lays down the ethos of Captain America: “Not a perfect soldier, but a good man.”

This isn’t to say that The First Avenger’s leading man falls short—not by any means. Chris Evans, in addition to being ridiculously good looking, is ridiculously charming; it’s hard to imagine anyone else in the role, though he initially turned down the role. Evans’ Steve is someone we all want to root for, representing that ideal American gumption and gusto without any of the country’s baggage. Yet while it could be easy to paint Steve Rogers as a goody two-shoes, as someone with a stick up his ass who probably goes to church each Sunday and buttons up his shirt all the way, the character we are presented in the MCU, and the one we are shown by Evans, is much more interesting than that (though Joss Whedon will fall slightly into caricature in The Avengers, unfortunately): the first thing Steve does in The First Avenger is lie. He lies on an enlistment form to boost his chances of helping the war effort, so the lie isn’t a nefarious one, but Steve still consistently bends or outright breaks the rules to follow his own largely unfailing moral compass; he has never been one to simply follow orders and do things by the book. He’s smart, too, and not just some tail-wagging Golden Retriever. If not quite as complex as Tony Stark or Loki, Steve still—to quote a certain green ogre—has plenty of layers. Good is not dumb, nor is it boring.

While Steve fails to impress physically, he proves himself worthy of the super soldier serum when he jumps on a grenade (unaware that it’s a dummy) to absorb its explosion while everyone else runs away, convincing even Colonel Phillips that he can handle the responsibility of Erskine’s super soldier serum. Howard Stark (Dominic Cooper) arrives to assist, a mirror image of his son: smart, suave, self-important, though with less of the guilt and self-loathing. 

Steve Rogers then gets really, absurdly ripped. If Peggy has already been attracted to his innate goodness, this surely helps that attraction along. 

Unfortunately (though maybe fortunately, so America wouldn’t have a race of blonde-haired, blue-eyed super soldiers…), any chance of recreating this effect is dashed when an agent of Hydra (Richard Armitage, who definitely should get brought back for a bigger MCU role), an offshoot of the Nazis, kills Erskine. Steve, instead of getting to sock Nazis in the jaw on the front lines, is then used as a tool of the government to get more war bonds; his tenure as the government’s dancing monkey gives us a great musical number and a chance to lampoon the government: they stifle the real spirit of America, instead packaging some propagandic patriotic prattle in song and dance and costumes. (Again, this “real spirit of America” is much easier to portray during World War II, with clear-cut bad guys. Later on, it gets a little bit more complicated.)

Only with Peggy’s encouragement does he break out and begin to actually do something with his power. Arnim Zola (Toby Jones) and Johann Schmidt (Hugo Weaving), aka the Red Skull, have been up to no good, capturing Allied forces—including Bucky Barnes—as part of their nefarious work for Hydra, so Steve ditches his role as senator attaché and goes to save his comrades. 

Where Marvel typically tries to tone down some of its comic book origins in order to make the movies more palatable, Red Skull’s design is ripped straight from the comic pages in all its campy, pulpy glory. The preceding MCU movies have all tried to ground themselves even as their subject matter gets more and more outlandish, resulting in something like Thor, which fails to commit fully to its otherworldly premise. The First Avenger marks the first time that Marvel fully embraces its source material: it’s good vs. evil, superhuman vs. superhuman, good old American boy vs. Nazi with a red skull. It throws any pretension away and basks in its absurd comic book glory, a much better movie for it.

To even out the absurdity, we have the very real relationships between the characters. Steve’s close connections with Bucky and the Howling Commandos (Neal McDonough as Dum Dum Dugan, Derek Luke as Gabe Jones, Kenneth Choi as Jim Morita, Bruno Ricci as Jacques Dernier, and JJ Feild as James Falsworth aka the superhero Union Jack, though only a normal guy in the films) give him an anchor; his relationship with Bucky in particular will remain important in the MCU and spark the imaginations of thousands of Tumblr and Twitter users, though it’s not given quite enough heft here.

The real heart of the movie, however, is Steve’s relationship with Peggy. Despite only being developed for one film, this relationship has proved to be one of the strongest in the MCU (perhaps too strong, but more on that with Captain America: The Winter Soldier and Avengers: Endgame), and due to Hayley Atwell’s vibrant portrayal, Peggy received her own spinoff show, Agent Carter, and appears in Winter Soldier, Avengers: Age of Ultron, Ant-Man, Avengers: Endgame, and two episodes of Agents of S.H.I.E.L.D. Peggy and Steve serve as the film’s beating heart, giving the ending a gut punch and real emotional heft that the MCU films have largely lacked so far. It’s a testament to the depth of these characters that they can carry such weight in a movie where the main villain looks like this.

