While I may be in the minority, I found Star Wars Episode VIII: The Last Jedi to be an engaging film. Upon initial viewing, I immediately wrote a review before fully considering its broader implications. I began to contemplate how this film affects the overarching narrative, particularly how it impacts the foundation that J.J. Abrams established in The Force Awakens. There were aspects of The Last Jedi that I felt were too spoiler-sensitive to address at the time, but, in retrospect, their inclusion would have significantly lowered my overall score. Having not revisited The Last Jedi since its initial release, I now turn my attention to today’s subject: Solo – A Star Wars Story.
Han (Alden Ehrenreich) successfully steals valuable Hyperfuel, intending to use its value to secure his and his girlfriend Qi’ra (Emilia Clarke)‘s escape from their industrialized home planet. Following a dramatic chase, they are separated, with Han escaping but Qi’ra remaining behind. Unable to leave the planet alone as a wanted man, Han enlists in the Imperial army. Three years later, he encounters a group of smugglers and thieves led by Beckett (Woody Harrelson). After a heist goes awry, they find themselves indebted to the formidable Dryden Vos (Paul Bettany). Relying on his cunning and aided by his new companion Chewbacca (Joonas Suotamo), Han Solo seeks the assistance of Lando Calrissian (Donald Glover) to execute a daring plan.
It’s widely known that the production of this film was fraught with challenges. Originally directed by Phil Lord and Chris Miller, known for their work on The Lego Movie and the 21 Jump Street remake, the pair were replaced by Ron Howard shortly before completion. While the precise reasons for their dismissal remain unclear, it’s generally understood that they were deemed unsuitable for a project of this scale. Allegedly, they allowed excessive improvisation from the actors and filmed numerous takes without a clear vision. These reports, though unconfirmed, suggest a lack of focused direction. Lucasfilm ultimately brought in veteran director Ron Howard, whose previous work includes Willow. Howard, a competent filmmaker known for his well-executed but often impersonal style, re-shot approximately 70 percent of the film, yet the production still managed to meet its scheduled release date of May 23, 2018, just six months after The Last Jedi‘s December 2017 premiere.
The experience of anticipating new Star Wars content has shifted dramatically. Prior to Episode I – The Phantom Menace in 1999, demand was high, and titles like Rebel Assault 2 (1993) and Jedi Knight – Dark Forces 2 (1997) provided engaging experiences, delivering fresh narratives within the Star Wars universe. Following the prequel trilogy, Disney‘s acquisition of Lucasfilm initially sparked excitement for a surge of new content. However, the rapid release of films, nearly one per year and, in this case, one per half-year, has led to a degree of oversaturation. Disney appears to have recognized the need to prioritize script quality, story development, and overall filmmaking. Furthermore, the lack of constraints placed on Rian Johnson during the production of The Last Jedi, which undermined elements established by J.J. Abrams in the preceding film, proved detrimental. Abrams now returns to attempt to rectify these issues in the upcoming ninth film. The planned trilogy by Rian Johnson seems to be on hold, suggesting a reassessment of the franchise’s direction. The studio seems to have learned from their mistakes, potentially seeking guidance from Marvel’s Kevin Feige. There are also rumors that Disney intends to expand the Star Wars universe into television, developing content for its new streaming platform.
Upon Ron Howard‘s involvement, the film’s core appeal seemed to diminish, resulting in a notably unexciting experience. Knowing Han Solo’s ultimate fate and Chewbacca’s presence decades beyond this film’s setting removes a degree of suspense. Attempts to create tension through the deaths of minor characters after minimal screen time fall flat. Furthermore, the screenplay by Lawrence Kasdan and Jonathan Kasdan feels underdeveloped and contrived. The improbability of chance encounters in a vast galaxy strains credibility, contributing to a sense of scale that feels constricted. The film also lacks a strong emotional foundation, failing to evoke the connection with audiences achieved by The Last Jedi. Despite its best efforts, Solo ultimately leaves viewers unmoved.
Han Solo‘s younger self is portrayed by Alden Ehrenreich, whose performance fails to capture the essence of the iconic smuggler. His portrayal feels lacking in presence and gravitas. This contrasts sharply with the established image of Han Solo as a seasoned character in Episode IV: A New Hope. While Ehrenreich is a capable actor, his interpretation does not align with the character’s established traits. While another Star Wars movie with him in the lead role would be welcome, it does not work here at all.
Woody Harrelson, known for his diverse roles, delivers a competent performance as Becket, a man driven by self-interest. His portrayal is effective, and the character’s arc, while predictable, is well-executed.
Emilia Clarke, known for her role in Game of Thrones and her portrayal of Sarah Connor in Terminator Genisys, delivers a serviceable performance, though her character, Qi’ra, is underdeveloped.
Joonas Suotamo assumes the role of Chewbacca, succeeding Peter Mayhew. Suotamo delivers an outstanding performance, capturing the character’s essence and physicality. This film offers a unique opportunity to witness Chewbacca in combat, a departure from his typical portrayal. The initial meeting between Han Solo and Chewbacca is also notably well-crafted.
Paul Bettany‘s portrayal of Dryden Vos feels somewhat underwhelming. Originally intended for Michael K. Williams, scheduling conflicts led to Bettany’s casting. While Bettany is a capable actor, his performance lacks the menace and authority required for the role. The character ultimately fails to resonate, coming across as uninspired.
Lando Calrissian, originally portrayed by Billy Dee Williams in 1980, is now played by Donald Glover. While not a direct imitation of Williams, Glover captures the character’s charm, charisma, and cunning. His portrayal of Lando feels more authentic than Ehrenreich’s interpretation of Solo.
Finally, L3-37, Lando’s co-pilot played by Phoebe Waller-Bridge, emerges as a strong female character, espousing the potential for relationships between robots and humans. The combination of CGI and practical effects in her design is well-executed, though the witty robot trope is becoming increasingly common. Hopefully the production team will consider this for the next film.
The film’s strengths lie in its adherence to the Star Wars aesthetic, with a distinct Western theme adding visual interest. The dynamic between Chewbacca and Solo is engaging, although hampered by Solo’s flawed characterization. The visual effects are well-executed, but the reliance on CGI detracts from the practical effects used in some action sequences. The Blu-ray edition includes making-of features and deleted scenes, including a snowball fight between Chewbacca and Han Solo, which feels out of place. The image and sound quality are exceptional, as expected.
In conclusion, Solo – A Star Wars Story ultimately falls short. Despite addressing key origin elements, such as Han and Chewbacca’s meeting, the acquisition of his blaster, his encounter with Lando, and the Millennium Falcon’s damaged state, the film crams these events into a compressed timeline, undermining their significance. Curiously, the film omits the origin of his chin scar.
Så här sätter vi betyg på Senses