Star Wars: The Force Awakens (2015)

Director: J. J. Abrams

Writers: Lawrence Kasdan, J. J. Abrams, Michael Arndt

Production Co.: Disney

Starring: Daisy Ridley, John Boyega, Adam Driver

   Star Wars: The Force Awakens (The Force henceforth) sheds light on what has been looked over. In previous episodes of Star Wars, they have been indifferent to intimate difficulties of characters. Yes, we all know Anakin and Luke had suffered from absence of parents' love. The other characters also had faced their own psychological problems. What I indicate here is the characters' material and tangible struggle in everyday life. In this sense, The Force is quite subtle that it presents how long Rey has spent in AT-AT, how she works, and what she eats. Through such descriptions, the film makes the audience sympathize to Rey's loneliness and her desire to go back to Jakku for waiting her parents. For example, in the scene where she eats Again, this is what has not been achieved in this series previously.

   J. J. Abrams conferred novelty to this film by presenting improved relationships. Rey, obviously, denies conventional feminine character which has functioned as an object. On the contrary, Fin represents immature boy trying to be close physically to the girl whom he falls in love at first sight. Fin's dilemma between running away from First Order and staying with Rey consequently develops his maturity. Other relationships, such as those between Leia and Han, or Han and Chewbacca, invokes nostalgia that satisfies the old fans.

   However, I cannot say this one as attractive as the former episodes, due to its lack of cinematic perfection. In terms of narrative, what determines perfection of a film is causal relation. Although the filmic causal relation do not have to be equal to that of reality, at least the narrative should introduce basic elements to explain what comes further. For example, the dogfight between TIE fighters and Falcon is visually exciting. However, since there is no explanation of Rey's adept flying before the sequence nor after, it weakens the film's logistics. Most of Rey's qualities (such as mind-trick, lightsaber duel) are not explicated throughout the film. As a result, it is hard to feel any tension when she confronts a crisis because everything will be resolved even though she does not know how to do. Eventually, she is the central reason that collapsed Kylo Ren's character. It becomes questionable how Kylo Ren, who is defeated by a former stormtrooper and a novice force-sensitive, could ruin the New Jedi Order, which was constructed by Luke Skywalker. Some attributes his defeat to his injury by Chewbacca and his intention to turn Rey to the dark side. However, that is the very point that makes this villain idiotic. Both Snoke and he acknowledge that he must complete training. His incompleteness makes his trial to seduce Rey nonsense. How can an apprentice like him teach someone? Also, if he needs more practice, how could he destroy the Jedi Order? He is sandwiched in a dilemma between being a powerful Sith apprentice and a ham-handed juvenile delinquent.

   Fundamentally, what critically dismantled the quality of The Force is predestined directions. As above-mentioned statements, Rey magically realizes how to use the Force because she is chosen by Anakin Skywalker's lightsaber! I have never had an idea if a lightsaber possesses its own will. Predestined directions also affect the actors' performance. [Spoiler] At the climax, Kylo Ren walks toward a bridge in the middle of the power facility and Han follows him. It is unnatural because Kylo Ren has no motivation to be on the bridge. Then Rey and Fin enters and the light dramatically illuminates Han and Kylo Ren. Everyone is watching, but no shooting, no talk. The other characters are just posited to witness the two characters' interaction. This composition of elements makes the scene like a well-drawn still image of a comic book, but definitely, it is histrionic. It is clear when this scene is compared to "I am your father" scene in The Empire Strikes Back. Although Luke and Vader stand in the middle of the space as Han and Kylo Ren, it is perfectly motivated because Vader put Luke in the dead end throughout their duel. Unlike Luke and Vader's duel, it seems Kylo Ren just moved to the center because J. J. Abrams told him so. In other words, it represents inept subordination of performance to narrative, which only heads to ending crudely.

   Ironically, the worst part in this film is its final battle scene. First, it was naive to copy the same crisis, same strategy from A New Hope. The evil side builds a super weapon again and the resistance attacks it in the same way. Moreover, since the focal point is divided into two points, the tension of dogfight becomes loose. Simply, the X-wing fighter merely exist to explode the super weapon. Although they do countdown, the film does not generate the same anxiety that was presented in A New Hope.

   Some assert that J. J. Abrams, the director of Lost, intentionally loosened the film to remain questions for the next episode. However, when too much questions are remained, it hardly becomes tolerable to some audiences. To prepare a sequel, it should maintain self-closedness to a certain extent. Furthermore, it is illogical to undermine evident flaws of the present one while expecting the future one to cover them. Textual perfection of the present film should be discussed based on the present text. Therefore, I think this film is not as satisfactory as other Star Wars films. Nevertheless, it seems that watching this series now became a cultural ritual rather than an ordinary spectatorial experience.