Before Rogue One, I had resigned myself to the reality that a new Star Wars film isn’t going to rock my world quite like it did in 1977. How could any new entry possibly match that experience? Star Wars certainly wouldn’t have become the global phenomenon it is without having some thematic heft and adult appeal, but it has always aimed to pluck the heartstrings of youth. To say that Star Wars transformed my youthful dreams and angst into a two hour symphony of pure cinematic magic which moved me to the core of my being at that time in my life is an understatement. Though my story is hardly unique in the vast universe of SW fandom, my love affair with the original series was indeed profound and deep. When Luke stares into Tatooine’s twin sunset and the music swells to a crescendo, the yearning for something greater was palpable. When Luke tells Obi-Wan that he wants to go to Alderaan and learn the ways of the Force, I felt that shit. Anyone who doesn’t understand that these scenes all by themselves formed the core of Star Wars’ primal and transcendent appeal doesn’t really get Star Wars in the first place. Sure, the lightsaber duels, battles and starships were awesome, but at a very basic level, Luke’s quest was my quest. This seemingly effortless fusion of the universal and the personal was the truly great feat of cinematic sorcery that George Lucas conjured.
I’m never going to be that kid again, but that kid in me simply hoped that the new gatekeepers of the SW legacy are going to remember that for all of the cinematic and visual effect innovations that have been the hallmarks of the series, what really made these films tick is that they gave you characters in which you wanted to believe. Star Wars gave you friendships and bonds in which you were deeply invested. It gave you characters whose motivations and foibles were sufficiently fleshed out that when the chips were down, you knew that each character was putting himself to the test and that made the ultimate triumphs all the more satisfying.
While the prequels failed miserably in this task, The Force Awakens also suffered from similar deficiencies in character development. It was enjoyable enough, but every character was paper thin. There was no real backstory to the characters and subsequently, no dramatic arc. These problems were only compounded by the stink of SJW agenda fulfillment permeating every frame. From the could-be-gay bromance of Finn and Poe to the cartoonish emotional instability (translation: toxic masculinity/male fragility) of Kylo Ren to the impossible Mary Sue-like competence of Rey, The Force Awakens had the unmistakable aura of a PC feminist/SJW checklist.
Despite this string of disappointments, I still came to Rogue One with genuine optimism. I didn’t care that Jyn Erso was very likely going to be another outrageous female power fantasy designed to flatter the egos of feminists and bolster a now deeply clichéd Girl Power/inverted stereotype hero narrative. I didn’t care that writers Chris Weitz and Gary Whitta were pandering to the SJW, multi-culti, Fight The Power progressive mindset when they tweeted out some moronic nonsense about the Empire being a “white supremacist organization.” I didn’t care that Disney demanded reshoots after Gareth Edwards presented his first cut of the film. Just give me some characters in which to believe and cheer. Give me a little bit of human drama to complement Gareth Edwards’ epic vision. I wasn’t worried about the eye candy or the mayhem. I just wanted to care about the people involved. I just wanted to have a small taste of that yearning to go to Alderaan and learn the ways of the Force all over again, or in this case, root for the Rebel Alliance to dismantle the evil dominion of the Empire. Surely, a new Star Wars film could deliver this modest goal to my adult self and I believed that Gareth Edwards was up to that task.
If this is also your new hope for Rogue One, I can firmly attest that this film is absolutely the droid you’re looking for. Rogue One is hands down the most successful Star Wars film since the Original Trilogy and the most genuinely satisfying Star Wars film I’ve seen since 1977. I still can’t believe how genuinely good this motherfucker is. It’s the Star Wars film you didn’t know you wanted, but now that it’s here, you can’t live without it. It also succeeds in achieving a goal that eluded The Force Awakens by referencing the original series and mythology while presenting something completely contemporary and fresh.
Rogue One is the story of a team of rebels who manage to abscond with the plans of the Death Star which find their way back into the hands of the Rebel Alliance and Princess Leia. What’s remarkable is how effectively the film builds a compelling story around what amounts to a couple sentences of opening crawl in Episode IV. Since there’s no real Jedi quest, the film is able to be a full on war/espionage story set in the SW universe at the height of tensions between the Rebel Alliance and the Empire. It comes across like a lighter version of The Dirty Dozen with a post-Battlestar Galactica grit to it and to my great astonishment, it’s a mix that works brilliantly. I believe it marks a distinct tonal shift away from the pop space opera vibe of the other canonical films, but this choice has given the series the new lease on life that has eluded every other post-OT installment. It is indeed a war film and it packs a visceral punch that is unmatched in the series.
I was concerned about the character development in this film since this has been the great Achilles Heel of every new installment in the series up to this point. While you don’t necessarily know a whole lot about any one of them, you learn enough to be invested. As Jyn Erso, I was pleasantly surprised by how much I believed in Felicity Jones’ transformation into a rebel leader and her bond with both her father Galen and the militant Rebel who raised her, Saw Gerrera. The scenes between her and Mads Mikkelsen’s Galen Erso are genuinely sweet and give the film the emotional core that made the original films sing. Once again, we’re presented with a SW protagonist who had been snatched away from her birth parents and raised by a surrogate who happened to be a radical extremist within the Rebel Alliance. Subsequently, it’s not impossible to believe that she would be proficient with firearms and have the mental and physical fortitude necessary for combat. The Strong Womyn archetype who’s smarter and stronger than her male counterparts has become very commonplace in action and SF films for many years, and I was concerned that we were going to be given another variation on Rey. Thankfully, everything about Jyn’s development and the proficiency she exhibits was consistent with what we were presented. Although when it came to Jyn’s tepid attempt at channeling Henry V, I have to agree with CNET’s Ashlee Clark Thompson that it invoked “Girl, I guess so” more than it summoned the spine of steel one would need to face certain death at the hands of the Empire.
