Film Review | Star Wars: The Rise of Skywalker (2019)

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I’ve got a bad feeling about this.

The Force Awakens is about Star Wars as a feeling. It’s a loving recreation of everything that once captured the imagination, dusting off the old iconography in an attempt to evoke those same emotions again. The Force Awakens is about hearing the stir of a John Williams score, watching a battered X-Wing take on the Death Star, seeing Han Solo and Chewbacca on the Millennium Falcon. “We’re home”, says The Force Awakens, nostalgia writ large.

The Last Jedi, meanwhile, is about Star Wars as a set of ideas. It interrogates what Star Wars is, taking it apart before putting it back together again – while, yes, subverting expectations along the way. It was a visually striking, thematically engaging attempt to grapple not just with what you love about Star Wars, but why it’s worth loving it – and how anyone can be the hero. “This isn’t going to go the way you think”, says The Last Jedi, willing to try and steer Star Wars somewhere new, ending on perhaps one of the most romantic images of the saga.

The Rise of Skywalker, then, is about Star Wars as a set of internet comments and forum posts. It’s a hollow, anodyne film, constructed by committee and lacking any real vision. In fact, it’s scarcely a film at all; rather, it’s an inexplicable act of cowardice, a conscious attempt to avoid any creative decisions that might be considered brave or interesting – or, in fact, any creative decisions at all, so frequently are choices made then quickly walked back. Quite why this proved the case is difficult to ascertain; it’s not like the quality of these films particularly correlates with their profitability, after all.

If the much-maligned Star Wars prequels had any cinematic merit or cultural weight – and they do – it is for their eccentricities, the sheer idiosyncratic oddity of a trilogy of films so entirely shaped by and beholden to the vision of one man. They’re not “good” films, no. But they all are worthwhile in ways that The Rise of Skywalker could never be: the prequels, at least, have an identity, have a personality. With its frantic recitation of Wookiepedia trivia and producer mandated plot points, The Rise of Skywalker is an exercise in artifice. It’s hard to imagine a more soulless, glum piece of work – made all the worse by how it positions itself as the ultimate conclusion to and final word on a series that, even at its nadir, could at least lay claim to its own set of distinctive quirks. At one point, Star Wars was a risky venture from a bold young filmmaker; now, it’s just one of several managed assets, another intellectual property mined by a monopolistic mega-corporation for maximum profit.

There will be spoilers in the following review; it’s difficult to avoid a detailed discussion of the plot of The Rise of Skywalker, if only because – somehow – JJ Abrams has managed to create a film that is almost entirely exposition, while still needing more exposition. Given that the plot is more or less all the film has to offer, efforts have been taken to obscure any big revelations from herein on – that said, if you’d rather not know about Jar Jar’s cameo, probably best to stop here.

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What’s most striking about The Rise of Skywalker is how deeply, deeply cynical it is. As already noted here and elsewhere, it feels like it was written by reddit comments, micromanaged long past the point any individual artistic notion might survive. At times, this is simply patronising and awkward. For example, the film ends with Maz Kanata, for some inexplicable reason, giving Chewbacca a medal. Diegetically inexplicable, anyway: if you’re in the know, it clearly references a longrunning meme about the original Star Wars, where both Luke Skywalker and Han Solo receive medals from Princess Leia at the end, but Chewbacca doesn’t. In The Rise of Skywalker, this is presented entirely devoid of any context, a symptom of a wider obsession with solving plotholes that don’t really exist and providing an answer to every question everyone ever posed about Star Wars online. It’s genuinely quite difficult to tell how the scene would play to someone without that depth of immersion in the paratext – and it’s not the only scene like that. The Rise of Skywalker has very little trust in its audience, offering not exciting new ideas, but instead only the dim pleasure of recognition.

That would be one thing if, say, an over signified cameo from Denis Lawson was the extent of the film’s cynicism – if it began and ended with a jaundiced litany of corporate artefacts, getting all the toys briefly out of the box before putting them right back where they belonged, it’d be a lot more palatable. No, The Rise of Skywalker is instead altogether more feeble, making lamentable concessions to the worst type of fan by sidelining Kelly Marie Tran’s Rose Tico. After being introduced in The Last Jedi, Tran received intense racist abuse, essentially for the crime of being an Asian woman in Star Wars. Tran is in The Rise of Skywalker, yes, but only nominally – her role is limited mainly to brief chunks of exposition, and a scene at the beginning, heartbreaking for what it represents, where Rose says that she’d rather not take part in this film’s adventure, actually, because she’s got some star charts to read instead.

There is a lot in The Rise of Skywalker that reads like giving up, an attempt to iron out any distinctive wrinkles Rian Johnson might’ve left behind him. If this attitude was limited to plot details, that’d be one thing – disappointing for some, perhaps, but on the whole basically forgivable, simply a by-product of serial storytelling with multiple authors. That it extended also to an open attempt, on behalf of the most powerful entertainment monolith around, to appease a group of internet racists? That is genuinely quite pathetic, and all involved should be deeply embarrassed.

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Also disappointing is the sheer paucity of imagination. Abrams’ previous effort, The Force Awakens, was oft accused of hewing too closely to the structure of the original Star Wars. It wasn’t an unreasonable criticism, though the film perhaps deserved a degree more leeway; it at least tried to recontextualise those familiar plot beats, to fashion something that, if not entirely new, at least offered a different spin on things.

The Rise of Skywalker makes no such effort. It feels like the very worst of fanfiction – or, actually, the very worst of licensed tie-in fiction – entirely unable to step out of the shadow of what came before. There’s no effort to widen the scope of what Star Wars can be, to move beyond fetishistic reverence for Lucas’ original films (or, at least, the ones that a very narrow stratum of vocal fandom approve of anyway). For all that everyone relentless mocked the campaign to remake The Last Jedi, clearly they needn’t have bothered: here is The Rise of Skywalker, ready to retcon and refute anything anyone ever complained about in the YouTube comments section. In fact, the whole film seems paralysed by a lack of confidence, hedging against every choice it makes – The Rise of Skywalker ends up as though caught in a loop, repeating itself over and over again, taking two steps back with each one forward to make sure nothing really changes.

