Respond to these rapid questions in our Solo A Star Wars Story quiz and we will tell you which Solo A Star Wars Story character you are. Play it now.
As far as pointless prequels go, “Solo: A Star Wars Story” isn’t too shabby. It’s not great, either, and despite spirited performances, knockabout humor, and a few surprising or rousing moments, there’s something a little too scripted about the whole thing, which is a shame because it could have been so much better. It has specific marks that it must hit, and it makes absolutely certain that you are aware that it is hitting them. From young Han Solo’s first meeting with Chewbacca to Han winning the Millennium Falcon in a card game from its original owner, Lando Calrissian, and completing the Kessel Run in less than 12 parsecs (the fact that parsecs are a unit of distance, not time, is finally explained), to the fact that Wookiees despise being looted, everything you expect to see visualized in “Solo” is served up on a silver platter, based on Some of our favorite characters are also shown in their younger years (Donald Glover’s Lando is the star of the film, which he takes home with him). It’s excellent fan service on the part of the creators.
Whether or not you consider this to be a bonus or a plus will be determined by your expectations for a “Star Wars” film. It’s almost as if this film is the antidote to the sort of “Star Wars” film that viewers who detested the prankishly irreverent and oddly introspective “The Last Jedi” seemed to have wanted: one where the payoffs to setups are italicized so that no one can miss them, artistic license is subordinated to brand management, and every reference, no matter how small, that was so lovingly memorized by devotees of the franchise is placed
It’s checklist mythology, but it’s served up with just enough panache to keep the journey interesting. A number of scenes that add to the “Star Wars” universe in ways that only tangentially relate to Han Solo, Chewbacca, and other established characters (I’d rather not say which ones because a couple of them are genuinely delightful) are also included in the film. This is one of the most engaging aspects of “Solo,” as it introduces you to sights that you’ve probably never seen before, unless you’re familiar with the older cultural sources that the filmmakers are drawing on for inspiration—and even then, director Ron Howard (who took over for Phil Lord and Christopher Miller) gives them a fresh look and makes them feel more lived-in than you might expect.
A mining planet, where we meet young Han (Alden Ehrenreich) and his girlfriend and partner-in-crime Qi’ra (Emilia Clarke), runs on forced labor, some of it involving children; the charcoal-smudged visuals, narrow streets and alleyways, and hardbitten street urchins with English accents all add up to a high-tech Charles Dickens. The images of suicidal cavalry charges and muddy trenches that Han sees when he enlists in the Imperial Navy but ends up serving in the infantry in a pointless campaign where he meets his future smuggling partners Val (Thandie Newton) and Tobias (Woody Harrelson) are straight out of a World War I film like “All Quiet on the Western Front” or “Paths of Glory.” It’s like something out of an old Western, with cowboys jumping from horses onto the sides of locomotives. The fuel train is more like a mountain monorail, which slither around the peaks like a metal snake. And so forth.
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After gouging an old man and a farm boy for as much money as he could get his hands on, the character of Han Solo was introduced in 1977 (prior to George Lucas’ digital revisions). He is then shown pre-emptively murdering a bounty hunter while in full view of the audience. No other choices are as bold as those made by Lucas and company—as played by Harrison Ford, Solo was a borderline antihero and the only major character in the original trilogy who had a dangerous edge, albeit one that Lucas and company immediately began sanding down—and Alden Ehrenreich fails to convince as a cocky young pilot and smuggler who’s been prematurely soured by a hard-knock life as a young Solo.
Or, at the very least, he doesn’t come across as convincing as this particular smuggler. Even though he’s likable and performs well in the roles of “confident” and “smug,” if this film was determined to cast an actor who didn’t look or sound all that much like Harrison Ford (which is a perfectly legitimate and defensible decision; a straight-up imitation would’ve been awful), it might’ve been a good idea to cast someone who at the very least appeared as if he could eventually transform into the Han we met in “A New Hope,” Even though he was giving his own performance, McGregor miraculously managed to maintain physical and vocal continuity with the role’s original occupant, Alec Guinness. Ehrenreich accomplishes the second goal in this film, but not in such a spectacular way that you forget about the first goal.
