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There is a tension within the latest instalment of the Star Wars franchise. On the one hand there is the industrial behemoth and immense legacy that is Star Wars. On the other hand there is writer-director Rian Johnson, coming from a background of independent filmmaking that includes Brick and Looper. This tension creates problems and also benefits. The biggest problem is the film is overly long and, despite having the structure of a chase thriller, Johnson presents three parallel plot lines, one of which is overdone and lessens the overall tension. This narrative baggyness is partly due to the apparent need of new Star Wars films to pay homage to what has come before, as much of The Last Jedi echoes The Empire Strikes Back while its third act is reminiscent of Return of the Jedi. Competing against this homage is Johnson’s innovations, such as this film largely picking up immediately after the events of The Force Awakens and his allowance for characters to ponder their choices, whereas JJ Abrams largely had characters making decisions at hyperspeed. These innovations are also a major benefit, with new directions for this most hallowed of cinematic sagas. The mythos and history of the Force is explored in more depth than previously seen, especially in terms of the hubris and failure of the Jedi. Explosions rock the drama both internally and externally, as ships explode in true Star Wars fashion, and interpersonal strife plagues both the Resistance and the First Order. Perhaps the most ferocious battles rage within the souls of Kylo Ren (Adam Driver) and Rey (Daisy Ridley), both trying to forge a place for themselves within a chaotic galaxy while (F)orces pull them in all directions. The overall result is mostly a creative and dramatic success, The Last Jedi delivering as a thrilling space chase of legacy and identity, with a surprisingly egalitarian subtext.
It opens with absence. The absence of John Williams’ theme, the screen crawl and even the words Star Wars, instead presenting the viewer with a planet in the emptiness of space. As a Star Destroyer slowly moves into view, the tropes of Star Wars reveal themselves and we quickly settle into familiar territory with mention of various planets, Jedi, the Empire and the Force. Yet, paradoxically, absence remains a dominant presence throughout Gareth Edwards’ Rogue One, a spin-off story that takes place leading up to the events of Episode Four: A New Hope. Protagonist Jin Erso (Felicity Jones) feels the keen absence of her father Galen (Mads Mikkelsen); Cassian Andor (Diego Luna) is spurred by righteousness but also makes hard choices; Chirrut Îmwe (Donnie Yen) and Baze Malbus (Wen Jiang) feel the absence of the Jedi under the rule of the Empire; Saw Gerrera (Forest Whitaker) physically manifests absence through his damaged body. Sometimes the various characters are not given as much motivation or background as they could have, but for the most part absence works as a strength in the film rather than weakness, as the emphasis upon absence and loss conveys a palatable sense of what the Rebellion fighting for, described by Saw as ‘the Dream’. Edwards skilfully creates a sense of the odds facing the Rebellion, the superior weaponry of the Empire – including the Death Star – as well as the ruthlessness of Orson Krennic (Ben Mendelssohn), Governor Tarkin (Guy Henry in a digital Peter Cushing suit) and, in a spine-tingling cameo, Darth Vader (Spencer Wilding/James Earl Jones). As a result, the viewer is unlikely to feel shortchanged by this additional story, as Rogue One strikes a fine balance between material familiar and new, resulting in a film that bodes new hope for the future of this franchise.
This would always be contentious, as I’ve probably heard or read some account of every Star Wars episode praised to the stars and condemned to the garbage disposal of the Death Star. So….
The prequels receive far too much abuse, most of which seems to stem from “They aren’t as good as the first three.” Nothing would have been good enough – memories of Star Wars, even from those of us too young to have seen them at the cinema, are so rose-tinted that we expected the prequels to blow us away, and of course they did not. This is partly because there have been plenty of other huge blockbusters to make us drop our jaws to the floor, such as Jurassic Park, Independence Day and, in the same year as the release of Star Wars: Episode One: The Phantom Menace, The Matrix. That stole much of the thunder from Menace, and no matter how spectacular the prequels were, they were unlikely to give us anything we had not seen before.