Ostensibly, this is about tying up loose ends. That is basically nonsense. Setting aside the fact that The Last Jedi actually closes in a far neater position than The Force Awakens did – the latter ended on a cliffhanger with the three leads separated, after all – The Rise of Skywalker manages to create more questions than it actually answers. Part of this is down to its hectic pace and convoluted plotting; it’s difficult to succinctly explain, for example, quite how sloppily it’s revealed that Leia once trained to be a Jedi and had a lightsabre of her own, kept hidden for someone who might later prove worthy. Suffice to say, it’s an awkward beat, easy to forget, and ultimately only a contrivance to give Rey another lightsabre. Questions about how Palpatine survived Return of the Jedi, how he found the time to raise a family, somehow still everything about Snoke – there’s plenty that, strictly speaking, doesn’t make sense, even by the already loose standards Star Wars is held to. Whether Abrams et al thought they’d delivered a watertight script, or, less charitably, if the film was written with one eye on later Disney+ releases filling in the gaps remains to be seen.

But it’s not just an issue of pacing. Rather, the problem comes because the film seems to be built around ‘moments’, around set-pieces strung together as a MacGuffin quest not a million miles away from a video game. The Rise of Skywalker feels perfunctory, like a contractual obligation – the point at which stories from a galaxy far far away might finally have been exhausted.

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Admittedly, yes, the film started from a difficult position. While it’s been debated exactly how much the trilogy was planned ahead of time, and how much leeway individual directors were given, one thing seems basically clear enough: the plan, originally, was for each episode to focus on a different member of the original trio. Episode VII was about Han Solo; Episode VIII was about Luke Skywalker; Episode XI was meant to be about Leia Organa, but for Carrie Fisher’s tragic, untimely death.

Carrie Fisher’s role here – insofar as this slightly ghoulish, digital resurrection can be dubbed a “role” – is… awkward at best. It was always going to be, of course. A script clearly written backwards from the dialogue they had available was never going to feel especially naturalistic: it most closely resembles, as others have pointed out, that one episode of Community where they stitch together a Star Wars knockoff from a few unfinished clips of a crime drama. There’s something quite sad about the whole affair, really. Every moment Carrie Fisher, or the approximation of her they built, is on screen serves only as a reminder of who we lost; that she gets top billing at the end is nice, for a moment, until it quickly isn’t. It’s hard to earnestly suggest this was an adequate solution; sacrilege though it might’ve been, there’s perhaps an argument to be made that Leia should’ve been recast, that Meryl Streep or Stevie Nicks should’ve fulfilled the role and let the trilogy end as originally planned. (Or even, perhaps, the movie should’ve started with Leia’s funeral – and Palpatine’s apparent return from the dead been more closely tied to this, questions of life and death proving the motivation for Kylo Ren as it once was the motivation for his grandfather in Revenge of the Sith.)

Even outside of that, though, The Rise of Skywalker faced a troubled production. Colin Trevorrow was let go from the project early on; the script was rewritten many times by many different writers. (It’d be interesting to know exactly when Palpatine’s return was decided on – it seems like it’s got Jack Thorne’s fingerprints all over it, given the similarities to his stageplay Harry Potter and the Cursed Child, though admittedly could just as easily have been Abrams’ idea.) In the end, Abrams came to the film late, and had less time to work on this than he did on The Force Awakens. More likely than not, the film would’ve benefitted if held to December 2020; as ever, though, commitment to shareholders supersedes commitment to making good art, and the deadline was met.

That, perhaps, might explain why even the things Abrams is usually good at falter here – in contrast to the often-vibrant direction of The Force Awakens, The Rise of Skywalker offers a decidedly more muted world. For whatever reason, Abrams’ visual stylings aren’t up to his usual standards; grand space battles struggle to cohere, new planets fail to make an impact, and the final battle with the Emperor quickly devolves into a CGI mess. There’s a sense that a lot of shortcuts were taken across The Rise of Skywalker, and the film suffers for it.

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What’s more aggravating, though, is that this lack of ambition extends too to the characters. For all that The Force Awakens relied a little too heavily on nostalgia, it was, to its credit, conscious about not letting the legacy characters overshadow its new heroes too heavily.

Here… less so. That pervasive, fawning adoration for the original trilogy often undercuts the characters themselves – when C3PO has a more coherent emotional arc than leads Finn or Poe, something has gone quite wrong. It’s frankly fascinating that John Boyega seems to think Finn was better served by The Rise of Skywalker than The Last Jedi – certainly, the promise the character held in The Force Awakens is squandered here, despite briefly touching on his origins as an imperial defector once again. It’s much the same for Poe, too, whose plotline here serves only as a suffocating attempt to make sure everyone in the audience knows he definitely did have a girlfriend at one point.

That said, the character most let down by The Rise of Skywalker is Rey. Or, rather, Rey Palpatine. Surely the most compelling idea in The Last Jedi was that Rey was simply Rey; special because anyone can be, not because of who her family was. There was something quite profound to the idea that a hero could come from anywhere: there’s nothing profound about this. As Lindsey Romain has pointed out, “making Rey a Palpatine is more in service to the plot hole crowd than to the character herself” – somewhere along the line, Abrams et al lost interest in their main character, instead much more focused on imitating the Star Wars we’ve already seen before. Indeed, even if nothing else, The Last Jedi at least proved a decisive break from repeating the beats of George Lucas’ work – surely no one would earnestly argue that The Rise of Skywalker compares to The Empire Strikes Back? As it is, this final act in the story is confused at best, and incoherent at worst – not a million miles away from, say, Return of the Jedi seeing Yoda explain to Luke that, actually, his father Anakin Skywalker was still alive, and Darth Vader had in fact been lying. Admittedly, the final line, where Rey chooses to become Rey Skywalker, is nice: if The Last Jedi says anyone can be the hero, then The Rise of Skywalker is saying anyone can be a Skywalker, anyone can pick up that legacy, even if they weren’t born to it. Yes, it’s a weak echo of Steven Moffat’s Extremis, but then quite a lot of The Rise of Skywalker seems to be an effort to remind people that Moffat is quite a good writer anyway.

Kylo Ren fares somewhat better – though this, largely, is down to Adam Driver’s own skill, elevating the rough material he’s given. Where he’s even given material at all, that is: for the last twenty minutes of the film, Driver actually has no dialogue at all, instead creating the Ben Solo character from small gestures and irreverent expressions alone. In the end, it doesn’t quite live up to the potential Kylo Ren represented in 2015, hewing a little too closely to the story of Darth Vader’s own redemption. Although, even on that level, it doesn’t quite work – more a Damascene conversion than anything borne of real conflict. That angsty, toxic masculinity washes away: The Force Awakens’ modern villain now instead a more familiar archetype. As with much of this film, there’s a sense that another, more interesting interpretation was lying just out of reach.

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Is there anything worthwhile to The Rise of Skywalker?

