cinemabon
12-22-2019, 09:51 PM
Spoilers, spoilers, spoilers....
I feel sorry for director, producer and writer J. J. Abrams. He must have cut over an hour's worth of scenes from the film in order to bring it in on time (or what the studio dictated as the time they wanted). So much is missing, it's difficult to point where to begin. Instead, let's focus on what is there, and there's plenty to see. I'm about to go into the plot, part of an epic story that began back in 1975 when George Lucas began to sketch out the idea even as his first big success (American Graffiti) took off and the money began to flow. He thought about making a serial but no one showed any interest except Alan Ladd, Jr. an executive at 20th Century Fox. He encouraged Lucas to make "one of them" (of the original six story ideas he envisioned). Lucas chose the one he felt he could produce on time and within the budget they allowed... just over 8 million dollars; a considerable sum even in 1977. Now, nearly five decades later, the final chapter explodes on the screen, but not the one Lucas envisioned. J. J. Abrams decided to rewrite the ending to the saga by tying together what he considered loose story lines. Steeped deep in lore and cannon, Abrams partially delivered but as my son and I were quick to point out after we left the theater, it appeared as if scenes were shot and then cut from the film that would explain how people got to where they were and how things happened. Cut for time, another version of this film must exist that explains those gaps, obvious as they were.
As the franchise has evolved, the cannon has changed until now it is religion to many fans who can quote history of worlds and character summaries verbatim, this is the culmination of cinema's greatest - greatest - story saga of all time. Though the science fiction part is more fantasy than science, still what started as a humble homage to Flash Gordon has evolved into one of the most enthralling stories, loved by billions of people, all ages, all cultures, all nationalities. Star Wars will live on forever as the greatest saga in sci-fi history. Nothing before or since has attracted as many people to its complex plot and worlds within worlds, giving rise to the idea that somewhere, out there, exists beings that fly around in space ships and advance the ideas of freedom, justice, and equality - the very core of human principles embraced by every living soul on planet Earth. That we, here, in America, treasure these core beliefs to the point of putting them into law makes us the most unique of any society, however sloppily we execute them from time to time. Star Wars expounds on these principles. They're at the very core of every character with whom we cheer to victory.
Face with the ultimate evil, our heroine this time, carries on in replace of Luke Skywalker in the presence of ultimate evil incarnate. She embraces her inner-self with the help of every Jedi who ever lives and fights to preserve its very existence. The story is as timeless as it is epic in scale, massive in scope, and yet as intimate as any love story. For the love that exists here is between a young woman and the faith she has in herself, the trust she places in her abilities, and the power she has within to express it.
We cannot mention this film without emphasizing the importance of John Williams, the greatest film composer of all time. In this final stand with the baton, Williams weaves every motif he's ever composed from every Star Wars film into the fabric of this storyline. You cannot escape the importance of that music on your emotional response to what takes place visually. From the opening march to the rousing symphonic triumphant chords, Williams takes us on that journey as sure as any actor's performance, any special effect, or any other aspect of filmmaking process. He is at the very heart of this story and without John Williams, you have no Star Wars.
So in the end, you cannot read this review without being at least a little spoiled, for everyone returns - all of the Jedi, their voices cry out to Rey, the focal point of every Jedi who exists only in the ether of space - that other-worldly ghostly existence only hinted by other characters. Her blow for freedom, for justice, for equality is ours. She brings us along. J. J. wanted us to feel that; and in the end, we do.
I feel sorry for director, producer and writer J. J. Abrams. He must have cut over an hour's worth of scenes from the film in order to bring it in on time (or what the studio dictated as the time they wanted). So much is missing, it's difficult to point where to begin. Instead, let's focus on what is there, and there's plenty to see. I'm about to go into the plot, part of an epic story that began back in 1975 when George Lucas began to sketch out the idea even as his first big success (American Graffiti) took off and the money began to flow. He thought about making a serial but no one showed any interest except Alan Ladd, Jr. an executive at 20th Century Fox. He encouraged Lucas to make "one of them" (of the original six story ideas he envisioned). Lucas chose the one he felt he could produce on time and within the budget they allowed... just over 8 million dollars; a considerable sum even in 1977. Now, nearly five decades later, the final chapter explodes on the screen, but not the one Lucas envisioned. J. J. Abrams decided to rewrite the ending to the saga by tying together what he considered loose story lines. Steeped deep in lore and cannon, Abrams partially delivered but as my son and I were quick to point out after we left the theater, it appeared as if scenes were shot and then cut from the film that would explain how people got to where they were and how things happened. Cut for time, another version of this film must exist that explains those gaps, obvious as they were.
As the franchise has evolved, the cannon has changed until now it is religion to many fans who can quote history of worlds and character summaries verbatim, this is the culmination of cinema's greatest - greatest - story saga of all time. Though the science fiction part is more fantasy than science, still what started as a humble homage to Flash Gordon has evolved into one of the most enthralling stories, loved by billions of people, all ages, all cultures, all nationalities. Star Wars will live on forever as the greatest saga in sci-fi history. Nothing before or since has attracted as many people to its complex plot and worlds within worlds, giving rise to the idea that somewhere, out there, exists beings that fly around in space ships and advance the ideas of freedom, justice, and equality - the very core of human principles embraced by every living soul on planet Earth. That we, here, in America, treasure these core beliefs to the point of putting them into law makes us the most unique of any society, however sloppily we execute them from time to time. Star Wars expounds on these principles. They're at the very core of every character with whom we cheer to victory.
Face with the ultimate evil, our heroine this time, carries on in replace of Luke Skywalker in the presence of ultimate evil incarnate. She embraces her inner-self with the help of every Jedi who ever lives and fights to preserve its very existence. The story is as timeless as it is epic in scale, massive in scope, and yet as intimate as any love story. For the love that exists here is between a young woman and the faith she has in herself, the trust she places in her abilities, and the power she has within to express it.
We cannot mention this film without emphasizing the importance of John Williams, the greatest film composer of all time. In this final stand with the baton, Williams weaves every motif he's ever composed from every Star Wars film into the fabric of this storyline. You cannot escape the importance of that music on your emotional response to what takes place visually. From the opening march to the rousing symphonic triumphant chords, Williams takes us on that journey as sure as any actor's performance, any special effect, or any other aspect of filmmaking process. He is at the very heart of this story and without John Williams, you have no Star Wars.
So in the end, you cannot read this review without being at least a little spoiled, for everyone returns - all of the Jedi, their voices cry out to Rey, the focal point of every Jedi who exists only in the ether of space - that other-worldly ghostly existence only hinted by other characters. Her blow for freedom, for justice, for equality is ours. She brings us along. J. J. wanted us to feel that; and in the end, we do.