Redheads. Am I right, fellas?
3) Black Widow Cuts Loose
- Black Widow aka Natasha Romanoff. A former Russian spy & assassin who’s become one of SHIELD’s greatest assets. Supremely skilled at infiltration, interrogation and various forms of combat, Natasha is the ideal agent. The comics have all sorts of wild stuff about how she got her abilities but so far the movies have wisely avoided that. But one element is that she’s a former ballet dancer, which definitely shows up in her gracefulness here. The Widow has gone undercover in Tony’s organization as “Natalie Rushman” in order to… it’s not really clear. Monitor him for SHIELD and help out just in case any supervillains show up, I think? Anyway, it’s fortunate she’s around for this. Played with understated gusto by Scarlett Johansson.
- Armed with: Like, half a James Bond movie’s worth of little toys and weapons, all secreted in her various belt and wrist pouches. A pity the Avengers movie eschewed most of these in favor of simple if effective guns.
- Security guards, about six or seven of them, working at the offices of Justin Hammer, Tony Stark’s corporate rival. Played by stunt men.
- Also present is Happy Hogan, Tony’s loyal bodyguard, but he’s sort of a humorous non-factor here. Played by director Jon Favreau, who’s so money, baby.
The Setup: Hammer has secretly been conspiring with Ivan Vanko, our friend from Fight #1, to utilize arc reactor technology to make his own set of weaponized Iron Man-style drones. When said drones, along with a manually overriden War Machine, run amok at the Stark Expo, Romanoff and Hogan drive off to the Hammer building to investigate. On the way over, Natasha changes in the backseat into her special ass-kicking outfit.
When they arrive, Happy insists on coming in to “help.” Tee hee.
The Fight: It is so cool, you guys.
The first guard accosts them and Hogan immediately engages him in a fistfight. Black Widow just keeps right on moving, and when a second guard approaches, she nonchalantly slides right past him and, still moving, turns around and tosses two little discs towards the guard which paralyze him with a slight electrical charge.
This pretty much sets the tone for the entire sequence. Johansson’s Romanoff is graceful, smoothly unpredictable, and frighteningly competent. She’s not always moving forward but she definitely never stops moving— she slides, jumps, runs, dodges, ducks, dips, dives, and all the rest with purposeful swagger. Every move and decision just flows seamlessly into the next. It’s glorious to watch.
The other little technological tricks Natasha employs are two small gas pellets she throws around the corner to stun another pair of guns so she can lay them out, and later she hooks one guard’s neck with an extendable cord (not a wire, those are for killing) to hold him in place while she takes down his buddy.
But occasion permitting she often goes the physical-0nly route, as well. She rides a push-cart and jumps off it to double-kick one guard in the chest. She slides (again!) in-between another foe’s legs and attacks them as she does so, then jumps off his double-over body to land on the shoulders of another.
The best is the penultimate takedown, when she tackles a guard and does this crazy thing where she spins all over his body while he’s still standing, raining blows on him the whole time. Then as she strides calmly away she uses his chemical spray to do a no-look neutralization of the last straggler just as he tries to sneak up on her.
This is all over in a minute or so, and the action keeps cutting back to the progress of Happy’s brawl with the very first guy. It takes some doing, but Hogan finally knocks him out with a strong uppercut, and jubilantly looks up with “I got him!” only to find this:
It’s a gag that works all the more effectively because the movie treats Happy’s artless tumble with just one guy with the same gravitas as it does a super ninja-spy methodically destroying half a platoon; whenever the camera cut back to Hogan, there weren’t any overtly comedic signifiers like a change in music or something. You get caught up in all of it equally and, like Happy, don’t realize how much she accomplished while he was toiling away. Very clever.
This scene does cheat a little. On close examination (ever the bane of the summer blockbuster), a good number of Widow’s attacks really should not have incapacitated her targets. There are times we merely see her punch someone’s leg, shoulder or what-have-you, and then boom, the guy’s down for the count. Doesn’t matter how hard she’s hitting, unless she’s packing knockout darts or doing some kind of crazy nerve strikes (neither of which is visually apparent or brought up in the dialogue at some point in the film), they simply shouldn’t be getting knocked out.
However, no amount of rewinding and freeze-framing can get around the fact that this is ridiculously fun. Again, it’s brief, but the scene just glides with the same effortless charm as the Widow herself does, possessed of a too-cool-for-school cockiness that’s just on the right side of the endearing/pandering balance. In a movie that’s about high-tech armored superheroes blasting and whipping each other, a quick sequence starring a 5’3 jumpsuited girl in a running around in a hallway comes perilously close to being the best fight of the bunch.
The scene’s not perfect but it’s breezily, joyfully confident, and just like all those sleazy pick-up artists book tell you: confidence goes a long way.
Coming Attractions: Take down Iron Man?? Ha, you and what Army?