of his regular crewmates, notably the cinematographer
Dan Mindel and the editors Maryann Brandon and Mary
Jo Markey.) Abrams' smart idea - an overarching ethos,
really - in The Force Awakens is to have returned to basics, largely by dispensing with a lot of clutter. This is
no small thing in a complicated movie universe in which
the series sequence doesn't even align with the release
dates: the original 1977 film, for instance, is the fourth
in the series and now known as Star Wars Episode IV:
A New Hope. The Force Awakens is the seventh chapter but also the first film in what's being called the "sequel trilogy." This sounds headache-inducing, but it just
means that Force picks up years after Return of the Jedi
(1983), the third release, left off, after Luke Skywalker
(Mark Hamill) prevailed over villainy with his sister, Princess Leia (Carrie Fisher), and their pal Han Solo (Ford).
Much as in the real world, though, the war has dragged
on, and now Luke, Leia and Han have been succeeded
by a charismatic, talented trio - played by Oscar Isaac,
John Boyega and Daisy Ridley - who look more like the
multitudes humankind contains, a genuine diversity too
infrequently represented in our movies. Yet while these
three are variations on the original holy trinity, part of
what makes them contemporary isn't just their skin colors but also the slippery playfulness of their roles. Isaac,
as a resistance pilot, Poe Dameron, suggests a nextgeneration Han, but so does Boyega as Finn, stormtrooper turned refusenik. The one seemingly unambiguous note is that the new-school Luke Skywalker is a
young woman, a desert scavenger named Rey (Ridley),
who shares Luke's skill set and love of natural fabrics.
That Finn saves Rey and she saves him in turn isn't a
new dynamic; Princess Leia, created in the wake of second-wave feminism, was always a thoroughly liberated
woman, whether shooting a laser gun or working a metal
bikini. Leia is now a resistance general and played with
a muted twinkle and tasteful up-do by Fisher. Like Ford,
she has become more of a supporting player in a crowded room that also includes Adam Driver, who brings intensity and flowing physical grace to Kylo Ren. Among
the strongest creations of Team Abrams, Kylo Ren is a
kind of baby Darth Vader who throws tantrums in inkyblack robes while wearing a leather-and-metal-head appliance that looks like a domination mask by way of the
grille of a 1952 Chevy. Written by Abrams, with Michael
Arndt and the Star Wars veteran Lawrence Kasdan, The
Force Awakens takes off with a battle and closes on a
meaningful moment of quiet. Abrams doesn't pile on
the mayhem, and, for the most part, the pace remains
fast without being overly frantic. In the inaugural skirmish, you can follow Poe Dameron as he darts across
the screen; he doesn't get lost among the shadows and
editing, a clarity that remains fairly consistent. As for the
story, well, it's as simple as ever, with the usual complications and a bestiary of cute, cuddly and loathsome
creatures (humanoid and not) with odd names and habits that keep this circus jumping. It's the old war of all
against all, with fur and feathers, snouts and slapstick,
MOVIE REVIEW
and a guest appearance by Oedipus. It's no surprise
that paternal problems have made a comeback in The
Force Awakens, which folds in a father-and son-schism
that evokes the one between Luke and Darth Vader.
Even so, the more interesting Oedipal struggle may turn
out to be between Lucas and his cinematic sons, starting with Abrams. Abrams has delivered a more seamlessly diverting movie than Lucas has in years, but his
most far-reaching accomplishment here is casting Isaac,
Boyega and Ridley - a Latino, a black man and a white
woman - in this juggernaut series. It's too early to know
how this will play out as the whole thing evolves, but the
images of Boyega and Ridley each holding a light saber
are among the most utopian moments in a Hollywood
movie this year. Over the decades, as Star Wars grew
into an entertainment machine, it took on the aspect of
a cult. That at any rate is how it could feel to those of
us looking at it from the outside in, especially as one
mediocre movie after another with noxious creations like
Jar Jar Binks crushed the box office. Abrams may be as
worshipful as any Star Wars obsessive, but in The Force
Awakens he's made a movie that goes for old-fashioned
escapism even as it presents a futuristic vision of a pluralistic world that his audience already lives in. He hasn't
made a film only for true believers; he has made a film
for everyone (well, almost). So, will Rey, Finn and Poe
save the day? Will they battle Kylo Ren and Oedipus
too? Stay tuned for the next potentially thrilling or at
least pretty good adventure.
Production Notes:
Star Wars: The Force Awakens is rated PG-13 (Parents
strongly cautioned) and runs 2 hours 15 minutes. The
Dark Side lives.
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