Episode I: The Phantom Menace has the difficult task of introducing the characters, the setting and the plot points – anyone who says there is “no plot” in this first episode didn’t actually watch it, or at least get it. There is a great deal of plot, in terms of the plotting of Senator/Chancellor Palpatine and the viewer must stay alert to understand how the different threads tie together. The action scenes are as dazzling as anything from the earlier films, but ultimately superfluous: the pod race and the three-way lightsaber battle not really necessary (apart from the death of Qui-Gon Jinn). Certainly the dialogue is wooden, but that is true of all six films, and that can explain the rather stilted performances. Jake Lloyd is rather too young to be unirritating, and Jar Jar Binks is very annoying. But these need not ruin the film – these aspects don’t deserve that much credit. Rather, The Phantom Menace works best as a light-hearted space adventure, as bright as the Tatooine suns, with only vague hints of what is to come.
Episode II: Attack of the Clones has the densest plot of all six films (think about it), beginning with dissention in the Galactic Senate and ending with the beginnings of civil war. The various plot lines (romance between Anakin and Padme, Obi-Wan investigating the growing clone army, Chancellor Palpatine’s further scheming) get crowded and can be confusing, so maybe beginning some of these in The Phantom Menace would have worked better. The love story is awkward and stilted, and many events are given insufficient motivation. As usual the action is breathtaking, most obviously Yoda’s lightsaber battle with Count Dooku, but complaining that this is some affront to your childhood is, frankly, narcissistic. Attack of the Clones has a great deal going on, but so compressed are the events that it can be unsatisfying. But of course, it is really only a set-up.
Episode III: Revenge of the Sith is the grimmest and most intense chapter of the entire saga (reflected in the UK by its more restrictive certificate). As a piece of epic story-telling, it neatly ties the various strands of the earlier films together as well as setting the stage for the story of the Rebellion in the later episodes. Here there is a balance struck between the resolution of the plot strands, the character arcs and the action sequences (although the final showdown between Obi-Wan and Anakin is rather overshadowed by the environment in which they fight). And much like Return of the Jedi, it really makes use of the real villain of Star Wars, as Chancellor/Emperor Palpatine AKA Darth Sidious demonstrates just how evil the Dark Side can be, proving more sadistic and vicious than Darth Vader ever did. Being prepared to get REALLY dark is Revenge‘s greatest strength, and it stands as a fitting conclusion to part one of the saga.
Episode IV: A New Hope is a landmark piece of cinema, possibly the most important and influential film since Citizen Kane. It is also the epitome of why we love cinema, with good VS evil, triumph over adversity, friendship, courage, loyalty and faith proving the strongest weapons against oppression and tyranny. BUT it has archetypal and under-developed characters, a simplistic plot and obvious themes, ropey direction and various contradictions. As a space adventure it delivers on every level and is rightly praised for that. Of the entire saga, it is the only film that stands on its own (hence it was the first one released). But remember, it is only a film.
Episode V: The Empire Strikes Back is always praised for being “darker” than its predecessor, which is fair comment, as the bulk of the story involves most of the heroes being chased, captured and tortured, and the other one taking a journey into his heart of darkness (Yoda as Kurtz, anyone?). A somewhat inordinate amount of time is spent in the asteroid field, and the progress through Cloud City seems too easy. That said, non-patronising explanations are provided, and it does feature one of the greatest twists of cinema. After soul-searching on Dagoba, was anyone prepared for THAT revelation? Hardly, and it adds significant depth to the saga as a whole.
Episode VI: Return of the Jedi spends too much time on Tatooine, a segment that really has nothing to do with the overall plot, and by this time more focus would be beneficial. The Ewoks may be irritating, but they need not detract from the epic build-up to the final assault on the Death Star, and the true power of the Emperor. The deeper themes begun inThe Empire Strikes Back receive more attention here, with Luke’s serious choices, and although the action on Endor may not be up to the standards of the Imperial Walkers on Hoth, the greater exploration of the saga’s ongoing story makes up for it.
Overall, Star Wars is a patchy saga, characterised by superb action sequences, moderate to bad characterisation with poor dialogue, a multitude of plot strands which are sometimes not given enough space, and a well-detailed if somewhat inconsistent fantasy world. As for my order of preference, I think they are ALL good, but if pushed I would arrange them:
The Empire Strikes Back: *****
A New Hope: ****
Revenge of the Sith: ****
Return of the Jedi: ****
Attack of the Clones: ***
The Phantom Menace: ***
But maybe the Force is not with me.