Upon revisiting The First Avenger, it’s remarkable how well the film has aged; while Iron Man deserves props (or boos, depending on your view of the MCU as an entity) for kickstarting the MCU, it feels largely rote when compared against the slew of other films that come after. The First Avenger, on the other hand, has a unique setting, and while it still lays the foundation for future entries, the film is still largely self-contained. Reverberations from its events can be found all over the MCU, but it’s less concerned with setup for the future and more so with payoff for the now, making it a satisfying entry on its own. It can get a little too silly at times, but it’s always fun and upbeat, a reminder of what Captain America can look like without the 21st century cynicism he becomes riddled with in later entries. Looking back after ten years, this may hold up better than Iron Man—this is a spicy and hot take, I know—and certainly helped reset the trajectory of the MCU after some more lackluster entries, setting them on firm ground before they take a big risk with The Avengers.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Hey, it’s the Tesseract with an Infinity Stone inside. Wonder if that will be important later.
  • Hey, the Red Skull used aforementioned Infinity Stone and got sucked up into space. Wonder if he will show up later. (He will, but not as Hugo Weaving, who has been open about the pay disputes with Marvel that led to Ross Marquand appearing as Red Skull in Avengers: Infinity War and Endgame.)
  • Hey, no more super soldier serum exists. Wonder if anyone will make knockoffs and that will be important later.
  • Before the Hydra base is blown up, Zola rescues some blueprints for what looks like a robot, a nod to his comic look; in Winter Soldier, they will adapt this so that Zola lives through a computer program as a head on a screen.
  • Boy, sure hope hiring Zola and other Hydra members to help the United States doesn’t bite anyone in the ass.
  • There’s a common saying that “the only people who stay dead in comics are Bucky, Jason Todd, and Uncle Ben.” That has now been whittled down to only Uncle Ben, as Bucky gets revived as the Winter Soldier by Ed Brubaker, a fate that will befall our filmic Bucky as well (and Jason Todd is also alive now, coming back as the Red Hood in DC comics). No one knew at the time if The First Avenger would get a sequel or if it would even adapt the Winter Soldier arc, so they filmed two versions of Bucky’s fall: one where Sebastian Stan had a green screen sleeve on his arm, and one without. Though they ended up using the latter, Bucky will still appear sans an arm in Captain America: The Winter Soldier.
  • Howard and the Howling Commandos show up in Agent Carter, and some Howling Commandos show up in Agents of S.H.I.E.L.D. with Peggy. Will I be able to bring up S.H.I.E.L.D. in every retrospective? Stay tuned!
  • Kenneth Choi, who played Howling Commando Jim Morita, shows up in Spider-Man: Homecoming as Mortia’s grandson.

Anna’s Favorite Scene: Dr. Erskine and Steve have a chat before the procedure, producing that classic MCU line: “Not a perfect soldier, but a good man.”

MCU Ranking: 1. Captain America: The First Avenger (I welcome your Twitter arguments), 2. Iron Man, 3. Thor, 4. Iron Man 2, 5. The Incredible Hulk

Captain America: The First Avenger Trailer

Captain America: The First Avenger is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Episode 84: VIFF Kickoff / The Devil All the Time / Sibyl / Siberia

“Life is what happens when you’re doing other things, right?”

Abel Ferrara

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: The Trial of the Chicago 7 & Shithouse. Followed by The Devil All the Time, Sibyl, and the VIFF 2020 Official Selection Siberia.

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Streaming links for titles this episode

The Devil All the Time on Netflix

Siberia is currently seeking distribution

Sybil is currently available to rent from multiple sources.

The Devil All the Time

Written by Nick McCann

84/100

As far as getting new releases, this year bites. It’s a good thing the streaming platforms all had full banks to deploy. Admittedly I’m still not all that enthused with Netflix originals, but the output has been steadily improving these last few years. This particular release captured my interest with it’s Appalachia aesthetic and emphasis on story.

The story covers a range of characters, places and time periods. I found it reminiscent of when films strove for artistic quality on top of pure entertainment. I was hooked all the way through. It moves along at a slow pace. In each situation we see the fates of these characters come to fruition. Fate is the keyword. As you feel the momentum build up to a crescendo, you also come to realize the title itself bears good meaning. For all the faith a person can have, their inner demons always rear their heads. This is an involving and thematically rich tale full of betrayal, lust and suspense.

There’s a great cast. Each does an excellent job justifying the part they play. Tom Holland leads with his most raw role to date. You feel for him instantly once he comes on screen as a young man shaped by tragedy and trying to get by in gritty surroundings. This is another reliable turn out by Robert Pattinson as a borderline mad preacher. You also get a scuzzy Sebastian Stan, Jason Clarke being creepy, a brief turn from Mia Wasikowska and more. It’s the kind of movie where I loved getting to know the characters and watching them come together.

On the technical side, the production design was convincing at realizing this setting. In a rickety looking past that’s full of character. The cinematography delivers too, lingering on moments of heavy emotion and moving with life when things get lively. The soundtrack and score help sell the immersion of its time period. It’s the kind of movie where I wouldn’t mind seeing a normal day go on in this community.

There’s some fleeting bits of action when the emotions and suspense start to peak. These sequences are well executed, building up to the absolute edge before ending as fast as they start. The one nitpick I have is you can see where they edit a frame out to sell a punch better. Still there are some hard hitting beat downs. Scenes with guns fare much better with an emphasized realism on the violence. The blood and make-up effects are good. Don’t take this as saying its action at every turn. When conflict arises, it feels natural and is appealing in how grounded it is kept.

If this were on physical media, I can see myself picking up a copy. The Devil All the Time is a solid character drama that takes you on a good haul with a flawed and vulnerable ensemble. The world the film paints around them, one of misinterpretation and corruption, is one I found enjoyable to get engaged with.

The Devil All the Time Trailer

Currently available to stream on Netflix

Episode 83: An American Pickle / She Dies Tomorrow / Waiting for the Barbarians

“Losing all the preconceptions that I had about storytelling, about the world, you know, and learning to see the world from a different perspective. It sounds romantic, but it’s not an easy process at all.”

Ciro Guerra

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of a duo of Netflix Releases in The Devil All the Time & I’m Thinking of Ending Things. Followed by the Titles: An American Pickle, She Dies Tomorrow, and Waiting for the Barbarians.

We’d like to thank PODGO for sponsoring us this episode.
You can explore sponsorship opportunities and start monetizing your podcast by signing up here. And when you do let them know we sent you!

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Streaming links for titles this episode

An American Pickle on HBO Max

She Dies Tomorrow and Waiting for the Barbarians on Hulu