Three minutes into Star Wars: The Force Awakens, I kept thinking to myself– this is what science fiction should be. The movie engrosses you instantly—a gargantuan ship slogging through space overhead, a perplexing desert planet that is somehow inviting, and characters that are personable as they remove their masks—whether figuratively or literally. The Force Awakens at once accomplishes what other films in the genre labor to achieve – an emotional connection to a distant universe.
The film serves as a delightful coming-of-age piece for two of the main characters, Rey (Daisy Ridley) and Finn (John Boyega). Rey is a self-reliant scavenger from the planet of Jakka. As intergalactic fate would have it, she finds herself traversing the Star Wars universe trying to help her new friend Finn get an important droid to the Resistance movement. Rey’s past is a mystery, but she learns she must leave it behind to truly find herself. Finn is a Stormtrooper who has a Joycean epiphany and a subsequent change in allegiances that is both compelling and winsome. The best part of the movie is watching these two discover themselves as the narrative unfolds.
Director J.J. Abrams had a daunting task. He had to bring something new to the Star Wars saga while honoring the other films in the series. He succeeds marvelously in this feat. There is plenty of appeal to nostalgia, including endearing aliens, thrilling fight sequences, and an epic clash of two factions. This time it’s the First Order versus the Resistance. The Force Awakens also fits the bill of a good action flick produced in the post-Casino Royale era, which was a turning point in the history of quality action films. The trademark of this type of movie is accumulating action while the character-driven story progresses in an upward linear fashion, meaning there is no plot-halting plateau.
The film suffers from a common plague in epics, however. Typically in post-production the movie has to trim its many hours of footage to a concise story. As a result some characters feel underdeveloped. Sadly this is the case for our villain, Kylo Ren (Adam Driver). Regardless, the film does a decent job of showing his humanity by revealing some of his physical and emotional weaknesses. A couple other scenes feel forced, as if they’re only there to avoid a glaring plot hole. One example is a scene attempting to reveal Han Solo’s (Harrison Ford) recent past as a fugitive from sinister loan sharks. It is certainly believable considering Solo’s brashness, but the circumstances seem too convenient for the narrative. Perhaps a spinoff prequel showing the adventures of Han and Chewie is in order?
On the set, The Force Awakens does a terrific job with lighting. The light or lack of light in any given scene is more than just a sets the mood. It is a tangible symbol that enhances the war between the “Light Side” and “Dark Side.” Light reflects radiantly from the cheeks of heroes like Rey and Finn, but hardly reflects from the faces of Kylo Ren or his comrades. Also worth noticing is the way light disrupts shadows. Whether it’s the ominous hue or a red lightsaber, the hopeful tint of blue, or something completely different, the interplay of light and dark is masterful.
The acting in The Force Awakens is good, but the writing and character development is even better. In particular, Ridley’s character Rey shines as a female protagonist. She is charming, cunning, and witty. Finn and others often feel the need to protect Rey but the irony is that she doesn’t need any help, they do. One of the best lines of the film is her defiantly pronouncing to Han Solo, “I think I can handle myself.” She is more than capable and perfectly subverts a male-dominated genre.
While Rey’s storyline will be exciting to watch throughout the trilogy, there is much to be learned about Finn and his past. Taken from his family at a young age, he was forced into military training and never received a name, only a serial number – FN-2187. In short, he has been dehumanized his entire life. The way Finn’s history is revealed combined with the fact that he is black is significant. In the Star Wars galaxy as in our society, people of color are often dehumanized, as Finn has been his whole life. Through Finn’s story, the film does a remarkable job of showing the restoring power of solidarity. One example is a stirring scene early in the movie. Finn (who is still referred to as FN-2187 at this point) finds himself in a ship with a pilot named Poe (Oscar Isaac). Poe humanizes the man lacking an identity, bestowing upon him his name Finn. Poe’s actions say to Finn, your life matters and I stand with you. His past cannot be undone, but a sliver of Finn’s dignity is restored. As love begets hope, we’re reminded the future can be different.
The Force Awakens is captivating to watch and is the best Star Wars film to date. Be sure to see it.
You might also find these reviews of Star Wars: The Force Awakens helpful:
1 More Film Blog
Christianity Today
Decent Films
Elijah Davidson’s original review for Reel Spirituality
Larsen on Film
Looking Closer
Movies and Meaning
Reel Gospel
Think Christian