Sometimes certain ideas (comparisons, to be exact) enter my head after I view a theatrical release and have published a review. Thor: Love and Thunder (see July 7 post) is now another such case in point.
Beyond the movie's Buck Rogers/Flash Gordon, let's-gather-the-troops springboard, Love and Thunder's premise plays like High Noon, the cowboy classic where Marshal Will Kane (Gary Cooper, per the original) attempts to recruit citizens to thwart bad guy Frank Miller (the steely Ian MacDonald) from re-entering their town. Things don't go so well for Kane as the fateful clock ticks, but in the end his bride (the lovely Grace Kelly) stands by him to fight the good fight, even though others (i.e. the town's alleged most virile) have shirked.
Love and Thunder's owes much to the latter, in that the God of Thunder makes similar rounds, in hopes that others may help him halt the menacing Gorr's pursuit of deity eradication. As luck would have it, the mighty one (as well as Jane, Val and Korg) are left hanging by a time-is-of-the-essence thread. In the end, though, it's a loved one who comes through to stand by Thor's side, in a nail-biting moment straight out of the western fable (albeit layered in special-effects glitz).
It isn't the first time that a classic movie, in particular a western, has influenced other tales. Shane is a top contender in this regard, having influenced Knives of the Avenger, Soldier and Pale Rider. Of course, High Noon did influence Moon Zero Two (at least in a marginal way) and Outland, not to mention the comedic Three O'Clock High: a noted inspired-by trio.
Anyhow, there's no shame that Love and Thunder is a disguised knockoff. It's still fresh enough in its own exaggerated right to stand on its own, but Marvel-ites (and cinema buffs in general) should be respectful of the historic source from where it grew. If not for High Noon, Thor IV would likely have little of its love and thunder.
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