(Lucasfilm)
Back in 1977, before the franchise carried any of the
connotations and expectations that it does today, George Lucas set out to make
the greatest cinematic mixtape of all time. Throwing together Akira Kurosawa
samurai classics, World War II adventures, and pulpy sci-fi serials, Star Wars was a treasure trove of
cinematic influences. Since becoming a cultural phenomenon, people no longer
seem to recognize these roots—Star Wars is simply Star Wars.
Solo: A Star Wars
Story wants you to remember that this series is more than just a fandom, that
it has more on its mind than worldbuilding and continuity. In the vein of Lucas’s
original, this second spinoff film is a joyous genre mashup that revels in
the DNA of its cinematic ancestors. Even with its troubled production history, Solo manages to deliver a thrilling
space adventure worthy of its name.
Director Ron Howard wastes no time laying out his
intentions here. Introducing us to Han (Alden Ehrenreich) hotwiring a landspeeder,
the hotshot teenage hoodlum dreams of becoming a pilot and, with girlfriend Qi’ra
(Emilia Clarke) along for the ride, leaving the industrial slums of Corellia
behind in the dust. In a joyride that’s equal parts American Graffiti and Rush, there’s an immediate free-spirited
energy that remains throughout the entire runtime.
It takes a minute to get adjusted to Ehrenreich as the iconic
smuggler. Although it would seem unwise to cast someone else in the one Star
Wars role most synonymous with its actor, Ehrenreich (terrific in a brief but memorable
turn in the Coen Brothers’ Hail, Caesar!)
is more than up for the task. Never descending into impersonation, he manages
to capture Ford’s signature stubborn bravado while also lending the character
an uncertainty and ambition that we haven’t seen before.
(Lucasfilm)
After a brief stint in the Imperial army, Han finds himself
amongst the company of thieves. In debt to crime lord Dryden Vos (Paul Bettany,
with an unpredictable menace behind the charming British façade), Han and a
crew consisting of Qi’ra, BFF Chewbacca (Joonas Suotamo), and mentor figure Beckett
(Woody Harrelson, fine as always) are forced to steal some time sensitive loot.
It’s a solid, if a bit derivative, story that is refreshingly distant from the
usual conflict of the series. There are still hints of the rebellion against the
totalitarian Empire, but nothing as direct as the overtly anti-Trump
allegorical narratives of Rogue One and
The Last Jedi.
Rather, Solo sees
itself as a love letter to the western and noir genres. Indeed, there are more
than enough outlaws, bandits, spectacular train robberies, high noon standoffs,
itchy trigger fingers, and desert oases to please fans of the former, while
seedy crime bosses, luxurious nightclubs, shadowy figures, backstabbing,
alcohol, gambling, and sex appeal fulfill all the promises of the latter. One set is even this close to having space Venetian
blinds. Space Venetian blinds!
Of course, any great film noir must have a great femme
fatale, and Emilia Clarke’s Qi’ra ranks among the best of Solo’s new characters. Clarke has charm in spades here—warm,
capable, and occasionally suspect, Qi’ra is the kind of fantastic female character
that these modern Star Wars films have practically defined themselves with. She
and Ehrenreich have an undeniably infectious chemistry, aided by a dizzying romantic melody of swooning strings by composer John Powell.
(Lucasfilm)
But it isn’t until act two that we’re introduced to Solo’s real scene-stealers. In a scene straight out of Casino Royale, Han is introduced to Lando
Calrissian (Donald Glover) over a game of Sabacc (the Star Wars equivalent of
poker). It’s instantly apparent that Glover, a much-celebrated casting choice,
is the perfect successor to Billy Dee Williams. Although he leans into Williams’s
performance more than Ehrenreich does with Ford’s, Glover is charismatic as
hell, injecting noticeable energy to every scene he’s in. His droid co-pilot, L3-37 (Phoebe Waller-Bridge) is also
a knockout. And as apparently the first Star Wars character to acknowledge that the
droids are essentially treated as slaves, Waller-Bridge brings a no-nonsense
hilarity to her scenes, upstaging Rogue
One’s K2-SO as the spunkiest fast-talking automaton of the series.
The whole ride is directed well by Howard, who keeps the
pace moving from one set piece to the next, slowing things down for quieter
character moments when necessary. The film does end up feeling a tad on the
long side, and one particular moment of fan service sees a surprise cameo more
at home in a Marvel film than a Star Wars one. Still, everything is pulled off
with such energy and care that these things only mildly detract from the experience.
The sets, costumes, and creature designs are all impeccable (though that’s to
be expected at this point), and Bradford Young’s visuals are frequently
gorgeous (his work here is more in line with the muted stills of A Most Violent Year than the
Oscar-nominated Arrival). Solo is fittingly bleak and grimy, with
many early scenes making great use of shadow and silhouette. I do worry that cheaper
theater projection and the home video release will lead to some overly dim
images. On the big screen, though, it’s a
stunning look.
Solo will
inevitably be met with major backlash from the “fan” community that will find
any excuse to spread hate. My guess is that it will go down as a particularly
niche entry, appealing most, oddly enough, to adult cinephiles with a penchant
for classic film genres. Whatever the case, the film is a ton of fun—an excellent
summer blockbuster that just wants to sweep you up on a grand adventure. There’s
already talk of more Han Solo films, and if they can all capture this same
spirit, my reaction is “yes, please!”
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