In fairness, some things do shine through. The ruins of the Death Star are a neat location; a fight on an ocean moon forms a clever parallel to the iconic duel on Mustafar. Rey gets a yellow lightsaber; that’s pretty cool. Particularly striking, albeit brief, is a shot of a star destroyer falling on Jakku, not far from the wreckage of another – the one Rey called home in The Force Awakens, itself a remnant of the original trilogy. Admittedly it makes little sense, but that doesn’t matter, instead neatly underscoring the cyclical, generational nature of it all. Still at the end, it’s like poetry: it rhymes. No doubt on repeated viewings, more details would reveal themselves; a certain shot, a particular inflection, a piece of design, all increasingly worth of appreciation. Much as it struggles under the weight of ‘Star Wars’ the idea, The Rise of Skywalker will likely ultimately benefit from the fact that it will always have someone willing to revisit it, willing to find something worth celebrating.

On first watch, though, the film eventually becomes entirely unmoored from questions of “quality” – it’s just pure, unrepentant nonsense. There’s some enjoyment to be had from that, certainly; this film is no doubt going to be a fixture of internet memes much like the prequels. It is, in a way, the Riverdale of Star Wars movies (although Riverdale at least has a degree of self-awareness that this lacks). By the time of the Reylo kiss, all that’s really left is to admire the film for so unwittingly stumbling into a surely endless discourse cycle that’s unlikely to leave anyone happy. With regards to the kiss itself, it’s an odd artefact; in isolation, it feels strange, somehow both inevitable and not anywhere near as electrifying as it could’ve been. Taken alongside the rest of the film, though, and it’s clearly another concession to internet fandom – albeit without realising that it’s an appeal to an entirely different group, a compromise surely neither will be pleased with.

That, in the end, is The Rise of Skywalker: a cloying, even sycophantic corporate product, so desperate to be liked it never really stops to tell a story. Yes, some people will enjoy it, and honestly, genuinely: good for them. Surely one of the best defences of the prequel films – setting aside everything that might be said about their auteurist idiosyncrasies – is that the children who grew up with them really did love them, and many still do. For what are, in essence, family films, it’s hard to really begrudge anyone that. Much the same is true of The Rise of Skywalker, whatever faults it might have. At the end of the day, it’s just a movie.

What is altogether more troubling, though, as a note to end on, is this.

Disney, at this stage, isn’t so much a corporation as it is a cultural monolith. It has a monopoly on the zeitgeist. If any film franchise is too big to fail, it’s Star Wars: their quality and content ultimately has very little correlation to their profitability. Yes, dedicated fans will squabble online, but they’ll still watch it no matter what – and so will the other hundred percent of the audience. Disney didn’t need to make these concessions; Disney didn’t need to almost entirely excise Kelly Marie Tran as a gesture towards a group of vocal racists. Obviously, Disney is not and has never been a bastion of progressive values, and expecting otherwise from any company is naïve at best, but this feels rather different.

So. If a company that wields as much influence as Disney feels the need to bow down to what is, essentially, the latest iteration of Gamergate… what does that mean next?

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Star Wars: The Force Awakens

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And this is the new one. The film we’ve all been waiting for since 2013 when the Lucasfilm deal was first announced. The Force Awakens has, as I understand it, already broken several records with regards to pre-opening ticket sales, and I think it’s on track to beat Jurassic World as the biggest opening weekend of all time.

This review will, obviously, contain spoilers. They’re going to be fairly in depth in terms of an examination of the film, so beware of those. I don’t want to ruin Jar-Jar’s cameo appearance for anyone, and so on and so forth. The actual spoiler-y discussion begins after the read more jump; first up, I want to talk a little about my expectations and thoughts having gone into the film.

For a fairly long time, I was hesitant about the movie; my expectations were pretty low, and I was interested simply because it was Star Wars, rather than because I had any real or genuine expectations of legitimate quality. Over the course of the two year wait, though, and particularly in the last few months as new trailers began to be released, I began to get more and more excited. In the end, it was my Star Wars Retrospective rewatch that really got me immersed in this world again, and really looking forward to the new film.

So, as I was sat there watching the beginning of the film – the Lucasfilm logo appears, the music blares, the credits scroll – I ended up sat there with a great big stupid grin on my face.

And rightfully so.

Once again, I feel the need to stress – from hereon out, there be spoilers. If you are still reading at this stage, you’re an idiot, or you just don’t care. Regardless, make sure you know which you are before you keep reading.

Anyway.

The Force Awakens opens strong, with the attack on the village in Jakku. It serves as a great introduction to both Poe Dameron and Finn; rather effectively, we get to see the battle from Poe’s perspective, with the Stormtroopers doing all of these brutal things… before slowly moving across to focus on one of those Stormtroopers, with their conviction clearly wavering. This is, of course, Finn, who’s played by John Boyega, and he’s going to be one of our key focal characters for the rest of the film; after an extremely entertaining escape sequence, which does a great job of showcasing both Finn and Poe as characters, Poe Dameron gets a much more reduced focus. It’s a shame, to be honest; Oscar Isaac gives a great performance as an interesting character who has a lot of potential, and while I can understand the in-story reason for taking him out of the action, I do hope his role is bumped up a fair bit next time.

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Regardless, though, John Boyega as Finn is a perfect protagonist for this new movie. There’s a lot of heart to his character, and he has a great character arc; moving from First Order soldier to deserter, before eventually joining with the Resistance, and all because he has such a keenly tuned sense of right and wrong. I think Finn is, in fact, my favourite character across each of these movies; he’s a really compelling character, and John Boyega gives a great performance. I love the fact that he’s driven by a fairly simple desire to do what’s right, and by compassion for others; a fairly simple, small touch that was included, and I quite liked, was that at one point Finn is knocked out, and the first thing he says when he comes around is “Are you okay?”. His primary concern is Rey, and whether or not she’s alright. It’s a nice thematic thread which follows through the entire movie.

Rey, similarly, is a lot of fun as our other main protagonist. In many ways, she’s our Luke Skywalker analogue here; stuck on the desert planet, wanting to leave, before ending up on a strange adventure across the galaxy. Interestingly, though, there’s an added complication: she feels like she has to stay on Jakku, because of some familial obligation. She’s waiting for someone. It’s an odd little detail, added in presumably to build up to a reveal in the next movie, as we find out who her family are, and why they left her on Jakku. I’m guessing she’ll be Luke’s daughter, but perhaps they’ll surprise us.

Aside from that, though, Daisy Ridley gives an engaging performance as Rey. I really like her voice, actually. That’s an odd thing to pick up on, I suppose, but it stood out to me anyway. There definitely seems to be the basis of an engaging character here, and I’m looking forward to seeing her grow and develop across the next two movies. Certainly, Rey was a lot of fun to watch on screen, and her return will be welcome, regardless of whether or not we find out more about her background.

