(Spoilers ahead, rubes.)
I find myself thinking that The Force Awakens is an extraordinarily well executed piece of fanservice — and in boring conventional ‘is this good art’ terms, an embarrassment. Its dialogue is snappy, the performances range from good to great, the clumsy ‘power creep’ of Rey’s story is nearly erased by Daisy Ridley’s charisma (which outstrips her perfectly reasonable acting skills), and the creators’ commitment to expanding the Star Wars universe is admirable. Walter Chaw is right: The Force Awakens fulfills one promise of the original trilogy by offering a vision of the galaxy that seems, at moments, almost galaxy-sized.
By the end, The Force Awakens has collapsed into a series of by-the-numbers repetitions and blood feuds and familial agony, and I’m left attending to the good bits: the lead performances (especially Adam Driver’s) and the maybe-brilliant subtext. To wit: A new generation of kids have inherited a Star Wars legacy that’s too big for them, they shrink from their duty, they fool around with the old toys, and in the end the people they love — the stars of the old movies — start dying. This is JJ Abrams’s schtick, I think; I don’t think he has any real value as an artist but he does seem productively and even admirably aware of his lateness, so to speak. To my eye he’s made derivativeness itself the center of his aesthetic, such as it is. The subtext of The Force Awakens (which I’m happy to credit to its creators and not my own overcompensatory urge) elevates the material.
It’d better! Because near as I can tell, nothing is at stake in Abrams’s film. Finn isn’t going to die, Rey isn’t going to kill Li’l Ben, and the Starkiller Base is gonna blow up good. The Plot Points are ticked off.
The Force Awakens is like a midseason episode of a long-running TV series. It can’t take risks. Kathleen Kennedy did the right thing, then, by hiring a writer/director who won’t take them either.
Which brings us to Rogue One, Gareth Edwards’s equally well executed bit of fanservice, which in boring conventional ‘is this good art’ terms is the best Star Wars film since Reagan was elected. It takes a question that millions of misprising adolescents have pointlessly asked — ‘Why does the Death Star have such a stupid fatal flaw?’ — and wraps a wonderful Dirty Dozen-ish war story around the appropriately ridiculous answer (‘Because the heroine’s terminally noble father put it there’).
Rogue One is the first movie in the saga since Return of the Jedi to offer meaningful stakes — its position as ‘infix prequel’ lets Edwards introduce an entirely new cast of characters whose fates the audience can’t easily guess, and he and his writers have the audacity to do the one thing no Star Wars fan would expect in that situation: they kill every single new character they introduce, heroes and villains and droids and aliens. In doing so they subtly alter the original film, recasting the Rebellion in more visceral and active terms than the first movie managed to suggest. (The sparseness of most pre-CGI science fiction film and early video games was an enormously consequential economic phenomenon about which, as they say, we will say more.) And unlike Abrams’s film (but much like the prequels), Rogue One makes the Star Wars galaxy feel bigger, more crowded. To my mind that’s the best thing about it.
OK, the nervewracking third act suicide mission/epic battle is the best thing about it. And Alan Tudyk’s droid is also the best thing about it.
The cast is pretty swell, Giacchino’s score is largely on point (though the (studio orchestra’s?) performance of the end credits is a little embarrassing), the funny bits are funny, and it’s the first film in the series that concedes nothing to its young viewers. In that respect it differs not only from the prequels, which foreshortened and dumbed down Lucas’s genuinely interesting political story, but from The Force Awakens, with its two cringeworthy uses of the word ‘boyfriend.’ (They’re both funny! And slightly discordant, in a Thoroughly Modern way.) Rogue One isn’t a tale of deeply complicated crosshatching moral codes and weary cynicisms, not quite, but it’s the first Star Wars film to successfully combine the operatic omnisignificance of the core generational narrative with something like ‘realistic’ grownup characterization — not to mention ‘worldbuilding’ of any seriousness.
The Force Awakens is, as usual for Abrams, absolutely risible in this area. The final act of the film kicks off with a bit of offhand planetary genocide — billions of people wiped out in the blink of an eye solely to advance the paper-thin plot. The only lives that matter in that film are the protagonists’, which is part of what I mean when I say ‘no stakes.’ (Did Han’s death actually surprise you? Have you seen a film before?) Nothing but Plot is ever in play for Abrams, except of course Nostalgia — but Rogue One gobbles up every character who appears onscreen and you feel every death; by the end you feel as if the heroes of the original trilogy were lucky to’ve made it that far.
Rewatching part of it today, I was surprised by my own feeling of…resentment? at the fact that the story didn’t end with that stunning image of the two heroes dying on the beach. ‘Oh, we need some Darth Vader of course,’ was my thought. But when the credits rolled I had to admit that handing the baton to Leia and Vader/Anakin was the perfect ending. The work never ends, is the point, or one point, or part of the point. Jyn and Cassian die in service of something that the writers and director and actors and — I suspect — the audience understand to be greater than the narrative: an idea too complex to fit neatly into the ‘Character Motivation’ slot in the script. Which is only to say that I believed in Rogue One in a way I’ve never, after four or five viewings, managed to believe in The Force Awakens.
Anyhow, this isn’t supposed to matter, because these aren’t movies, they’re Star Wars popstuff thingies. But pretending for a second that we’re allowed to judge nostalgia-objects as if they were actual existing artworks has been, I hope, a useful exercise, even as our culture-sized canoe heads for the waterfall.