Based upon characters and situations created by George Lucas
Screenplay Written by Jonathan Kasdan & Lawrence Kasdan
Directed by Ron Howard
**** (four stars)
RATED PG 13
"Never tell me the odds!!"
-Han Solo ("Star Wars Episode V: The Empire Strikes Back")
And it's a good thing they didn't because if anyone ever fully believed in Han Solo, it was always Han Solo.
Dear readers, I have long staked my claim with the hefty and skeptical opinion that ever since Disney purchased Lucasfilm, the organization would find some ways to ruin a cinematic series that has meant the world to me ever since I was eight years old when George Lucas' original 1977 film entered our consciousness and for me, changed the way I experienced the movies forever. I have been fearing that with their rapid release schedules, "Star Wars" fatigue would lessen any sense of enthusiasm, especially for a series that has classically not been so ubiquitous at the cineplexes until recently, with the arrival of J .J. Abrams' "Star Wars: Episode VII: The Force Awakens" (2015) and Rian Johnson's "Star Wars: Episode VIII: The Last Jedi" (2017) with Gareth Edwards' stand alone "Rogue One: A Star Wars Story" (2016) tacked into the middle.
Thankfully, all three of those releases have more than proven themselves both financially and artistically (aside from the so-called "fans" who will never be satisfied with any "Star Wars" film made past 1983), with "The Last Jedi" in particular existing as the film that was the most surprising in terms of delivering creative and storytelling risks as well as its divisive reaction among viewers. While that sense of ubiquity still unnerves me regarding Disney's ownership of "Star Wars," future film trilogies from Rian Johnson as well as another from HBO's "Game Of Thrones" creators David Benioff and D.B. Weiss, which claim to extend the "Star Wars" universe by pulling far, far away from the Skywalker saga (which Abrams says his "Episode IX" due in 2019 will firmly conclude) sounds more than promising.
But then...there are these stand-alone features to deal with, films that continue to mine the original trilogy yet for what purpose other than to fuel financially driven nostalgia? Yes, "Rogue One" found a clever, sideways angle and what resulted was a stirring war film possessed with an astounding, escalating urgency. A proposed solo Obi-Wan Kenobi film possibly bringing Ewan McGregor back to his Jedi cloak has potential. But regarding Han Solo? Really??
Look, just like you, I know than Han Solo is the coolest hot shot pilot in the galaxy, a scoundrel that cannot be topped and portrayed to iconic fashion by Harrison Ford. A...ahem...solo prequel film, to my sensibilities just sounded like overkill, especially since the story of Han Solo came to its dramatic conclusion in "The Force Awakens." Trying to find someone who could possibly fit into Ford's massive shoes notwithstanding, a Han Solo prequel film? I just could not see it and I have wondered very openly about its overall raison de'etre, mostly because, and regardless of how cool he is, there really is not much to that character all. He is the fast talking, high flying, deeply cynical space cowboy with the heart of gold--an archetype more than anyone fully fleshed out--which is perfect for the fairy tale/space opera universe that "Star Wars" is. What do we really need to know about him that we already do not? The prospect sounded pointless to me.
And even then, there was the troubled production of the film during which much ink has already been spilled concerning the firing of the film's original directors Phil Lord and Christopher Miller (who retain Executive Producer credits), and the emergence of Ron Howard as their replacement, who not only finished the film but helmed copious re-shoots (reportedly 70%) to boot. Add to that the loss of actor Michael K. Williams due to scheduling conflicts, forcing a re-conception of a character that was re-cast with Paul Bettany and rumors of leading actor Alden Ehrenreich needing an acting coach, it was truly feeling as if the Force was not going to be with this film whatsoever.
So, with utter, jaw dropping surprise, and more than a little bit of shock and amazement, Ron Howard's "Solo: A Star Wars Story" is absolutely terrific!!! It is a white knuckle thrill ride of an experience that performs the splendid double duty of delivering a certain level of nostalgia while also giving us a more askew view of this galaxy far, far away that we know so well.
And first things first, Alden Ehrenreich is the real deal!!! Certainly he will never erase Harrison Ford from our hearts and consciousness and nor should he...and furthermore, it is no mere imitation of Ford's work either. Remember, this film is not entitled "Ford: A Star Wars Story" but "Solo," and Ehrenreich works like the devil to embody this character with a freshness that makes our interstellar pilot feel new again. Trust me, if you were as skeptical as I have been, you may find yourself incredibly satisfied and downright thrilled with what Howard has delivered as "Solo: A Star Wars Story" makes for one enormously entertaining addition to the "Star Wars" cinematic canon.
Set a full 10 years before the events in George Lucas' "Star Wars: Episode IV: A New Hope" (1977) and opening with the sparks and flashes of a land speeder being hot-wired and stolen, Ron Howard's "Solo" blasts out of the gate with the aforementioned Alden Ehrenreich as Han Solo at perhaps age 25, caught in a universe where the Empire has complete control, a variety of warring crime syndicates have sprouted and where our would-be pilot and his lover Qi'ra (Emilia Clarke) plot their escape from the clutches of a vicious crime lord, a beginning which soon finds our hero thrust even deeper into the criminal underworld with the shadowy organization of the Crimson Dawn becoming increasingly oppressive.
Han's adventures soon have him aligned with the mercenary Tobias Beckett (Woody Harrelson) and his crew, which includes his lover Val (Thandie Newton). We discover just how Han became first acquainted with the mighty Wookie Chewbacca (Joonas Suotamo officially taking over for Peter Mayhew) as well as the dapper smuggler Lando Calrissian (Donald Glover). We discover just how Han became owner and pilot of the Millennium Falcon and how he indeed won the ship from Calrissian, the original owner. Did Han really make that legendary Kessel Run in 12 parsecs? How did Han even become christened with his surname? Those questions and more are all answered, while new mysteries and surprises are unveiled in Han Solo's odyssey.