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I was also quite impressed by how the return of the Original Trilogy characters was handled, by gradually introducing them to the plot. We didn’t begin with Han or Chewie or Leia; first it was an X-Wing, then Stormtroopers, then the Millennium Falcon, and then Han and Chewie. By layering the reveals like this, it let each aspect have the opportunity to breathe, and have a much greater impact in its own right.

The Force Awakens also works, of course, as a showcase for the best of Han Solo – which is what you’d expect, really. They do a great job of reminding us of exactly what we loved so much about him in all the previous movies, and why Han Solo is such a cultural icon; it’s because he’s such a genuinely compelling and engaging character to see on the screen. It’s wonderful to see Harrison Ford back, and to get quite so many great scenes and fun lines. JJ Abrams and Lawrence Kasdan really make us fall in love with Han all over again, before – well, I’ll talk about that in a minute. The point is, then, that Harrison Ford’s appearance here really elevates the movie, genuinely adding to it’s strengths.

Similarly, it’s nice to see Leia, C3PO and R2D2 back, each in their various capacities. Honestly, I think C3PO’s appearance was my favourite of these three; it was a genuinely funny little segment, and I appreciated the efforts made to introduce some humour into these movies. As nice as it was to see Carrie Fisher back as Leia, I did have a few problems with the fundamental nature of her role here, so… we’ll talk about that in a moment, anyway.

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One of the most interesting aspects of the new movie is our new bad guy, Kylo Ren. It’s a difficult thing to pull off for this movie – The Force Awakens is having to compete with Darth Vader, who is genuinely the best villain in movie history. Even the prequels never quite had that issue, given that they were the story of a young Darth Vader – here, now, we’re looking at a Star Wars movie that is almost entirely divorced from the story of Vader.

Whilst Kylo Ren isn’t quite on Vader’s level, JJ Abrams and Lawrence Kasdan have managed to create the basis of a villain with a lot of potential to be explored in the future movies. They’ve written a villain who is genuinely conflicted, and Adam Driver has done an amazing of portraying this. Lines like “I can feel the power of the light calling to me” give the impression of the potential for an interesting examination of the dichotomy between the darkness and the light; for Kylo Ren, evil is something is aspires to, rather than something that comes naturally. He self harms throughout the final fight, constantly hurting himself in an attempt to tap into the dark side – Ren is demonstrably volatile, using his lightsabre to smash and destroy some display monitors as a result of some bad news, all in a pique of teenage rage. His instability is clear as well; even though he’s strong with the Force, it’s evident that this strength is not something he’s in complete mastery of. The creative team involved have managed to find a new angle from which to approach the idea of a force using bad guy, and I’m really excited to see where the story goes from here.

Of course, Ren’s identity was hotly debated before the beginning of the movie, with two theories starting to prevail. Quite a few people believed it could be Luke Skywalker (under the tutelage of Supreme Leader Snoke, also known as Darth Darth Binks)… but there was another. The other prominent theory was that Kylo Ren was, in fact, Luke’s former apprentice, and the son of Han and Leia. This was, of course, proven to be true. And then, of course, Kylo – or rather, Ben – eventually killed his father Han.

It was an interesting moment, but I’m not convinced of how well it was handled. The actual demise of Han worked very well (though I’d have preferred it if he had some final lines), and I think it’ll serve to emphasis the danger that Kylo Ren poses in later movies. I do think the actual reveal of Kylo’s identity could have been structured much better; the information is given across as little more than some throwaway dialogue, rather than built up as the seismic revelation it should have been. That is, I think, a bit of a failing on the film’s part – not a debilitating one, but certainly a notable one.

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That predictability, though, is something that hampers the film throughout. It’s two major moments were far from surprises – the identity of Kylo Ren, and the death of Han Solo, were both fairly obvious. Or at least, they were to me; the average movie goer isn’t going to have been sat theorising about the movie for months, considering whether Kylo Ren would be akin to a new Jacen Solo, or if Harrison Ford would finally have convinced them to let Han Solo die. So, in fairness, it’s difficult to honestly and legitimately argue that this is a serious fault or detriment to the plot.

No, the main issue with the plot is how derivative it ultimately proved to be. We’re watching a remake of A New Hope; the plot strays too far into nostalgia territory, and ends up dangerously close to being a perfunctory remake. We have something of a remixed collection of Star Wars’ greatest hits – a desert planet, an aerial battle over an ice planet, and even a brand new Death Star. It’s this last one that was, I’d argue, the worst – a huge superweapon was introduced, simply so that it could be destroyed in an essentially identical way to the original Death Star. There was little interesting to the concept – yes, it’s a planet, and yes, it drains stars, but so what? Essentially, all it is is a massive Death Star. They even make this comparison explicit within the story.

In fact, the only narrative purpose this Starkiller base serves is to destroy what appeared to be Coruscant; the new Republic has been destroyed, and our heros are reduced to a small group of ragtag soldiers with limited resources – the Resistance – fighting against a much larger and more powerful organisation, the First Order. Sound familiar? That’s because it is.

The Force Awakens is, in essence, hiding in nostalgia. For fear of alienating audiences in the same way the prequels did, they undid much of the development of the Original Trilogy to try and re-establish the status quo from A New Hope. I think that can only really be considered a mistake; the Empire and the Rebellion wasn’t what made Star Wars great, it was the struggle between good and evil. You don’t need to simply redress the originals to bring that back, particularly when it takes away the triumphant ending of Return of the Jedi. Leia’s role here, even though she’s a General rather than a Princess, is ultimately a regression.

I always kinda thought that the Yuuzhan Vong were a bit of a stupid idea – for those of you who don’t know, they’re aliens from another galaxy who, in the novels and EU, invaded some time after Return of the Jedi. They seemed to me to be too much of a departure from the Star Wars I knew, but I do think I appreciate them a lot more now – they were a new idea, and that’s important, it really is.

That lack of new ideas in The Force Awakens – in terms of the plot and general status quo, I mean – is a real disappointment. I do think the movie would have been strengthened had they approached it from a different angle; make the First Order the small, ragtag group this go around. Show that the new Galactic Alliance is struggling to succeed as a young intergalactic government. Emphasis the intimate, personal, small scale struggle caused as Ben Solo became Kylo Ren.

Just don’t give us reheated leftovers.

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Now, honestly, I really did enjoy The Force Awakens. It’s a stunning film, visually speaking – it looks amazing, moreso than any of the other Star Wars movies than preceded it.