Solo A Star Wars Story Quiz
In a film that constantly and very obviously attempts to connect with its brand while also allowing its lead actor to do his own thing (most of the time; the flirtatious grin is pleasingly Fordian), some sort of mysterious harmony ought to emerge, but the two impulses appear to be at odds with each other in this case. Was Howard expending so much mental energy bringing weight, maturity, and sincerity to a film that was on the verge of becoming goofy and glib under Lord and Miller that he didn’t have enough mental bandwidth left over to concentrate on the actors’ performances? Lando’s copilot, L3-37, a robot fighting to abolish machine slavery, is voiced by Phoebe Waller-bridge, who makes a strong impression as the alert and reactive Glover who McGregors the part in a major way.
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Others, on the other hand, appear to be a little disoriented at times. Clarke’s character has many layers, but none of them seem to be connected to one another, and she comes across as far too nice to be doing some of the things she ends up doing in the story. We don’t get to see much of Newton, who is one of the show’s stars, and Harrelson, who plays one of the show’s incorrigible kleptomaniac scene stealers, doesn’t provide us with anything we couldn’t have gotten from any other fiftysomething character actor who can twirl a gun, crack wise, and smirk. It’s possible that Paul Bettany’s crime boss Dryden Vos is the first major character in a “Star Wars” movie to make no impression at all, but the actor was probably doing the best he could under the circumstances; he was cast in the role because Michael Kenneth Williams couldn’t make it to reshoots and was originally intended to be CGI, so he was probably playing someone who had to be rewritten on the fly without affecting the surrounding narrative architecture. (A documentary about the difficulties encountered during the production of this film would almost certainly be more interesting than the film itself.) As with “The Phantom Menace,” some of the unthinking racism that marred the film reappears here as well—you’ll recognize it when you see it—and it becomes increasingly apparent that “Solo,” like many other “Star Wars” films before it, is not particularly interested in female characters as the film goes on.
All of this is said out of a deep affection for a television series and an understanding of the difficulties this project has faced. “Solo” finds himself in an unusual and difficult situation. Following its acquisition of Lucas’ “Star Wars” franchise, Disney has attempted to Marvelize Lucas’ universe by expanding the Skywalker-centric main storyline and filling it out with one-offs that flesh out stories that are adjacent to it. “Rogue One” managed to concoct a story with its own internal philosophy, style, and feeling, and when you compare it to “Solo,” you realize that a large part of what made it work was its lack of connection to well-known characters who couldn’t be killed off. Unless you count the Grand Moff Tarkin, who was basically a jumble of Peter Cushing-shaped pixels, none of the major players were people we knew; most of them were characters we’d never heard of, the grunts and redshirts of the galactic war, and that meant anything could happen to them, and that the film didn’t have to set aside a certain amount of time for enacting things we’d heard about but never seen dramatized.
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“Solo” does not have as much room for maneuvering as the other games. The prequel trilogy provided us with a great deal of information about Anakin Skywalker, aka the future Darth Vader, as well as Obi-Wan Kenobi, Yoda, Palpatine and other characters—but it is the first “Star Wars” film that feels like it exists primarily to provide visuals for scenarios that fans have long daydreamed about or read about in “Star Wars” supplementary texts. While it is not the first “Star Wars” film to visualize the pasts of characters that Even the most talented filmmakers are unlikely to be able to provide us with images, performances, and moments that surpass those we’ve been dreaming of for eons. What lands are usually surprises that come out of nowhere and create an entirely new emotional temperature, such as L3-ecstatic 37’s joy when she manages to free some fellow machines, and her frustration with Lando, whom she adores despite the fact that they are not, shall we say, compatible.
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‘Solo’ is hauntingly effective in a very specific way: it leaves you with a strong sense of Han Solo and Chewbacca’s friendship, including how it began, how it developed, and what it meant to each of them. We now understand the full scope of Solo’s life, and the innocent joy of discovery that permeates every scene between the two of them takes on a melancholy undertow. Chewbacca, it turns out, had already reached the age of 180 when he met Han. I’m not sure how accurate the conversion of Wookiee years to human years is, but the sheer amount of time that the big walking carpet has spent in the universe changes our perception of the friendship and causes us to think differently about “The Force Awakens,” in which Han is an elderly man nearing the end of his life. It’s possible that “Solo” would have been a classic if the entire film had been as charming and unexpectedly haunting as the friendship between Han and Chewie. As it stands, it’s a smooth and painless trip down memory lane.
For more personality quizzes check this: Jumanji Welcome To The Jungle Quiz.
