CAPTAIN AMERICA: Cap Gun

In the weeks leading up to Marvel's next blockbuster juggernaut, Captain America: Civil War, we will be looking at every cinematic iteration of those two warring rapscallions, Captain America and Iron Man.

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Directors: Elmer Clifton, John English
Writers: Royal K. Cole, Ronald Davidson, Basil Dickey, Jesse Duffy, Harry L. Fraser, Grant Nelson, Joseph F. Poland
Cast: Dick Purcell, Lorna Gray, Lionel Atwill
Runtime: 244 mins. (25 min. premier and fourteen 15 min. episodes)
1944

The first and most perplexing thing to note about the 1944 Captain America serial is that it has absolutely nothing to do with Captain America. When I learned about the serial's existence, I was fully anticipating a propaganda-heavy war story, especially considering the time in which it was made and released. Instead, we get the story of Grant Gardner, a District Attorney who occasionally dresses up in a red white and blue costume to fight bad guys. Sometimes he doesn't dress up though, and it's just Grant Gardner fighting them. Also, Captain America doesn't have a shield and just wastes people with his pistol. Seriously, Gardner and Captain America rack up quite an impressive body count over the course of this serial, a fact that none of the authorities seem at all concerned about.

To top it all off, Captain America doesn't seem to have any powers, and, hilariously, he just drives around in a regular car. Unsurprisingly, Timely Comics (to become Marvel Comics in the 1960s) was unhappy with Republic's blatant gutting of their character, but Republic's response was basically, "None of that stuff was in the sample pages you sent us, plus we're in production already." Film historians think Republic just pasted the Captain America likeness over a pre-existing project they had in the pipe. Thus Captain America's first onscreen appearance is aggressively non-canonical.

That doesn't make it bad, though. The serial follows Captain America's pursuit of mysterious criminal The Scarab over a 25-minute premier and fourteen 15-minute episodes. In classic cliffhanger serial fashion, each episode ends with Cap in grave danger, to be resolved in the next chapter. These serials are considered to be cinema, but structurally they're really more like proto-television.

A GIRL WALKS HOME ALONE AT NIGHT: Every Good Boy Does Fine

March is Women's History Month, which Post-Credit Coda will take as an opportunity for weekly reviews of films by female directors. Of all the reviews I've written in 2+ years, only four and a half of the movies have been directed by women. Women are slooooowly starting to receive better on camera roles in Hollywood, yet the lack of female directors is a continuous blight on the industry. Unskilled and inexperienced men are typically given far grander opportunities while proven, talented women are ignored. Despite the adversity, some women still manage to bring their projects to fruition. Let's hope that in the future this becomes the norm rather than the exception.

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Director: Ana Lily Amirpour
Writer: Ana Lily Amirpour
Cast: Sheila Vand, Arash Marandi, Marshall Manesh, Mozhan Marno, Dominic Rains
Runtime: 101 mins.
2014

A Girl Walks Home Alone at Night has, first and foremost, a killer title. Amirpour could have easily gone with something bluntly evocative like The Vampire, but instead she went the route of a flashy eight syllable name that makes this movie something of a commitment to bring up in casual conversation. Marketers hate that sort of thing, but as this article about naming conventions suggests, we wouldn't want Eternal Sunshine of the Spotless Mind to be called The Dream, would we?

The title also perfectly plays upon our preconceived notions. When presented with the image of a girl walking home alone at night, especially in the context of a horror movie, we assume she will be the victim of some perverse attack. Every signifier in that string of words is meant to evoke vulnerability. The joke's on us, though. In this movie the girl is the aggressor, the shadowy figure out for blood.

NEBRASKA: Recollect Your Winnings

In which we learn that it's not important whether you win or lose, but how much you talk about winning.

Director: Alexander Payne

Writer: Bob Nelson

Cast: Bruce Dern, Will Forte, June Squibb, Bob Odenkirk

Runtime: 115 mins.

2013

Nebraska is more than the sum of its parts. Part of that is that I'm not partial to parts of its parts. But on whole, the whole of it takes hold of some holes at the center of the "wholesome" American experience, while offering a viewing porthole into ill-represented parts of said experience.

In other words, I like the movie more for what it goes for rather than how it goes.

Nebraska follows everyman David Grant (Will Forte), whose life is settling into a vacant sense of normalcy only interrupted by the escapades of his father, Woody (Bruce Dern). David's mother Kate (June Squibb) repeatedly calls upon him to retrieve Woody, who keeps trying to walk all the way to Nebraska from his home in Montana. He wants to go there because he has received a letter in the mail declaring him the winner of one million dollars! Of course it's a scam, but there is no convincing Woody, who is stubborn and shows early signs of dementia. Eventually David decides that the only way to lay this problem to rest is to take a road trip to Nebraska to claim the false prize. He sees it as an opportunity to spend some time with the father who was often drunk, usually vacant, and always emotionally distant. So they go, and things happen along the way.