And, even despite the issues I highlighted, the plot issues aren’t hugely noticeable whilst watching the film – JJ Abrams, Lawrence Kasdan and all the actors involved did such a genuinely compelling job with the character arcs throughout that the plot problems almost just didn’t matter. Finn, Rey and Poe Dameron are a great new trio for us to be introduced to; Kylo Ren is an intimidating villain with a lot of potential, and it wonderful to see characters from the original trilogy again.

The Force Awakens is, undeniably, better than all of the prequel movies. And certainly in some regards, it’s better than the original movies. Not in all aspects, though.

As a reintroduction to the franchise, The Force Awakens does a pretty stellar job. As a movie, it does a wonderful job – I’ve emphasised, all throughout this review, how genuinely fun it is to watch, and that’s true. Seeing this movie is a genuinely enjoyable experience, and I’d really recommend it to anyone who enjoys fun movies.

I’ll likely have a lot more thoughts on this over the coming week (obviously, I’m going to watch it again) but for now, this is essentially where I stand. A hugely enjoyable movie, with one fundamental flaw.

9/10

Related:

Star Wars Retrospective

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Star Wars Retrospective: Return of the Jedi

star wars return of the jedi review logo episode vi george lucas original trilogy

Here we have, then, the thrilling conclusion to this saga. It’s the Return of the Jedi – after two films building up to this, we’ve finally reached the culmination of the trilogy, with the final confrontation between the Rebels and the Empire taking place.

And, more importantly, the final confrontation between Luke and his father, Darth Vader. It’s a tense prospect, particularly given how their duel went last time. After all, the bad guys won at the end of The Empire Strikes Back.

But it’s not time for that yet. Because first, there’s the rescue of Han Solo from Jabba’s Palace. Except, well, actually, no, that’s not first. First is the revelation that the Empire is building a new Death Star – right from the beginning, we’re emphasising the power of the Empire here, and the struggle that our heroes are going to face throughout this movie. That’s why we’re seeing them, in the beginning, on the back foot, trying to fight back against their losses in the previous film – and that means rescuing Han Solo.

It’s a great way to open the movie, because it’s establishing, once again, how our heroes work together in the face of adversity. There’s a nice, layered introduction of each character; mirroring A New Hope, we start with C3PO and R2-D2. Next, it’s Chewbacca and Lando, and soon the revelation of Princess Leia in disguise, freeing Han Solo. Finally, then, it’s Luke Skywalker – and his reintroduction is most powerful of all. Dressed all in black, and using the force to choke a pair of guards, Luke seems dangerously close to the Dark Side; they’re suspicions that are strengthened as we see him threatening to kill Jabba, and outright killing guards by throwing them into the Sarlacc Pitt. It’s a plot thread that we’ll return to later, but for now, it’s a tense way to start the movie.

It’s also quite an entertaining set piece, though; you sort of get the impression that there were a couple of different contingency plans, that all sort of fell apart before coming back together in the end. It’s very much a victory that they achieved by the skin of their teeth; as much as it’s a display of their ingenuity and adaptability, we’re reminded that these characters of ours are a little ramshackle, and more than a bit disorganised. It’s a genuine question as to whether or not they’ll really be able to defeat the Emperor.

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After a brief detour to Dagobah, which I’ll discuss shortly, we end up on Endor, which is where much of the bulk of the rest of this film takes place. Endor, or more specifically the Ewoks, are quite controversial, and subject to a fair amount of criticism – people point to them as the moment where George Lucas supposedly started thinking with his wallet first and foremost, and the starting point of the Prequels’ detriments.

I reject that premise, though. I actually quite like the Ewoks. (But I shan’t argue that they’re better than seeing the planet of the Wookies, I’ll concede that point.) They’re quite entertaining – there’s always something charming about being introduced to a new alien race, isn’t there? It is, admittedly, sometimes a little difficult to buy the fact that they can defeat the Stormtroopers, but it’s actually a really nice idea; the little carnivorous teddy bears taking down a group of trained soldiers. I think it might be a little more believable, frankly, if there were more Ewoks, so that rather than about 15 of them taking on the Stormtroopers, they actually significantly outnumbered them. But then, that seems unfair, to criticise the film for not being able to quite achieve things because of unavoidable limitations (after all, that’s the sort of thinking that might lead to a hundred CGI Ewoks being added into the film).

What’s important, though, is that we’re seeing the Rebels in the final, big confrontation. It’s something we know to be quite serious – there’s a new Death Star, and we’ve finally seen the power of the Emperor himself. It’s demonstrably, clearly, obviously something of high stakes.

And these stakes are heightened because, Ewoks notwithstanding, the Rebels are actually losing here. It’s not going well for them, not one bit. You can really see how fraught things are here; like I said in my not-quite-a-review of Guardians of the Galaxy, showing our heroes genuinely struggling is a great way to imbue the scenes with real tension, and convey quite how high stakes this is. It’s a very well done battle sequence, particularly when intercut with similarly fraught scenes in space, as Lando realises that the Emperor knew they were coming – as Admiral Ackbar puts it, it’s a trap!

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Of course, though, the key emotional core of this movie is the final confrontation between Luke and his father, Darth Vader.

As I’ve already said, from the beginning, we’re lead to believe that Luke might turn to the dark side, as his father once did before him. It makes the Emperor’s attempts to turn Luke that much more frightening – as far as we know, there is a real and genuine possibility that he might succeed. It’s something that becomes increasingly more worrying, though, as we see how filled with rage Luke is during his fight with Darth Vader; it’s one of the most emotionally charged duels we’ve seen in the series. Luke overpowering Vader isn’t the moment of triumph we’d expect it to be – it’s frightening and even sickening, because we’re seeing our hero getting ever closer to falling to the dark side.

In the end, though, Luke prevails. He throws down his weapon and chooses not to fight. He opts away from violence, and stands firm in his dedication to the Light Side of the Force. That is when the moment of triumph comes; not through winning the fight, but seceding it. It’s also a moment of final vindication, wherein we see Luke was right all along; there was still good in his father. Ultimately, then, we don’t see Luke fight and kill Darth Vader – we see Luke and Anakin Skywalker overthrow the Emperor, and finally bring balance to the Force.

Mark Hamill deserves a lot of credit for his work here, because it’s genuinely compelling, and makes these scenes come alive; the internal conflict within Luke is extremely well portrayed, and I think it has to be said that Return of the Jedi is Hamill’s best performance as Skywalker across all three films. We’re finally seeing the culmination of Luke’s journey from farmhand to hero; he realises that he’s not trying to be a warrior, but a Jedi Knight. It’s an ending that really, truly resonates, and it’s achieved with real success.

