Warning: Spoilers for Thor: Love and Thunder
An epic scene in Thor: Love and Thunder utilizes a distinctive filmmaking technique much better than Zack Snyder's black and white version of Justice League. Gorr the God Butcher occupies a black and white planet in the fourth Thor installment, which makes the God of Thunder and his team appear colorless for nearly the whole sequence. With this sequence, director Taika Waititi takes advantage of colors in a way that puts Justice League to shame.
Snyder's four-hour Justice League cut was released on HBO Max in 2021 and was soon followed up by an entirely grayscale version of the film. The director reported that the latter, known as Justice League: Justice is Gray, is his ideal version of the film, as long as it is played in an IMAX format, despite it streaming in a 4:3 aspect ratio on HBO Max. There were no new scenes added to Justice is Gray, so there isn't any difference between Snyder's cut of Justice League and the monochrome version other than saturation, or lack thereof. The DCEU filmmaker had initially intended to show off the majestic intricacies of superpowers through the stark contrast of black and white, but he scrapped the idea while making Justice League originally because, as he stated at the time, the monochrome would have made the film feel "too militant."
Zack Snyder eventually released a grayscale cut of his Justice League cut anyway, with the Justice is Gray version, and the decision may be backfiring now. Taika Waititi used different filmmaking techniques for Thor: Love and Thunder's monochrome sequence to maximize the effectiveness of the new color-grading. Shadows and close-ups become the focus in the MCU installment. While Justice League: Justice is Gray feels like a movie shot in color that has a gray filter slapped on at the last minute, Thor: Love and Thunder feels aware of its cinematography while shot in black and white. Due to Waititi's creative efforts, the coolest scene in the Thor sequel ends up putting the monochrome version of Justice League to shame.
The black and white grading for Justice League: Justice is Gray does not make it a better or worse movie, and the four-hour epic remains beautifully cinematic even in monochrome. However, it never takes advantage of the technique that films have been using as a tool since the era of film noir. Taika Waititi's direction of Thor: Love and Thunder appears to draw inspiration from noir films, as well as German Expressionism. Colors are used sparingly in the scene, only to effectively convey emotion.
The black and white sequence works better in Thor: Love and Thunder than it does in Justice League: Justice is Gray because of this attention to detail. When Jane veers off from the group and is alone on the planet, Taika Waititi uses shadows to create an atmosphere of suspense and mystery. The cinematography changes drastically when the sequence starts, as the close-up of Thor and Jane holding hands is unlike any other in the saturated parts of the film. Justice League: Justice is Gray is not convincing as a black and white film due to the directing style meeting the criteria for a film shot only in color.
The success of Thor: Love and Thunder affirmed Taika Waititi as being one of the best Marvel directors, and its coolest sequence, on the black and white planet, is an indicator of his enduring talent. Zack Snyder's Justice League is an innovative and exhaustive feature that deserves a place in the top rank of superhero films, despite the monochrome version's prosaic execution. However, Thor: Love and Thunder proves black and white filmmaking techniques can be utilized to their full potential in superhero movies, and as a result, it completely eclipses the efforts of Justice League: Justice Is Grey.
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