Note: This is a multi-part revision of a previous essay of the same title. Each part is linked below
Part I
Part II
Part III
Part IV
Part V
Part I
Part II
Part III
Part IV
Part V
Spoiler Warning: This post contains spoilers for the film Star
Wars: The Force Awakens (but only spoilers about spoilers)
Since I saw Star Wars: The Force Awakens three weeks ago I have been struggling to put my conflicted feelings regarding the film into a coherent critique. I touched upon some of this criticisms in my essay titled "Star Wars, Spoiler Warnings, and the Social Contracts of Nerds". This is a more thorough criticism of the film's nostalgia for Lucas' films and its relationship to their mythological structure and status. And while I don’t feel especially satisfied with this essay, I feel that complete confident in it is impossible. Star Wars is a franchise too mythic in proportion for one’s feelings towards it to be adequately contained within a single film, let alone the entire film franchise itself. Since Star Wars: A New Hope the franchise has expanded in the imaginations of its fan community well beyond the confines of the original films and into various spin-off films, television series, video-games, literature, and toy lines. Whether or not one approved of JJ Abrams’ latest incarnation of the Star Wars universe, the fictional universe still exists beyond the film for one to enjoy, and one’s opinion of The Force Awakens is inevitably informed by one’s prejudices towards this expanded canon.
Since I saw Star Wars: The Force Awakens three weeks ago I have been struggling to put my conflicted feelings regarding the film into a coherent critique. I touched upon some of this criticisms in my essay titled "Star Wars, Spoiler Warnings, and the Social Contracts of Nerds". This is a more thorough criticism of the film's nostalgia for Lucas' films and its relationship to their mythological structure and status. And while I don’t feel especially satisfied with this essay, I feel that complete confident in it is impossible. Star Wars is a franchise too mythic in proportion for one’s feelings towards it to be adequately contained within a single film, let alone the entire film franchise itself. Since Star Wars: A New Hope the franchise has expanded in the imaginations of its fan community well beyond the confines of the original films and into various spin-off films, television series, video-games, literature, and toy lines. Whether or not one approved of JJ Abrams’ latest incarnation of the Star Wars universe, the fictional universe still exists beyond the film for one to enjoy, and one’s opinion of The Force Awakens is inevitably informed by one’s prejudices towards this expanded canon.
As the first Star Wars film in 10 years and the first
non-prequel film since 1983, it has been a long time since fans of the series
were able to enjoy a galaxy far, far away on a theater film screen. And between
the revered opinion of the original trilogy and the reviled status of the
prequel trilogy, the pressure to produce not only a new Star Wars film but one satisfactory to the
series’ immense fan community could not be greater. Set 30 years after Return of the Jedi, the film sees the Resistance of
the Republic in conflict with the remnant of the Empire, the First Order. Both
are searching for the last Jedi, Luke Skywalker. The cast is comprised of
characters both new and familiar to any fan of the franchise. The returning
characters have taken the mantle of their predecessors, with Luke becoming a
hermit mentor like Yoda and Obi-Wan and Leia having risen to lead the
Resistance as Mon Mothma once led the Rebellion. Han Solo and Chewbacca are
back to smuggling however. As for the new cast, they are a mix of archetypes
from previous films, marking them as a compromise between originality and
familiarity.
Whether there are numerous similarities between The
Force Awakens and A
New Hope is without doubt. Consider these plot points as they
apply to both movies: A droid possessing valuable information to the Rebellion
travels across a desert planet and is captured by scavengers. Said droid is
rescued by an unintended, Force-sensitive youth living in isolation. The former
owner of the droid is tortured by a Dark-side Force-user to reveal its
location. When the droid is tracked down, a settlement is massacred by
Stormtroopers while the hero and droid escape. They escape from Stormtroopers
on the Millennium Falcon. The heroes are joined by an old warrior who tells
them about the Force and there is a shoot-out between Han Solo and those
looking to collect their debt from him. The Dark-side Force-user works besides
a cruel military commander, both in the service of a dark-robed figure seen via
hologram. There is a cantina filled with a large variety of alien species and a
massive planetoid weapon used to destroy planets. The Resistance base is on a
jungle planet. There is an assault upon the weapon base with X-Wing fighters
and a rescue attempt by the heroes to save one of their own. There is a
confrontation between the mentor-figure of the heroes and someone close to him
who has betrayed him for the Dark-side of the Force and cuts him down as the
remaining heroes look on in horror. I could go on and on but I feel this list
hits upon the major parallels between the films.
Lest my review appear excessively
critical for someone claiming to be a longtime fan of the Star
Wars franchise, allow me to
place my commentary within the context of watching the film itself. Few of my
criticisms were apparent to my while watching the film, only becoming conscious
to me as I was walking out of the theater and driving home. During the film I
remain engrossed in the characters and entertained by the action. The
Force Awakens is
unquestionably superior to the prequels trilogy, and in a particular sense is
even better than the original trilogy of films themselves. Abrams’ film
possesses iconic and inspiring new heroes of a new generation of Star
Wars fans to identify with.
The dialogue and relationships between characters felt both more natural and
energetic than any in prior films. The action too was noticeably more intense
and explosive without undermining its dramatic significance to the narrative, except for one crucial scene which I will
discuss below. The set, prop and character design and effects had a physicality
to them absent in the CGI-excess of the prequels. This was both nostalgic of
the original films’ practical effects but also gave Abrams’ film a lived-in
authenticity. Those CGI effects that Abram’s did employ added new depth to the
underlying mechanics of the Star
Wars universe such as
light-sabers burning the armor and flesh of those struck by them or Kylo Ren
using the Force to stop the momentum of a speeding laser bolt. If the film has
one iconic scene, it is surely that spectacle.
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