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The ending of Return of the Jedi is a lot of fun; it does a great job of conveying quite how happy everyone feels, and really making the audience understand how much of a triumph this is. Darth Vader has been redeemed. The Emperor has been overthrown. The Dark Side has been defeated, and peace can be restored to the Galaxy. I was watching one of the Special Editions of this movie, and I think the addition of scenes of celebration across the galaxy really added to the movie – there’s a very real, very genuine, sense of sheer elation here.

I know that, typically, Return of the Jedi is considered to be a somewhat weaker movie, but it’s honestly one of my favourites – and that’s all down to the scenes with Luke and Darth Vader. It’s what cements this story as one of the greatest in cinematic history; it’s such a well-realised depiction of Luke’s growth of a character, and the culmination of his arc across the series, as well as doing a great job of showing us the redemption of Anakin Skywalker.

In the end, then, I think this one gets another 10/10 the Original Trilogy is, I think, as close as one can get to three perfect movies.

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Star Wars Retrospective

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Star Wars Retrospective: The Empire Strikes Back

star wars the empire strikes back review logo episode v george lucas ivan kershner lawrence kasdan original trilogy

The Empire Strikes Back! One of the earliest major movie sequels, and widely considered to be the best Star Wars movie of the saga. (I wonder if it’ll retain that title in a week’s time. Part of me thinks it will, but at the same time, I rather hope it won’t – wouldn’t it be nice if The Force Awakens really was that good?)

One of the more interesting things about the opening of this movie is that it’s actually set three years after the end of A New Hope; there’s something of an implied history there, between the characters we were introduced to in the previous movie, which is used to interesting effect here. There’s clearly been a lot of development and progress in their stories – and, once again, a wider world is being hinted at. For Luke, Leia, Han and Chewbacca, their story didn’t stop when the Death Star exploded; they’ve been out there, living their lives, fighting against the Empire ever since. It makes the whole world a little wider.

In fact, that’s something this sequel does a pretty good job of throughout, in terms of expanding the size of this Galaxy. Take, for example, Cloud City. We meet Lando Calrissian, an old friend of Han’s, now in charge of a mining colony; once again, we’re seeing glimpses of a whole other world. There are fleeting references to Han’s life, before he became a leader in the Rebel Alliance – he’s now Captain Solo, in fact – which serve as some impressive character development as well, by contrasting who he is now with who he once was. The Bounty Hunters too fulfill a similar role – they hint at a much seedier side to this galaxy, and also to the Empire itself. Before, everything has been a much more clinical, powerful depiction of the Empire – but now Darth Vader needs these people? What sort of madmen are they, so lacking in restraint they need to be specifically instructed “no disintegrations”?

Actually, it occurs to me as well that this is the first time we see the actual Emperor in the Original Trilogy (it’s a cameo by Ian McDiarmid, though I’m not certain if that’s from the original or a George Lucas edit). That was really fascinating – you can see, immediately, how big of a deal this character is when Darth Vader himself kneels before him, calling him master. The audience knows, right from the off, that this character is a very big deal, and very dangerous indeed.

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It is, of course, great to see all of the characters from the previous movie back once more – like I said, Han, Leia, Luke and Chewie have all evolved slightly from their previous appearance, but they’re still recognisably the same characters we got to love previously. Notably, though, their journeys and evolution continues throughout, as each character embarks on their own discrete arc.

Han and Leia, in this movie, get a lot closer to being romantically involved; it’s one of the most important relationships of Star Wars, I think it’s fair to say, and this film does a lot of work to show the beginnings of a relationship between them. It’s far better than that of Anakin and Padme in Attack of the Clones; although Han and Leia spend a lot of time being confrontational with each other, the movie manages to draw on the aforementioned implied history to demonstrate that this is conflict stemming from an actual bond the two share. You can see it in the beginning of the film too, where the pair of them both spend time looking across at each while they think the other can’t see them. It’s a far cry from “creepy teen makes woman he last saw ten years ago extremely uncomfortable, until she suddenly decides she likes him (and then he murders people)”.

Luke, of course, starts his training as a Jedi here – you can see at the start of the movie, when he’s in the Wampa’s cave, that Luke has been practicing with his command of the force, but there’s obviously still a lot for him to learn. (This is actually a nice, tense scene in the beginning, given that Luke is clearly exerting himself when trying to get the lightsabre – we’ve got just enough doubt as to whether or not he’ll manage it for the scene to be suitably tense.) It’s really interesting to see Luke’s journey and development into becoming a Jedi, under the tutelage of Yoda, and it goes a great way towards furthering Luke’s journey as a hero.

Yoda makes his first appearance in the Original Trilogy here, initially appearing to be little more than a strange comedic character – the Jar-Jar of his day, if you like. It’s a great bit of misdirection, and serves really well to throw us off balance with the introduction of Yoda; he’s so different to what you’d be expecting, after everything Obi-Wan has said and Luke has assumed, that when that strange little green hermit appears, there’s no way you’d ever assume that he was, in fact, the greatest Jedi Master of them all. It’s a great way to structure the reveal, actually, and challenges all the audience preconceptions of everything we think we know about the force.

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The most notable thing about this movie, though, is the work it does with establishing Darth Vader as one of the greatest cinematic villains of the 20th Century. Actually, in fact, not one of the, but the greatest cinematic villain of the 20th Century (only a Sith deals in absolutes!), with The Empire Strikes Back often cited for its impressive depiction of the villains.

Nearly every scene with Darth Vader works towards furthering his screen presence as a villain; it’s particularly apparent aboard the Imperial Star Cruiser, through his interactions with the ship’s crew. The “promotion” of Admiral Piett is a stand out scene, I think – seeing as his predecessor is force choked on the viewscreen is a nice demonstration of Vader’s power, given that it shows he doesn’t even need to be in the same room as his victims to kill them. Similarly, I liked the fear we see in one of the other officers, as he talks of the need to apologise to Lord Vader – we then later see Vader standing over his dead body, simply saying “apology accepted”. It’s a very chilling demonstration of how powerful a villain Vader is.

We also have that twist to discuss. It’s very difficult to see it in terms of its original context now, isn’t it? It’s an idea that is now so ingrained in popular culture, the number of people who watch Star Wars for the first time without already knowing the identity of Luke’s father must be very few indeed. You can see, though, that it’s been set up right from the beginning – in the opening crawl, they establish that Vader has been obsessed with finding Luke since the destruction of the Death Star, which in hindsight is clearly because he knows Luke Skywalker is his son. Another interesting moment is when we see Vader putting his helmet on, and catch a glimpse of his ashen, scarred cranium – it hints at a past life for him as well, but also reveals that Darth Vader isn’t just a robot, and there’s a man behind the machine.

