Can ‘Force’ offer fans new hope in post-Lucas era? – ‘Most eagerly anticipated movie’
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J.J. Abrams has expressed his apprehensiveness over the release of “Star Wars: The Force Awakens,” an understandable feeling when you are likely going to be held personally responsible for what is surely the most eagerly anticipated movie in recent memory. Look closer, though, and the director should rest easier — not only because the movie’s financial success is a foregone conclusion, but also the fact that there hasn’t really been a completely satisfying “Star Wars” movie in 35 years.
One needn’t re-litigate the entire franchise to point out the obvious, but a bit of history is in order. “Star Wars” was enormous fun when it burst onto the scene in 1977, a huge hit that created a merchandising bonanza, changed the way we look at special effects and, incidentally, practically birthed the video-game industry. “The Empire Strikes Back” — really the linchpin of the whole narrative — then built on that with a darker, richer story, a terrific “Who’s your daddy?” twist and an elevation of the stakes.
“Return of the Jedi” competently brought the original trilogy to an end, but without the same grandeur as “Empire.” The opening sequence — with Luke Skywalker liberating his friends — actually marked the movie’s high point, and the introduction of the Ewoks added a cutesy strain to the festivities that became more of a problem later. In addition, the second showdown between Luke and Darth Vader came a bit out of left field, offering the Sith Lord redemption, yes, but without really establishing that as a viable option.
Magnified
Fans waited more than 15 years for “Star Wars” creator George Lucas to revisit his galaxy, but whatever missteps he took originally were magnified, seemingly, at every turn. Enter Jar Jar Binks, endless talk about trade federations, and stilted line readings, dialogue and romance that managed to flummox his cast. It was as if the digital filmmaking techniques that Lucas pioneered had swallowed the heart of his movies.
What was left, inevitably, were some arresting visual images (Darth Maul’s way-cool look, for example) and stirring moments of action (getting to see Yoda handle a lightsaber). But by the time “Revenge of the Sith” concluded the story in 2005, even for many fans the feeling was as much one of relief as anything else.
In that respect, the idea of “Star Wars” returning with another director and writer at the helm offered, yes, a new hope. Moreover, doing sequels, as opposed to prequels, allows the filmmakers to reassemble the original cast, tapping into a wave of nostalgia that’s perhaps particularly exciting for the AARP-eligible portion of the fan base.
Still, the lofty creative expectations for “The Force Awakens” should rightfully be tempered by the disappointment that surrounded the most recent films. If anything, enthusiasm has been maintained primarily thanks to introducing new generations to the old movies (a family ritual, in many households) and made-for-TV animation (see “The Clone Wars” and “Rebels”), which has consistently offered a more satisfying iteration of the “Star Wars” universe than the second trilogy could consistently muster.
Given all that, the challenge Abrams and his collaborators face — particularly with this first movie — feels a bit less formidable. In terms of battle plans, they must credibly reestablish the universe, and present a new threat worthy of sustaining a multi-part story. They must integrate the older characters with the new, recognizing that the latter will need to do most of the heavy lifting going forward. And if possible, they need to mitigate the “cute” factor, providing material that is appealing to a younger audience without being teeth-gnashing or groan-inducing to their parents and grandparents.
Granted, some of this perspective will surely be lost in the frenzied reaction to the opening, which Lucasfilm parent Disney is more than happy to allow the media to stoke, as well as the secrecy surrounding the film. In that regard, “The Force Awakens” also merits a bit of slack because, commercially speaking, it’s so much more than just a movie, rather serving as the foundation for an entire cottage industry, designed to feed everything from Christmas toy sales to the Disney theme parks. (RTRS)
Historically, juggling all those priorities can be a lot of things, but a prescription for creative greatness isn’t always one of them.
More level-headed fans should thus be grateful if Abrams can not only deliver the requisite thrills but spare them the angst associated with viewing “The Phantom Menace” and “Attack of the Clones.” Just doing the latter, frankly, would represent a welcome step toward restoring what had become, by the end of the last trilogy, a disturbing lack of faith. As for those allowing themselves to raise the expectations bar much higher than that, chalk it up as proof that hope — new or otherwise — springs eternal. (RTRS)
By Brian Lowry
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