The remaining characters were surprisingly compelling despite how little we actually knew about them. Diego Luna’s Cassian Andor draws you in through his confessions of the losses he faced at the hands of the Empire as well as the moral compromises he’s made in service of the Alliance. Nothing is really known about the origin of the friendship between Baze Malbus and Chirrut Îmwe, but their affection for one another is never in doubt and when they meet their tragic end, it has more emotional weight than expected. Bodhi Rook’s defection from the Empire roughly mirrors Finn’s from TFA, but is remarkably more interesting and believable because unlike Finn, he was merely a pilot for the Empire and one could imagine him being persuaded to the cause of the Alliance by Galen Erso. The big standout of the film is actually Alan Tudyk’s voice characterization of Imperial droid, K-2SO. He brings some welcome comic counterpoint to the film’s grim tone and his lines are genuinely laugh out loud funny.
On the Imperial side, Ben Mendelsohn brings a sufficiently nasty sneering menace to his role as Director Orson Krennic. And yes, Rogue One marks the welcome return of the greatest Sith of them all and one of the greatest cinematic villains of all time, Lord Vader. Vader’s appearance in the film is limited to two excellent scenes, and only serve to remind you that neither Kylo Ren or young, tortured Anakin has managed to scale the heights of sheer Dark Side terror that Vader can summon in one line of dialogue or just by entering a room.
Perhaps being unshackled by the weight of the Skywalker mythology really freed up some creative energies, but Gareth Edwards deserves a vigorous round of applause for the feat of world building he has pulled off here. The film is filled with both new and old worlds that have that grimy, used future vibe of the OT as well as numerous classic vehicles and images. Mostly, Gareth Edwards managed to convey a sense of scale that even surpasses Lucas’ original vision at certain times. The Empire has never seemed more massive and imposing on screen as it does in Rogue One. The data storage facility at Scarif is what you’d imagine Qatar to be like had it been developed by the Empire. Jedha and Jedha City are equally impressive with obvious connections to Arabic citadels and architecture. Edwards even gives us Vader’s palace at Mustafar as a dark monument to the disfigurement he suffered at the hands of his former Jedi mentor.
My biggest gripe with Rogue One is the facile message and the refusal to confront the inherently political content at its center in an honest and meaningful way. The entire message of the film can be summed up as Be Hopeful, Listen and Believe (especially if it’s a womyn), and Down with the Space Nazis. Sure, it’s a Disney property now, it’s unrealistic of me to expect them to make anyone think too hard and Lucas’ message was arguably just as superficial, but when Disney’s Bob Iger says there are “no political statements” in Rogue One, I’m calling bullshit. Of course Star Wars is political! It’s about fucking WAR fer chrissakes, people! It’s about the struggle of liberty versus tyranny. There is nothing more inherently political than war or armed revolution. War is the business of the nation state. Revolutions organize themselves around a political philosophy. The Rebel Alliance were the just remnants of the Old Republic who want to preserve peace and justice by restoring “democracy”. The films never spell out exactly what the Alliance’s political ideals or principles are beyond “democracy” or “hope”, but the Rebels do aspire to reclaim the seat of power in their own right. Presumably, they’re just going to be better at it than the Empire.
The politics of Star Wars have long been a subject of debate throughout the geekosphere, but I suggest that’s because people want to be able to connect it more immediately into the world of the present and their own political worldview. Disney and Lucas undoubtedly tried to keep the political content as neutral as possible so that one could view the films though one’s own ideological lens, but it still leaves me wanting a bit more. The film presents a very easily digestible Manichean dichotomy: Rebels are Good and Imperials are Bad. This simplistic dualism doesn’t allow you to wrap your mind around which mechanisms of political policy the Empire exploited or the propaganda they deployed in order to accumulate such massive centralized political power in the first place. Edwards’ world contained mountains of untapped thematic potential. If there was an Imperial Labor Camp on Wobani, it stands to reason that this is where dissidents and thought criminals were sent, and subsequently, it was a missed opportunity to introduce the propagandists for the Alliance. Furthermore, there had to be segments of the galaxy that were pro-Empire and totally pro-Death Star. It was fundamentally a government program and by extension, a boon for lots of industrial interests throughout the galaxy.
Unfortunately, the political content doesn’t really make a whole lot of sense when you inspect it closely, and more often than not, reaffirms a lot of dopey leftist clichés. How did the Confederacy of Indepent Systems, essentially the UKIP of the Republic, get to be the bad guys simply for embracing secession and opposing the excessive taxation and bureaucratic palsy of the Republic? That sounds pretty American and like the real rebels to me. And why is the Galactic Empire called a fascist regime? They weren’t promoting a racially pure ethno-state nor could they promote a unitary galactic identity. If anything, they were Space Communists, not Nazis.
As good as it is, I can’t help but wonder what Gareth Edwards presented to Disney executives initially. It’s a little ironic that a film franchise that cashes in on a sentiment of rebellion is ultimately subordinate to the aesthetic mandates of its corporate, Imperial overlords.
But don’t let any of this hyper-analysis deter you if you have even the slightest misgivings. Rogue One is the best thing to happen to the franchise since Luke Skywalker first brandished a lightsaber. Who knows if it is a harbinger of Episode VIII or if it remains a solitary bright light in a dying franchise? Regardless, Gareth Edwards has given us something that all of us OT OG’s have long awaited: a Star Wars film that’s actually fucking good. Enjoy it while it’s here.