In revealing his connection to Luke, though, we do have a pretty monumental twist. It changes everything we thought we knew so far, and it’s clear this is going to have huge repercussions going forward into the next movie. It’s a genuinely fantastic idea, and I’m really glad that George Lucas came up with it (even if that wasn’t the original plan!), because it gives the story a lot of resonance.

star wars the empire strikes back review darth vader irvin kershner george lucas I am your father hd picture david prowse

The final ending is, ultimately, a defeat for our heroes – the greatest that we’ve ever seen them suffer. Han has been frozen in carbonite, and taken away to the vicious Jabba the Hutt. Luke has had his hand cut off, and it’s been revealed he’s the son of the most evil man in the galaxy. The rebel base on Hoth was destroyed, the rebellion dispersed, and we don’t know how many of them survived. Leia even kissed her brother without realising.

Truly, things are dark. And that means the ending of this movie is really, genuinely impactful.

The Empire Strikes Back is a really, really good movie. Again, I think I’d have to give this one another 10/10 (though I am not certain if, in terms of my own subjective enjoyment, I prefer it over A New Hope. I think A New Hope might just edge past The Empire Strikes Back, ultimately.)

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Star Wars Retrospective

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Star Wars Retrospective: A New Hope

star wars a new hope review episode iv logo george lucas original trilogy

And now, I’ve finally reached the original.

It’s staggering to think, actually, that this movie is nearly 40 years old – and then even more so when you think about the cultural influence it’s had. This movie, filmed on a budget of eleven million dollars, spawned a franchise that sold for four billion dollars. It lead to a further 5 films, two television series, and hundreds of books and comics. There’s going to be another five films, the first of which will be released this Thursday, and then god knows how many more after that. It’s a film that’s ingrained in the zeitgeist, with a greater pop culture presence than any other single movie that’s come before or after it.

It’s actually, genuinely, slightly insane. This movie has had an impact on such a grand scale, it’s touched the lives of so many people across the globe. It has huge, huge numbers of dedicated fans. Honestly, genuinely, the achievements of Star Wars are exceptionally impressive.

Thankfully, it’s also a very good movie.

I think a lot of people will have commented on this before, but right from the beginning, George Lucas does a fantastic job of conveying the sheer scale of his universe – or, rather, his galaxy. We open with Princess Leia’s ship, which looks huge… but then it’s completely dwarfed by the size of the Imperial Star Destroyer following it! Immediately, within just a few moments, we’re introduced to a whole new world, which is clearly full of possibilities. It’s a hugely effective opening sequence; perhaps one of the best I’ve ever seen.

star wars a new hope review george lucas star destroyer opening scene marcia lucas

And, honestly, it continues well from there. I genuinely don’t think there’s a single thing this movie actually gets wrong.

One of the biggest issues I highlighted with the prequel films was the pacing; there’s no such problem here. Star Wars is a really well-written film, that does exactly what it needs to do with its runtime. It’s consistently entertaining; I was never bored by it once. The plot moves along at a good speed – we dwell on each beat long enough for it to have a proper level of impact, but never long enough for it to drag. In short, it’s a supremely effective story, all well told and well presented.

You can see that at the start, beginning as we do with R2-D2 and C3PO. I was actually quite surprised by that, when I was rewatching this, because I didn’t realise quite how long it was that we spent on these two; there’s a significant chunk of this movie wherein the pair of them are essentially our main focal point. And this is never boring! That’s an achievement in and of itself, really, given that one of them doesn’t talk, and the other is very much a comedy character.

And, of course, this is maintained all throughout the two hours that the film is running for. It’s really, readily apparent quite how well this film fits together; the transition from space to Tatooine, to the Death Star, to the Rebel Base – it all comes together to create a brilliantly textured, lived in universe, which provides an excellent backdrop to this wonderful, almost mythic, story.

We’ve also got a wonderful host of fun, strongly drawn characters, who really breathe life into this plot. There’s a reason, after all, why these guys are in the zeitgeist now; they’re iconic. Of course, a lot of that comes from the way in which George Lucas played upon pre-existing archetypes, and drawing from different aspects of mythos; you’ve got the young hero, the wise old man, the rogue, the princess. Star Wars does, after all, follow Joseph Campbell’s idea of the Hero’s Journey, almost entirely to a tee.

star wars a new hope review milennium falcon luke skywalker han solo chewbacca obi wan kenobi george lucas retrospective

But Star Wars is much more than a paint-by-numbers, regurgitated plot. There’s something genuinely special here, and you can see why it touched the lives of so many people. Luke, the wide eyed audience surrogate, is a pretty perfect protagonist – everyone has felt listless and unfulfilled, searching for something new, the same way he has. Everyone has wanted to just fly away and be a hero (or, well, maybe that’s just me). It’s a great performance by Mark Hamill, who does a really good job as Luke.

The same is true again, then, of Han and Chewie, or Obi-Wan (known also as Ben, for reasons I am not entirely sure of). Harrison Ford and Alec Guinness were, I think, probably the best actors of the main cast – Alec Guinness was nominated for an Oscar because of his role as Obi-Wan, I think? That sounds right to me. They’re similarly impressive characters to Luke; Han, the rogue with the redemption arc, eventually coming back to help the rebels, is a real moment of triumph that stands out as you watch the film.

It’s also particularly interesting watching this film, and seeing Obi-Wan, in light of having seen the prequel movies recently. There are certainly discrepancies, which are obvious from the dialogue, in terms of how George Lucas’ plans changed between the making of the different films – my favourite is how Obi-Wan speaks to Darth Vader, calling him “Darth” as if it’s his first name. (Mental gymnastics to make that work: it’s almost a way of mocking him, reducing him just to the Sith title, not acknowledging any other part of him.) For the most part, though, I do think that having seen the backstory from the prequels does add to the movie; at the very least, they don’t significantly detract from them.

star wars a new hope review retrospective darth vader lightsabre fight david prowse james earl jones obi wan kenobi alec guinness

We’ve also got an impressive, imposing villain in Darth Vader, who has some real and genuine screen presence. It’s interesting, actually, watching it back, because he’s a little different to how I remembered – weirdly, he speaks a lot more than I remembered. I’d always assumed that, in this movie at least, he was more of a silent villain, with the breathing being his distinct audio cue. But no, it is in fact James Earl Jones’ deep, booming voice that we hear here – and quite often, too. It was a nice surprise, actually, because that voice is one of the best parts about Darth Vader. It’s part of what makes him so imposing, and gives him such a commanding presence – in this movie, you can see the groundwork being laid for someone who’s going to be known as one of the greatest villains of all time.

