If i had rated this movie immediately after leaving the theater it would have elicited an 8, or 9 because it is a well crafted film. But after doing some research into Christie Marston's claims regarding the film I have to knock off several points.

Very little of it is true, from the dynamics of the relationship to the origins of the comic publication. Christie Marston maintains that Elizabeth and Olive were not lovers (Christie had a strong relationship with her grandmother, Elizabeth, who apparently was quite forward thinking about any sexual activity done by consenting adults, and quite open to talking about her views, and never gave any indication to her family that she and Olive were lovers). It was also Elizabeth who suggested that Marston write his comic with a female lead, rather than being skeptical about his being able to get it published.


The movie also makes Bill Marston out to be a besieged hero, keeping his family together in the face of society's disapproval, and maintaining the integrity of his comic creation in the face of moral guardians. At the end we are told that after his death, Wonder Woman lost it's sexual component, and the character lost her powers. Well yes that is true, but the adoption of the Comics Code Authority was 7 years after his death, and the "mod era," of Wonder Woman was 21 years after.


This film goes a little too far in the amount of creative liberties I'm willing to accept.

Suffering Sappho!

If there were ever a movie I _wanted_ to be good, (though, realistically, I want almost every movie to be good) it would probably have been this one. Believe me, I was pretty hyped for this film. Actually, my initial reaction to the trailer for this movie was an awesome (in the literal, Biblical sense) headdesk, crashing to the table below, as I bellowed my indignation that _I_ could not have been involved in the making of this movie myself! Is that a little grandiose? Sure, but so am I, so bear with me.

Unfortunately, the reality of this movie turns out to be a little bit of a patchy mess. It is uninspired in its aesthetic (not terribly surprising from the director of infamous Disney reboot "Herbie Fully Loaded," lesbian B movie "D.E.B.S.", and several episodes of "The L Word"), the pacing is erratic and jumbled at times, and the writing flies in the face of historical accuracy and vernacular speech.

Where the movie deserves praise, although sometimes at the expense of its worldbuilding mise en scene, is in the casting and performances of the three principals, Evans, Hall, and Heathcote (in credits order, though not truly in order of importance or merit). Here, each had moments of true brilliance, as the triad stood alone (sometimes too alone, to the detriment of the too-flimsy film world around them) against a sea of angry, very red, very white faces.

I never felt disengaged from the characters, and they were written flawlessly. Where these figures deviate from history (which, I hear, is at many points) I will allow poetic license, because they are painted so vividly and with such charming life. Even when the script is bad, the actors presented it well. Just as even when the script called for the location to be set in New York state, it still looked like Massachusetts.

This movie was truly robbed. With a better cinematographer, two more really good rewrites, and maybe some more specific focus, this movie could have been a serious awards contender, and a very great piece of art. As it is, it's been a blip through the cinemas, to be misunderstood and forgotten until such time as polyamory is more accepted in the social mores of the day, and it can be further misunderstood and miscategorized as evidence of how backward society was in 2017, that this was our take on the Marston/Moulton story.

Of course, by that time, there will be a better "Wonder Women" movie. There had damn well better be.

It's not often a movie can make me feel An Emotion™, but with _Professor Marston and the Wonder Women_, I sure did. It doesn't exploit those avenues as well as it perhaps could have, and feels underdeveloped in a great many of its aspects, but still as both biopic and character drama, Wonder Women is a success.

There are better movies than _Professor Marston and the Wonder Women_ out there for a person to watch, but its hard to imagine there being one more timely.

_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._

Third time watching this and, now knowing Olive and Elizabeth’s love well enough to not be completely overwhelmed by it like the first two times, what stood out the most to me in this viewing was their characterisation. I just love their complexity and personal contradictions and the way their personalities play off each other.

Bill says that Olive is innocent, pure and kind and that Elizabeth is genius, fierce and a bitch. And that together they are the perfect woman. I don’t love the idea of merging them like that, and thankfully Bill said that at the start of their relationship, or otherwise I would think he completely missed the whole point of their dynamic. What’s fascinating about Olive and Elizabeth is precisely the fact that they’re two completely separate, independent, contrary women with two completely different energies. Yes they compliment each other but they never lose their identity. And it’s just so clever the way Elizabeth is first introduced as this self-empowered modern woman who rejects the patriarchy, and yet is the first to feel ashamed of their polyamory and their fetishes, whilst Olive is a young woman raised by nuns, who looks and acts like she’s never broken a rule in her life and yet is the least judgemental and the most open to new things and all types of love. In the end their character arcs lead them to be less uptight and more assertive, respectively, and it’s just so exciting to go on that journey as a female viewer. They are exactly the type of female characters I want everywhere.

I think I fell in love a little harder this time than the previous two, and this film has cemented its place in my heart.