First and foremost, I’m going to preface this with a blunt, honest statement: I do not think Star Wars: The Force Awakens (TFA) is a bad movie. I wouldn’t consider grouping it with the prequel trilogy either in terms of quality. However, I wouldn’t put it on a pedestal with the original trilogy – now the only canonical entries in the series prior to TFA since Disney’s acquisition of Lucasfilm in 2012. In a sense my experience has somewhat justified my resounding pessimism towards the project since its initial announcement.
The biggest compliment I can possibly pay the film is that as far as genre can be considered, TFA is a welcome return to the (in some circles) most important swords’n’sandals franchise ever. And why would I classify it as that you may ask? Unlike the prequel trilogy and the respective hyperactive, “modern” approach to filmmaking that Lucas didn’t quite grasp as much as merchandising ability, there is a greater emphasis on a slower, more methodical pace that is perhaps best represented in the closing duel between Kylo Ren (Adam Driver) and Finn (John Boyega). The physical prowess of the two participants is accentuated whereas speed and a lack of caution are disregarded (essentially the complete antithesis to virtually every lightsabre duel of the prequel trilogy).
We even return to the notion of The Force – the once all to convenient plot device – as having religious connotations which can only be described as refreshing after the mysticism was destroyed via science. And credit to the filmmakers for innovating the Force-sensitive characters by making it actually looking interesting again with some actual reinterpretation of what The Force actually enables the end user to achieve.
And it would be unfair to dismiss the throwbacks to prior entries in the series. There are numerous references to (particularly) the original trilogy, be it via minor dialogue, brief flashes of McGuffins, or as emphasised in the trailer the actual aesthetic of the film as a whole. Jakku is eerily reminiscent of “that other desert planet” whilst never actually relying on the obvious association. Similarly, the design of the Stormtroopers is just enough to create an individual identity whilst displaying an actual evolution within the narrative in the thirty years since Return Of The Jedi. And Han Solo (Han Solo) is quite funny. By which I mean he is genuinely funny.
Consequently, certain issues are actually generated due to this evolution. Han Solo’s aforementioned metamorphosis from dry, sarcastic antihero to a position of comic relief (accompanied by Chewbacca) almost feels like a desperate, and quite necessary plea for attention. Additionally, the description that TFA would be a “last ride” for the heroes of the original trilogy is somewhat too applicable which is unfortunate for the new cast who aren’t necessarily afforded the opportunity they deserve for this new venture.
Admittedly some of this may be to the benefit of the audience as the new cast likely won’t be comfortable in roles this important for at least another film. Adam Driver is feasibly the biggest offender, channelling his inner Hayden Christensen at every conceivable turn. Boyega on the other hand isn’t fantastic by any stretch of the imagination, but given the circumstance of his character it does at least provide a contextual excuse. Daisy Ridley (who portrays Rey) isn’t terrible but I feel as though, again deriving from the context, there should have been a little more accentuation of her lack of real human contact later in the film, predominantly due to the implied isolation she has been subject to on Jakku.
My only other personal complaint is the cinematography of the piece as a whole. Whilst the sound and mise-en-scene are definitely Star Wars, the cinematography, again like the prequel trilogy just feels hectic, with the opening scene making me question the decisions of the filmmakers.
These however are comparatively minor gripes compared to the biggest affront to this most beloved franchise. I find Abrams as a director (or accurately his marketing strategy) troubling, which is to say he has an overzealousness to sell his mystery/twist of the week, or as it is more commonly referred to, ‘The Mystery Box.’ If you’ve watched the trailers you will no doubt have noticed the omission of at least one major returning character – which after watching, I don’t have a problem with as it actually worked for me – but the focus is understandably the identity of Kylo Ren. Like all Abrams’ films the mystery is pretty obvious, and if you have prior familiarity with the previous movies, or the now defunct extended universe it will be pretty obvious by the opening act of the film. It’s almost as if Abrams has both figuratively, & literally killed the heart of the original trilogy with the twist. It’s less a “passing of the torch moment” and more of a “we’re Disney, this is a business, give us all your money.”
As I have already mentioned it is by no means a terrible film, and the returning actors obviously have fun with the new Abrams afforded freedom, but I can’t help but feel that as a result TFA has lost some of the magic that Star Wars used to possess. And whilst it may be unfair to compare TFA to previous trilogies, the over-reliance on nostalgia has been a key selling point of the film. Which is a shame because if you swapped out the proper nouns within, TFA could be any other generic science-fiction film released in the last decade – to which I might have been a little more charitable.
Rating: Watch
I would certainly recommend it for long-time, die-hard fans but honestly you’re not missing out on a great deal.
See you all for The Hateful Eight. 😉 #2-ST3P
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