Disney’s foray into the world of Star Wars with its first major motion picture under the banner, “The Force Awakens,” was an outstanding success, garnering near-universal positive critical reviews while becoming the greatest North American box office money-maker … ever.
If it had a failing, it was its tepid steps into the realm of being called a “rehash” or “retread.” Without a doubt, it was a joyous experience for many (and deemed a “return to form” by many more), but there is also no denying particular calculated decisions that were meant to call to mind the original trilogy — from style/design work to practical effects to actual plot elements to character development.
Hey, in this case, it was obviously proven wise. Nostalgia works.
Perhaps in an effort to combat the “rehash” criticism somewhat (but more likely just to keep Star Wars relevant in the inevitable production gaps between its main “saga” movies), Disney made the interesting choice to stagger its saga films with stand-alone stories meant to explore the universe in different ways.
The first and most successful of these attempts was “Rogue One,” which made no bones about its desire to also tap into our nostalgia as directly as it possibly could within its plot and setting, but simultaneously brought us several brand-new characters, a darker, grittier tone, and fleshed out the lore in ways that were often surprising.
The end result? Anyone craving a more “adult” Star Wars finally had something to hold onto — a film they could justifiably declare was meant for them.
Indeed, ask most any kid which Star Wars movie is their least favorite, and most will point to this one.
The folks who were kids back in the early 1980s had been demanding a film tailored to their more adult-like sensibilities for decades. Here, finally, they had it. “Rogue One” was simply a different film for a different audience.
(Tangentially, I wonder what reaction George Lucas might have received had he released THIS in 1999 instead of the much-maligned “The Phantom Menace” … hmmmmm.)
The basic plot of the film is pretty simple: How did the Rebels get the Death Star plans prior to “A New Hope?”
This unfolds mostly from the perspective of new heroine Jyn Erso, who owns the distinction of being the daughter of the man who designed the Death Star, Galen. Her link to her estranged father becomes the “in” the Rebellion needs to figure out how to stop it. First, they plan on assassinating Jyn’s father, Galen (without informing Jyn of this detail, of course), then when that plan predictably goes sideways, they eventually turn their efforts toward retrieving the Death Star plans — which reveal the super weapon’s weak point.
The person charged with doing this assassinating is Cassian Andor, and that he doesn’t go through with it isn’t a foregone conclusion. Previously, we saw him murder an informant in cold blood, which of course is meant to illustrate that this is a man who is absolutely capable of killing an innocent, but it also raises a question we don’t typically get to spend a lot of time on in the Star Wars universe:
Do the ends justify the means?
This question has been asked in Star Wars before, examples including the Senate’s debates over building an army in “Attack of the Clones,” Yoda’s admonishments over Luke’s actions at the end of “The Empire Strikes Back,” and so on. But in regards to what is clearly an evil act — murder — done for the sake of a just cause — defeating the Empire — this is new (and welcome) territory. Since we saw the charred remains of Luke’s aunt and uncle in “A New Hope,” Star Wars as a franchise had rarely again paused to glance around itself at how the war machine effects non-participants and how it runs them over … until THIS moment (or arguably, the opening sequence involving Jyn’s parents), and goodness, was it overdue.
Jyn has been spending her life on the sideline, choosing to not get involved in a rising conflict in which her father and her adopted caretaker, Saw Gerrera, are at the center. The men on the surface appear to stand on opposite sides of the conflict, but it’s really their approaches that are diametrically opposed: Galen being strong-armed into building this weapon and resisting in secret; Saw utilizing questionable tactics such as terrorism to wage his war.
It’s no wonder Jyn rejects both paths, and it’s only when she sees a message from her father that outlines his resistance (and his love) that she is motivated to see his plan through to completion.
War is a dirty business, and it demands sacrifice. It makes no sense to dive in without conviction.
In an earlier scene, we get a sense of just what kind of sacrifices the main characters will have to lay down for the sake of their mission. Sitting in prison, Cassian is anxiously attempting to evaluate their situation and determine a course of escape. His new compatriot, Chirrut, who was once a guardian of the Whills and is clearly attuned to the Force in some manner, has a response that is telling.
“There is more than one sort of prison, Captain. I sense that you carry yours wherever you go.”
It’s indicative of the obvious weight of guilt Cassian bears and can’t get away from. War has taken its toll. He rightly sneers at Jyn’s privilege in not having to choose a side. He has devoted every ounce of his humanity to the cause, having been drafted into it as a child. And the two characters have an absolutely riveting argument after Jyn’s father dies. It’s riveting because you understand where each character is coming from. They each have a point. Jyn justifiably wants to protect the innocent, and Cassian rightly declares that she can’t possibly understand his burdens.
Jyn eventually provides a counter-balance to this and reinvigorates the cause. She invokes the spirit if not the direct phrasing of noted Mexican revolutionary Emiliano Zapata:
I’d rather die on my feet than live on my knees.
