![]() ![]() The Last Jedi is a different proposition entirely. He’s as complicated as it, and it’s as complicated as him. That everything important about him is contained within that black, grilled object. It’s not just that Kylo wears a mask it’s that he is a mask. That’s why Abrams ties them to these big symbols - Kylo to his mask Rey to the saber that tells her she’s different from the world around her and Poe to his ship. They’re mythic tropes, not human beings, and we love them because of the sheer scale on which they operate. ![]() The Force Awakens functionally works not because Finn, Rey and Poe are people that we recognise from our real life. And then, when Abrams came along, he followed in that framework too. He started big and then he went bigger.Įvery film Lucas authored from that point forward followed in that framework. ![]() He carved his heroes from light and his villains from obsidian blackness. He read Joseph Campbell’s The Hero With A Thousand Faces, a run-down of the typical hero’s journey, and he copied it beat by beat. Borrowing from Akira Kurosawa’s The Hidden Fortress, a slapstick caper about a Princess and a Castle, Lucas stripped out everything from his story but the mythic. Star Wars is the work of a man wringing a kitten’s neck on the biggest scale possible. “Anybody can do it blindfolded: get a little kitten and have some guy wring its neck.” “Emotionally involving the audience is easy,” he said. ![]() Shortly after the release of his strange, cold debut film, THX 1138, George Lucas responded to the people who said his work was unfeeling. In fact, it’s exactly that destruction that makes The Last Jedi not just one of the greatest Star Wars movies, but one of the great Hollywood blockbusters of the 21st century. ![]()
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