Naturally, we can’t forget Princess Leia either, who’s really well played by Carrie Fisher. It’s an excellent performance – Leia is a great character, who’s a lot of fun. The fact Leia exists as a character is a pretty cool thing too; we’ve got a female character who leads the Rebel Alliance, and even though she’s captured, she in in fact demonstrably one of the most capable and competent characters there – arguably moreso than Luke and Han, even, who kind of blunder through the rescue attempt rather haphazardly (which, I must stress, is part of their charm!) before ultimately pulling it off. In any case, though, it’s a fun and engaging portrayal from Carrie Fisher.

The version I was watching was the… it was an edited edition, though I confess I’m not entirely certain when it was from. I’d wager it’s the 2011 set, which are most recent; if it helps anyone identify it, Han and Greedo shoot at the same time. Also, there are some weird animals walking around Tatooine, and one of them actually walks past in the foreground at one point, completely blocking the characters from view. I’d always thought the people complaining about the edits were overreacting somewhat – I’ve never seen the originals, and it’d been so long I didn’t really remember/notice the edits in the first place – but I do understand it a lot more now. They’re rather obtrusive edits, and one is lead to question the point of them; I can understand things like the inclusion of Jabba, which, even if not particularly well realised, was something George Lucas wanted the first go around. I question the wisdom of covering the entire screen with a CGI animal’s backside, however.

In the end, then, the first Star Wars movie is a very good movie. It is justifiably considered a classic, and it’s deserving of the reputation it has garnered over the years. Though there are certainly things I’d have liked to have seen it – more female or POC characters, Luke having a stronger/more sustained reaction to Owen and Beru’s (rather grisly) deaths, etc – that’s very much a case of me looking to find the sort of thing I’d want in a 2015 film.

Really, there’s only one score I can give this movie – and that’s 10/10.

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Star Wars Retrospective

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Indiana Jones and the Question of the Inevitable Reboot

indiana jones harrison ford fedora hat whip reboot 5 kathleen kennedy lucasfilm steven spielberg shia labeouf young

So, this is a question that’s swung around again.

At the same time that Disney acquired the rights to Star Wars, they also acquired the rights to Indiana Jones, meaning that, should they so choose, Disney is more than able to make further Indiana Jones movies. At the minute, they’re focusing on Star Wars (you may have heard about this), but make no mistake, there will be a fifth Indiana Jones movie.

What’s interesting, of course, is the fact that recently producer Frank Marshall (who’s worked on all the previous four Indy movies) has explicitly spoken out against “the Bond thing” of recasting, but is, in fact, open to letting someone “take the baton”.

Not so different from what they set up with Shia LaBeouf last time, when you think about it, but I get the impression they’re unlikely to turn around and hand him the fedora and the bullwhip.

Which of course begs the question – what should be done?

Recasting the role certainly has some benefits to it, but there’s a large hurdle too. Indiana Jones has always been the part of Harrison Ford, and it’s defined by his performance; it’d be difficult for an actor to find a new angle for the role, avoid imitation and simple mimicry, but at the same time remaining demonstrably the same character.

There would also, I suppose, be the temptation to reinvent the part, and start with something new from the ground up – like, say, casting a woman in the role. Now, whilst I am not typically against recasting traditionally male parts as women, it’s not necessarily a choice I’d advocate in this instance, essentially for the same reason that recasting has certain dangers to it. I think that, before you introduce a Diana Jones, you’d need to get audiences to be more receptive to the idea of a new Indiana Jones full stop. Incremental change.

(Mind you, I’d love to be proved wrong about that.)

Anna Kendrick female indiana jones reboot woman 5 kathleen kennedy lucasfilm steven spielberg

Harrison Ford on his own probably can’t carry the film; he’s 73 now, and I suppose he’d be approaching 80 before an Indiana Jones film gets off the ground. It’s a fairly physical role, and whilst on the one hand he’s still surviving plane crashes and all that, I am not entirely sure he’d be up to all the stunts which one would expect to come with the role.

Which suggests, I suppose, a film where Harrison Ford takes a role similar to Sean Connery in The Last Crusade, whilst a younger actor takes on the more physical elements of the role, setting this younger actor up as a potential replacement for Ford in future movies.

Maybe they’d cast Shia LaBeouf.

But I can’t see them being particularly eager to do that, necessarily, given what happened with Kingdom of the Crystal Skull. So I would posit a slightly different route, combining both possibilities…

You’d present the film across two time frames; one with a young Indiana Jones, and one with the older, more experienced, Harrison Ford model. It wouldn’t simply be flashbacks or a framing device (though an elderly Indiana Jones lecturing or telling his grandkids stories could work as a pretty good framing device) but rather, a story involving both iterations of the character, moving back and forth, in a non linear fashion.

Essentially, the path you’d take would be old Indiana Jones revisiting a previous adventure, going after that one last relic that he never quite managed to get the first time – but because he’s older and wiser, now, he can succeed where previously he failed. Harrison Ford’s Indiana Jones would take a more intellectual path; even though he’s older now, his mind is still as sharp as it’s ever been.

You’d still have fairly long segments with both actors – split fifty fifty, I’d say – and it’d be important to make sure that both of them have their own story. Harrison Ford shouldn’t simply be relegated to a narrator, and the young actor isn’t just there for set pieces. If done right, this would act as a celebration of the character as a whole, and indeed the movie franchise as a whole.

chris pratt indiana jones harrison ford reboot young 5 recast
I honestly thought that was Harrison Ford at first. I had to look at it quite a few times before I realised it was, in fact, Chris Pratt.

As an idea, I think this has a lot of potential. You could potentially market it as being Indiana Jones’ First and Last Adventure; if the young actor is playing an Indiana Jones at an early stage in his career, pre Temple of Doom, they can likely find something a little more interesting to do with the part than a simple imitation of Harrison Ford.

Perhaps, say, when young Indiana Jones was going through this adventure, he was in a particularly bad place? Hence why he failed, and why it has a later significance for the elderly Harrison Ford? That’s only the barest bones of an idea, of course, but the overarching point is that you have a lot of potential to play around with here.

And, of course, there’s nothing stopping them from making further movies with the young Indiana Jones in the future. Which I’m sure Disney would appreciate!

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Why there’s nothing wrong with Idris Elba playing James Bond

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