“You give way to an enemy this evil with this much power, and you condemn the galaxy to an eternity of submission.”
Her rousing speech does not sway Rebellion leadership … but it does sway Cassian. And Cassian brings reinforcements with him. Their strike team hatches a plan to infiltrate an Imperial base to retrieve the Death Star plans (which calls to mind the similar plan at the end of “Return of the Jedi”), and before we know it, they’re neck-deep in a literal jungle.
The Rebels, for better or worse, have been moved to direct action. They have made the choice to act, despite the possible negative outcomes — such as death — that can (and will) occur.
When it comes to that theme of sacrifice, “Rogue One” does not pull punches or try to have it both ways. In much the same way that the Rebellion has become fully immersed in a full-scale war (thanks to the actions of a few), “Rogue One” commits 100 percent to its storytelling goal: telling us that the greatest of inspirations can come from the greatest of sacrifices … and then following through on delivering both.
I’ll not dwell on individual deaths, except to say that each of them hits hard and drives the narrative forward. Their sacrifices feel like needed steps along the journey, and they also have the effect of making the audience feel more desperate about the objective.
We have to sacrifice these characters we’ve grown to love? Well they damn well better achieve their goal.
World War II served as a source of inspiration for the film makers. The comparisons to other war movies, particularly those involving rag-tag teams on an impossible mission (e.g. “Where Eagles Dare” and “The Guns of Navarone”), are easy to make. Interestingly, it was the development of the atomic bomb and its real-life creator that provided another level of inspiration for Galen and his own “atomic bomb,” the Death Star.
“I have become Death, the destroyer of worlds.”
— J. Robert Oppenheimer
The main villain of the film, Orson Krennic, doesn’t seem to fully grasp the responsibility of such a title, only the potential glory. He is put down by his superiors repeatedly until he receives his ultimate comeuppance: Having to stare down the death beam of his weapon as it obliterates him and his surroundings. This unfolds as our last heroes standing lay down their own lives, and a tense, Darth Vader-fueled nightmare soon follows, providing one last shot of adrenaline and panic (This moment is EPIC.) … before the objective finally, mercifully, is completed.
Despite all the mayhem and death, it was worth it. We’ve been inspired by what we’ve seen.
That “Rogue One” is a successful and cohesive movie is sort of crazy to me. What might be even crazier is how effectively it bridges the two saga films it falls between, “Revenge of the Sith” and “A New Hope.” Original director Gareth Edwards produced a lot of interesting imagery (as evidenced by the trailers, which featured several shots not in the final movie), but he was eventually replaced by Tony Gilroy, whose reshoots were so extensive that Gilroy earned himself a co-writing credit. I don’t have any particular insight into who did what or what was changed … and that’s an absolute credit to everyone involved. I have no real objections to the movie as it exists (though I do have questions … more on that in a second!), and it has become one of my favorite pieces of Star Wars canon.
Ah, questions.
As I mentioned in my initial reactions piece, in giving us a seemingly easy question to answer — “How did the Rebels acquire the plans to the Death Star?” — we’re told a new story that opens this world up even further and inspires more questions in response.
Each Star Wars movie builds upon the previous one and adds something new, establishing new norms in the process. At the surface level and as a story apart from the “main saga,” “Rogue One” would seem at first glance to provide less material than the others. But it exceeds its storytelling mission so well, the imagination soars and we’re left with fresh questions and fresh details to debate.
For example, what are these new characters’ back stories? I want to know more about ALL of them! (At least we’re getting some of this via Disney Plus.)
By extension, who are some of these crazy-looking aliens we’re seeing all over the place? These are some wicked cool designs … I want to know more!
Is Jedha going to recover? Also, did the Jedi inhabit the planet at a previous point in time, or was it more that they were worshiped in some way (hence the giant toppled statue)? What were the dynamics of the planet before that city got blown up? And what are they after?
Kyber crystals … are we going to find out more about them? It seems they can do a whole lot — what else can they do?
After what we saw from Cassian early in this film, the Rebellion doesn’t look quite so virtuous anymore, does it? I wonder … how dirty have the Rebels’ hands truly gotten?
Where did the Death Troopers come from? What’s their story?
Why would Tarkin blow up his own base? Wouldn’t that put the plans to build another super weapon at total risk?
Why is General Raddus such a badass?
Given the events of “Revenge of the Sith,” why the hell is Darth Vader living on Mustafar? And how does that work? How often is he there? Does he have to travel for work often? What is his air conditioning bill?
See what I mean? The questions go on for days.
And that’s the genuine beauty of Star Wars in general, and “Rogue One” specifically.
It inspires.
Liked this post? Check out:
My retrospective on “The Force Awakens”
My retrospective on “Revenge of the Sith”
My retrospective on “Attack of the Clones”
My retrospective on “The Phantom Menace”
My retrospective on “Return of the Jedi”
My retrospective on “The Empire Strikes Back”
My retrospective on “Star Wars: A New Hope”