seen on 4 February 2020
J. J. Abrams directs episode IX of the long-running Star Wars saga, from a script by himself and Chis Terrio, with Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac, Anthony Daniels, and many others including characters from episodes IV to VIII and voices from episodes I to III.
This is, in short, a summing up and look back to the whole sweep of the story, though some of the cameo roles are extremely perfunctory, and the voices largely emanate from 'The Force', a mysterious entity which seems to allow for any number of reappearances that might help our heroes out of a really sticky situation. The deus ex machina has become the jedi ex machina and is in danger of rendering the whole enterprise ridiculous. Indeed, one reappearance has had to be explained (in the press) as 'not a Force ghost' just to clear up any confusion engendered in the heat of excitement about seeing it.
What can be said about this particular episode? It does tie up a number of loose ends left trailing in episodes VII and VIII, thus confirming George Lucas's original idea of 'three three-act sagas'. There is a more elegiac tone in the quieter moments, not least because Carrie Fisher's contribution had to be created from out-takes and early shoots made prior to her untimely death. But there is also the usual derring-do with spectacular effects and wholesale destruction of the baddies, dependent upon the bravery, steely resolve and sheer recklessness of the goodies, and a not-too-surprising change of heart by several characters initially either bad or cowardly.
Lots of challenge, lots of inner demons put to rest, lots of self-discovery, lots of loss stoically dealt with, and even some useful self-sacrifice - but all rather overblown and verging on the tendentious. Almost entirely missing is the verve and insouciance of the first episode presented to us (now numbered as IV); the stakes have been raised by the inevitable sense of self-importance generated by the franchise, and young Luke's innocent enthusiasm or Han Solo's world-weary wisecracking have no place in a more sombre world. Now, the young heroes tend to shout and quarrel as if under real stress, and C-3PO's banter has degenerated into the tiresomeness of the dinner-party bore. The administrative command, having once been the action heroes, evidently feel the need to be gravely portentous. Evil, of course, just throws more and more electricity out of its hands at the first opportunity, while the light sabres continue to flash and fizz.
The concessions to a realistic presentation of constant warfare - harassed staff, lightning decisions in the face of unexpected or overwhelming attack, battle fatigue - are all very well, though it leaves our heroes with a very restricted palate of emotion to work with (mainly, stress). But older patterns continue alongside, and the plastic-encased stormtroopers are only there to be killed by endless rains of gunfire. The unexpected appearance of a freedom-fighter who was apparently part of an imperial detachment that rebelled at the order to kill civilians raises an uncomfortable question about all the destruction. Admittedly she was not actually a storm trooper - but can they all have been always mindlessly obedient? Can every one of the countless thousands of crew and troops on the ships seen so gloriously exploding have been deserving of death? Of course, the question is ludicrous in the context of this sort of action-movie - but having raised the possibility of rebels from within, the subsequent cataclysmic destruction becomes more problematic. Apparently giant ships in some cases just collapsed onto planets. What fun for anyone near the crash sites.
As for the Force - the adept can apparently levitate (until concentration breaks) and leap out of the way of thunderous waves in order to carry on with a crucial duel. But in negotiating the shattered spaces of the old Death Star, Force-enhanced leaps lead to desperate hand grabs onto metal fragments. Why not just organise the Force to help you land properly on a safe ledge?
This is hardly the forum for such niggling gripes. except to point to the foolishness of taking any of the narrative framework seriously; it's just an entertaining movie if you find loud special-effects movies entertaining.
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