Written Dec 2015
7 minute read
Every once in a while a new age of cinema dawns, and a pioneering new world captures the hearts and minds of children and adults alike. Of these creations, few have achieved such worldwide adoration as George Lucas’ Star Wars. This is a franchise that, from its very inception, would go on to shape the future of science fiction. Nowadays though, such cultural revolutions are often found through reincarnations of old creations. And sure enough, after years of rumours, and months of unfathomable excitement, the seventh instalment of the titanic Star Wars franchise is finally here.
It will be apparent to all but the newest Star Wars fans that much of The Force Awakens’ plot can be found in the very first film, A New Hope; to the point that much of the story is essentially a remix of previous material. This makes sense, with a revisited, simpler story allowing old characters to rekindle our fondness on a wave of nostalgia, while establishing the new cast through various brilliant, if well-trodden, set pieces.
However, the more the basic plot is scrutinised the more glaring issues are found. The sheer lengths to which the original arc is mimicked is exasperating, with the final act becoming more or less a formality with a foregone conclusion because of this. There are even scenes that are copied nearly verbatim, notably a meeting in an unacceptably familiar cantina. There is, perhaps, a line between what is a nod to a classic scene and just a shameless carbon copy. While possibly unfair to dissect in this way, it is surely a reasonable criticism to level against a franchise with so much scope and opportunity for new stories.
An assured artistic hand comes in the form of J.J. Abrams. He directs excellently, and at times with ingenuity, making the most of the beautiful vistas and boundless cinematic potential of this largely-undiscovered galaxy. His penchant for emphasising scale is used to breathtaking effect, too- a walk through a dilapidated Star Destroyer being a standout sequence, among others. On the whole, the look and feel of the classic trilogy is embraced while carefully avoiding comparisons to his similar work with Star Trek- that is, for all except one scene: a completely unnecessary fight with forgettable and generic CGI aliens that in no way feels true to the tone of the universe.
While in the visual effects department, it is wonderful to see a far more balanced ratio of real to digital effects, something that is much more in keeping with the more beloved trilogy. The CGI that is there is often quite exceptional at large scale, and at worst unobtrusive up close. That being said, a poor and unconvincing mysterious overlord and an orange Yoda of debatable wider thematic relevance do regrettably drag the standard down.
Despite these criticisms, there are still a host of unforgettable scenes, the film’s action in particular failing to disappoint in any way. Lightsabre battles offer the perfect blend of emotion and energy, with the crackle of superheated air and the searing noise of meeting blades feeling almost tangible.
The larger battles are just as thrilling. Here, Disney takes the ship-to-ship combat back to basics, with battles fought purely between iconic single-man craft. Little can match the unadulterated buzz of following an X-Wing as it swoops and rolls, blasting hordes of Tie-Fighters out of the air with the visceral punch of its lasers. Fundamentally, this is something that can never get old. There can be no complaints here.
These battles are testament to a wider, undeniable exuberance that lifts the entirety of the film. A plethora of delightful little nods to the original trilogy do not go amiss, most of which integrate well into the story- though some do feel slightly heavy-handed. Nevertheless, the mix of old and new is welcome, and the passion of all involved in this project cannot be ignored. It is as if there were simply no doubts that this was the right time to reintroduce this beloved series, and the experience as a whole benefits from this euphoria.
Regarding the original cast, the writers succeed in making their appearances feel organic, if fortuitous in parts. Their inclusion is welcome, a necessary throwback to the glory days. Han Solo is still Han Solo, Chewbacca is still Chewbacca- if slightly repurposed for more direct comic relief, though not necessarily a bad thing. It is wonderful just to see the generations collide, a reaction that was clearly banked upon by Disney.
The vast majority of the praise should go, however, to the new generation. It is them, not the series veterans, that make the film special, with some of the most organic and palpable on-screen chemistry in recent memory stemming from their infectious, buoyant enthusiasm. Daisy Ridley and John Boyega, already household names, do the pairing of Rey and Finn all the justice roles of their magnitude demand. Their companionship makes for some of the most enjoyable moments in the movie, as characters trade quips with quick timing and undisguised glee. The inclusion of Oscar Isaac as Poe Dameron does feel a little surplus to requirements however. His part, of middling significance and restricted to smaller appearances, gets lost amidst the introduction of the host new characters, most of which are far more multifaceted than him. Still though, the whole cast delivers when called upon.
Of the rest of the cast, mention must go to the villainous Kylo Ren, who not only champions the dark side of the Force admirably, but has, hands down, the best motives and backstory in the entire film. This advanced character work allows Ren to exude an intense malice and evil, qualities that give way to a quite wonderfully nuanced insecurity and fallibility later in the film.
Special moments are also found in the by-now-familiar spherical form of BB-8. Not only is the little ball bursting with the charisma and charm that its older humanoid counterparts sometimes lack; it is also- impossibly- more loveable and companionable than R2-D2. It cannot be stressed how much the droid adds to the movie.
On the musical front, John Williams returns to provide an ever-present score that ranks solidly against the other films. With the exception of the light and melodic Rey’s Theme, however, there is little new material; a shame considering his work on the prequels was far and away the best part of those films. There is a definite lighter feel in general to his music, a move that was likely by design, with echoes of his work on Harry Potter. It serves only to emphasise the new cast’s budding adventure, and doesn’t feel out of place. It still remains a shame that more could not have been made of the older iconic themes in general, those that send a little shiver of excitement down the spine. On the whole though, his signature sound remains the ideal companion to the Lucas-born sci-fi.
The original Star Wars entered into a world nearly devoid of genuinely cinematic science fiction. This newest incarnation finds itself born into entirely different circumstances, arguably thanks to the legacy left by its progenitor. Legions of parents will drag children, legions of children will drag parents, and ultimately the vast majority of the planet will undoubtedly be forced to see The Force Awakens at some point or another. It is for this reason that the new film must be a different beast; a testament not only to how the film industry has changed, but also to how the target audience has widened to such an extent as to include nearly anyone and everyone.
So despite the universal expectation, and personal criticism born of deep, deep, formative, nostalgic, romantic, idealised love for the Star Wars universe and all its inhabitants, there can be no doubt that this newest entry is, somehow, a triumphant success. Better than it had any right to be, in fact, after the travesty of the prequels.
Yes, the outer cynic may say “It could have been perfect”. But the inner child simply cannot wait until he is sat once again in a cinema seat, as the lights dim and words that transcend years, countless experiences, and in so many ways impossible to describe, flash across the screen.
“A Long Time Ago, In A Galaxy Far, Far Away…”
Cue the music. It’s good to be back.
Another Thought's Hat 