The latest Star Wars series is funny, suspense inducing and off the hook. Set 30 years after the events of “Return of the Jedi” this new one features quite some familiar elements, such as Skywalker family mythology and another Death Star type weapon, including self-aware lines about how everything work in the series.
It’s a delight to see veteran older characters placed beside new ones in situation that respect Lucas’ myth-creation yet remedy his defects as a storyteller, of note, the default whiteness of his casts.
Interestingly, Abrams and his associate writers, Lawrence Kasdan and Michael Arndt, not only focused the story on a young lady and a man of color (played individually by Daisy Ridley and John Boyega), they’ve made them so compelling and novel that the film never, by all accounts, seems to putting an up-to-date wrapping on stale cliches. For instance all the new characters seem to live and breathe. That they earn the respect of Han Solo (Harrison Ford) and Chewbacca (Peter Mayher) by proffering a solution to a technical problem, or get hold of a light saber and start swinging, the result is not just a crowd-satisfying display of heroics; it’s a clear affirmation that a good movie with a striking story can be everyone’s mirror.
Many years has passed after Darth Vader threw his master down an elevator shaft and the galaxy is still plagued by war. The Republic is still the Republic, however now they’re not too secretly financing the rebellion against what is left of the Empire, which has been supplanted by something many refer to as the First Order.
The Empire went into “Jedi” mode when Luke Skywalker (Mark Hamill) successfully turned his father back to the light side of The Force. In any case, the Empire’s remnants were steady. Since Luke went into hiding following an unfortunate attempt to recruit a new class of Jedi, they’ve picked up strength and bravery, and created a variety of the Death Star that is embedded in a living planet—an artillery cannon intergalactic reach.
The new brand of Imperials looks and sounds more Nazi-like than the bad guys from the first trilogy. One of the scenes where Abrams tried too hard (which is difficult to do in a “Star Wars” movie) is the rally before the super weapon’s inaugural blast: where the supreme commander of the First Order (Domnhall Gleeson) addresses a huge number of troops organized in Leni Riefenstahl designs, sticking his pale face into the camera and practically spitting into the lens.
Lucas’ prequels balanced light with surrounding darkness, and ryhmed scenes, instances and shots with the first trilogy’s, to create a sense of history rehashing and altering itself. Abrams and co have done similar in “The Force Awakens,” though at the level of characterization and scene-building. This is a subtler approach to revise components in popular series while finding something new in them, and it clarifies why this film feels more fully accomplished than any “Star Wars” move since “The Empire Strikes Back”— it’s definitely more warmer than the prequels, which frequently failed at characterization, and plot even as they served up complex sequences and haunting images.
No Comments Yet!
You can be first to comment this post!