Watchmen is one of those films that, ultimately, is meant to make you think – to raise questions about the human condition and society as we know it and let the viewer try to come to terms with the implications. Not that I necessarily agree with some of the conclusions in the film itself … but that’s the point, isn’t it? If your views are challenged, you’re forced to think more critically about them in order to defend them (even if it’s just in your own mind so you can sleep at night). And that’s precisely what Watchmen sets out to do: challenge perceptions and preconceived notions. And on that level, the film works quite well. It’s also a very well-made film, with a solid narrative, plenty of action, and some wonderful visual effects. The thing is, though, I’m not sure I liked it a whole heckuva lot.

In some ways, Watchmen seems not to care whether or not you actually like it – it seems content to provoke thoughts and questions and, if that happens, likability is a relatively minor consideration. But there are enough minor issues with the surface story that there is the potential to distract the viewer from the film’s intent to prod the audience into a greater social and human awareness. Watchmen is not as problematic as, say, The Matrix or V for Vendetta. And, admittedly, I’ve not read the graphic novel so I cannot say whether the issues are with the narrative itself or with the film’s presentation of the narrative. But the bottom line is that while I believe this to be a classic film, one that everyone ought to see, I don’t believe it rates as “one of the best” films of all time.

It’s an important point to acknowledge because I can see some fans absolutely loving this film and speaking very highly about it. And I would agree that this is a film that everyone ought to see for themselves – to make up your own mind about it and its ideas because, at the end of the day, this is a film about thinking for yourself, and not letting others make up your mind for you. But there are some plot issues, character issues, visual effects stumbles, high-end violence and some philosophical implications which are potentially problematic.

To get the problems out of the way quickly: I’m not convinced that the whole “Kill-The-Watchmen” subplot is entirely necessary in the main villain’s grand scheme (though, admittedly, while a bit superfluous, it does allow for most of the film’s character work); Dr. Manhattan’s visual effects are impressive but there are times when his mouth movements do not match his dialogue (it’s not as bad as The Phantom Menace’s Neimoidians, but it’s still noticeable); the violence tilts heavily toward the gratuitous side which may turn off viewers to the rest of the film; the parade of songs was impressive (good songs, too) but it had the effect of making Watchmen seem more like Forrest Gump; and the final solution – to allow the ends to justify the means – is a dangerous notion (even if the film itself isn’t actively advocating it) because it implies that the only way humanity can be at peace is when it fears a higher power. It certainly works within the film – but I would disagree that it’s the only solution.

Beyond these issues, however, is a film that touches on everything from love to humanity’s depraved nature, from metaphysics to theology, from false belief in heroes to the equally false belief in villains. There’s a richly layered texture of ideas wrapped inside characters which are all deeply flawed – yet utterly compelling. Even Dr. Manhattan’s infuriatingly monotone and impassively detached character is intriguing. His ascension to a near-deified status gives him an alarming objectivity in seeing the Earth and humanity on it.   He quite rightly realizes that for all our interpersonal drama, humanity is nearly insignificant in the grand scheme of the universe. And yet, he learns a lesson about the miracle of life itself and its inherent value (even if the minutiae of our struggles remain inconsequential when grappling with ideas as profound as time and space).

The characters of The Comedian, Rorschach, Night Owl and Silk Spectre each have their own work to do in the film by demonstrating different parts of human nature – from outright depravity to compassion to the struggle to find a purpose and identity (a notion reinforced by the fact that these characters have to dress up and put on masks to find some measure of solace). The story itself is narrated by Rorschach and is told through the lens of the film-noir genre and if you’re able to move past the minor criticisms, Watchmen becomes less and less like a movie and more like an experience.  The story told in an almost non-linear fashion as it moves through the lives of these characters – jumping back and forth between their origins, their interpersonal dramas, and their ultimate fates. And it’s not always a pretty picture.

But their struggles become the means by which the film challenges the audience to think critically about their own human nature. To what extent do you harbor the insecurities of Night Owl, or the twisted sense of “justice” of The Comedian, or the need to thrash a perpetrator like Rorschach, or the need for love and acceptance like Silk Spectre? And that’s just the beginning of the exploration.

The end of the exploration is this notion that only through fear – in this case fear of Dr. Manhattan – can humanity reconcile its differences (represented in the film by the imminent threat of nuclear war between the United States and the U.S.S.R.). The implication is that only a higher power can force humanity to set aside its differences. Taken as an absolute, this pseudo-religious solution in problematic on a number of levels – the most important of which is the fact that it ignores the ability for humanity to find peace without the use of fear. But in truth, the ending can be seen as a warning. Humanity can either annihilate itself, be united through fear only after a catastrophic incident, or find a better way, now, before things get to the brink of annihilation. Fortunately for those of us in the audience, this is only a story and we still have the opportunity to find a better solution than the one we witness in the film.

Overall Grade: A-

Watchmen is a very, very good film – worthy of much of the praise it has already received. But it isn’t a perfect movie and it won’t appeal to everyone. Furthermore, some of its choices may distract viewers from digging into the deeper layers of the narrative. But there’s no denying that this is a story with the potential to generate a great deal of thought and discussion. So go see it. Whether or not you like the film almost won’t matter as long as you’re thinking about the questions it poses.

As for me, I still don’t know whether I liked Watchmen (as in whether or not I’d want to see it again). But I certainly have a great deal of respect for it. Ultimately, the film is best summarized by the Dylan lyrics sung in its introduction:

Come gather round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You’ll be drenched to the bone.
If your time to you
Is worth savin’
Then you better start swimmin’
Or you’ll sink like a stone
For the times they are a-changin’.

If you want to “start swimmin’” a good place to start would be to sit in a theater (don’t wait for the DVD because change cannot wait for our personal convenience), watch the Watchmen, and think about the questions it asks you about yourself and the society within which you live …

Topics: Comics, Film Review
Filed under: Film

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