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SMITH: Rethinking ‘The Last Jedi’

   DailyWire.com
John Boyega, Daisy Ridley and Mark Hamill attend the 'Star Wars: The Last Jedi' photocall at Corinthia Hotel London on December 13, 2017 in London, England.
Photo by Dave J Hogan/Dave J Hogan/Getty Images

With the recent release of J.J. Abrams’ “Star Wars: The Rise of Skywalker,” people have been reflecting on the newest trilogy as a whole, with many agreeing that it has fallen far short of expectations. Upon viewing the trailer for “The Force Awakens” in 2015, people were enthusiastic for a return to form, hoping to wash the taste of the prequels out of their mouths.

Now that the new trilogy is complete, the one thing that both “Star Wars” boosters and detractors agree upon is the frustrating lack of planning on the part of producer Kathleen Kennedy. Where the Disney-owned Marvel Cinematic Universe had a truly satisfying payoff with “Infinity War” and “Endgame,” the “Star Wars” films seem to constantly be in a state of correction, with Rian Johnson subverting Abrams’ “Force Awakens” story points and Abrams attempting to undercut those subversions. Taking the trilogy as a whole, the project seems to be at war with itself, with many fans pointing to “The Last Jedi” as the primary instigator.

Hardcore fans were livid at Rian Johnson’s attempts to incorporate deeper themes into the “Star Wars” universe, feeling that his story developments were more indicative of contempt than a genuine desire to engage the audience. Any time a filmmaker tries to explore a genre or franchise, breaking down the story beats and character motivations, there is going to be pushback from the faithful (just check out horror fans’ response to Drew Goddard’s “The Cabin in the Woods” for further proof).

Some critics praised Johnson for trying something new, while others felt that he didn’t truly understand the spirit of the series. Both groups have a right to their own perspective, but the subversion of expectations is, on its own, a neutral concept. Like any other creative decision, when assessing the final product, we must first take the filmmaker’s intention into account. Were Johnson’s decisions deliberate or scattershot? Was he being disrespectful or measured? These are the types of questions we ask and, in trying to ascertain Johnson’s goals, we find a director who sees untapped story and thematic potential in the “Star Wars” universe, and his desperate attempts to tap into that in a way that is unique and effective.

Many have looked first to Johnson’s conception of Luke Skywalker as proof that the director didn’t fully comprehend the material. They look at this older, grizzled, cynical Skywalker and are horrified at the notion that the hero of the original trilogy could ever turn out this way. It seems that they wanted something a little closer to Alec Guinness’ Obi Wan Kenobi from “A New Hope”: the picture of wisdom and benevolence. While this may have been satisfying in one way, I always liked the idea that several decades of being considered a legend and a hero could actually make one more aware of one’s shortcomings, not less. Luke may have been the savior of the galaxy, but then what? How does one follow that up?

In many ways, it makes sense that Luke would go on to live like a hermit. If he doesn’t have to interact with anybody, he can’t let them down. He no longer has to worry about living up to the galactic reputation of Luke Skywalker and can instead live in peace, becoming more and more aware of the destructive nature of hero-worship.

In fact, it is Luke’s understanding of his own image that allows him to so thoroughly fool Kylo Ren and the rest of the First Order. They are so focused on destroying the legendary Luke Skywalker that they fail to see the rest of the Resistance beating a strategic retreat. If Ren had accepted that Luke was just a man — a very powerful man, true, but still just one man — he could have taken a broader view of the battle and kept the other Resistance fighters from escaping. But, like everybody else, he was so wrapped up in Skywalker’s reputation that he was oblivious to anything else, or he just willfully ignored it. Some may not like the idea of using “Star Wars” to comment on the concept of blind mythologizing, but I’d say it’s the perfect arena in which to do so, as the hardcore fans have shown themselves so transfixed by it that many are openly disdainful of other film franchises.

I also responded very favorably to Johnson’s decision to discount Rey’s lineage, saying indisputably that she comes from nowhere. There is nothing inherently important about her. This is something that Abrams would walk back in the next film, revealing Rey’s bloodline to be very important and deeply powerful. While I do understand the frustration that most fans have about Rey’s innate Force abilities, the attempt to explain that away through lineage undercuts something that I found very exciting and, frankly, very American.

Economist Milton Friedman once said that America is a “family culture,” suggesting that the American Dream is as much about making life better for one’s family as for the person himself. I would agree with this, but there is still a strain of individualism in our DNA that encourages people to push themselves beyond their own limitations, regardless of their initial station in life. The idea that Rey can be resourceful and smart and strong despite her background is, to me, much more exciting and inspiring than a character who is all of those things because of her background. Yes, I understand that this could make Rey into a “Mary Sue,” but I’m personally willing to accept that if it reinforces the idea that, here in America, a person can determine his own significance, regardless of bloodline.

There are many other elements in “The Last Jedi” that worked for me, including the suggestion that one of the major sacrifices made during wartime is personal pride and glory, but the creative decisions that Johnson made with Luke and Rey are what really stand out in my mind. A person may not agree, and indeed may feel that Johnson was disrespectful to the beloved franchise, but it would be foolish to dismiss his choices outright. The film is certainly not perfect (the less said about the tension-dissolving Monte Carlo sequence, the better), but the director’s choices were not haphazard. They were risky, but considered, and they deserved better treatment than they received, both by the fans and the franchise.

As always, this is just one man’s opinion. I’d love to hear your thoughts in the comments, not just on “The Last Jedi” or “The Rise of Skywalker,” but the general state of “Star Wars.” Did you like the new films or hate them? Or did you fall somewhere in between? What is your history with the “Star Wars” films? The best film criticism usually comes out of thoughtful discussion.

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