Ron Howard's "Solo: A Star Wars Story" is first rate entertainment which ultimately more than earns its status within the "Star Wars" universe as it is unquestionably a film of intense purposefulness instead of existing as the cynical money grab it could have easily been. Perhaps due to the intensity of the behind the scenes production, Ron Howard has been infused, and therefore has infused the film itself with a visceral urgency that has the film propelled with a pace and structure that feels like flying through hyperspace. This film truly moves like white lightning and everyone from the cast to Howard, easily helming his best film in many years, are all invigorated superbly.
With a plot that involves explosive schemes and heists, shootouts, chases, captures, narrow escapes and even a train robbery, and populated by all manner of criminals, gangsters and other ne'er do wells, the rapid movement and excitement of "Solo" feels like it owes as much to Steven Spielberg's "Raiders Of The Lost Ark" (1981) as it absolutely does to the 1930's serials that informed "Star Wars" at its purest inspiration.
Howard presents one exhilarating action set piece after another, including all sorts of cliffhangers for Han and his compatriots to get themselves in and out of and it is this specific whip crack element to the film that makes "Solo" a somewhat faster, lighter affair as it is the "Star Wars" film that has nothing to do with Jedi Knights, The Force, light sabers, mysticism and the building grandeur of the overall Skywalker saga. "Solo" is a heist film, a space Western and it makes no apologies for being anything but a rip roaring blast of an experience.
Even better, and working beautifully alongside Cinematographer Bradford Young, "Solo," much like "Rogue One" before it, is (slightly) a more adult film, or at least incorporates the characteristics of film noir, as it is sinister, scrappier, grittier, grungier and even a sexier ride in the "Star Wars" universe that what we are more accustomed to viewing. Additionally, the film provides us with another sideways and more grass roots (or sand pebble) level view of the growing Rebellion against the Empire while also utilizing both Chewbacca and Lando's fiercely militant self-made droid co-pilot L3-37 (a terrific Phoebe Waller-Bridge) as representatives of resistance and emancipation as they each attempt to free their equally enslaved species. This tactic gives the film a strong foundation that gives the light speed action some (again) purposeful weight.
And still, none of this would be worth watching at all if we did not have a central figure to latch ourselves onto and it is of tremendous credit to both Screenwriters Jonathan Kasdan and his Father, the great Lawrence Kasdan, the man who co-scripted Han Solo's adventures in Irvin Kershner's "Star Wars: Episode V: The Empire Strikes Back" (1980), Richard Marquand's "Star Wars: Episode VI: Return Of The Jedi" (1983) and "The Force Awakens," to greatly devise of Han Solo's full backstory. Therefore, it is of nearly heroic quality that I must extend to Alden Ehrenreich a rapturous salute as, for me, he instantly stepped into the soul of this character and wore it like the baddest leather jacket in the galaxy.
Alden Ehrenreich as Solo provides the requisite arrogance, rock star swagger, scruffy attractiveness, roguish charm and has infused it with a necessary naivete, innocence and even romanticism that showcases that he is not nearly the outlaw he keeps proclaiming himself to being. In fact, the core to Han Solo in this film is really nothing more than to just make enough money to buy a starship and whisk Qi'ra away for the two of them to travel the galaxy in full freedom, much like the troubles teens of a Bruce Springsteen song or The Animals' "We Gotta Get Out Of This Place" (1965). Ehrenreich's chemistry with Emilia Clarke also provides the film (and the series as a whole) with a element of romantic and sexual heat that provides the film with an added urgency and even heartache.
In doing so, we are witness to a Han Solo that really is not too far removed from the farmboy Luke Skywalker, a child in an adult universe, and a dangerous one at that with its gangsters and mercenaries, but by hook or by crook, he is gonna be the best damn pilot in the galaxy with his girl by his side. Ehrenreich completely nails this aspect of the character while also giving what we already know about Han Solo a sensational workout as his gets himself into and miraculously out of jams by sheer force of will (as well as with that quick blaster and smart mouth) and the plain ol' dumb luck that Solo himself would scoff at. I can not tell you enough how against the idea of this film I have been for years now, especially for ANYONE taking over the role that has been so ingrained. What Alden Ehrenreich achieved was magical for it made me feel just as I did when I was a child all over again.
Of course, I also have to spend some time with Donald Glover, who is obviously having his own spectacular time right now with his work on television's FX series, the outstanding "Atlanta," on which he serves as Creator/Executive Producer/Writer/occasional Director and leading actor, plus his work in the music with his Childish Gambino persona, currently riding a torrential wave with his latest powder keg single "This Is America." Stepping into the shoes of the iconic Billy Dee Williams is unbelievably daunting to say the least but in his portrayal of Lando Calrissian, Glover slides into the role (and the capes!) as easily as the finest silk sheets!!!!
Like Ehrenreich, Donald Glover nails the swagger, the butter smoothness, the implied sexuality (apparently he is pansexual!) as well as that "I'm making this up as I go along" quality that endears us to him as well as making him a figure to seriously keep your eyes upon. Glover's chemistry with Ehrenreich is sound and solid and I sincerely hope that we are able to have another adventure in the future with these two..or even a Lando Calrissian film!
By this time, I am certain that reading those specific words from me may be more than a bit startling, considering the way this posting began. But that is how it is when filmmakers deliver the goods. Sometimes, you leave wanting for nothing because the filmmakers have left no stones unturned and providing the most complete experience one could ask for. Other times, filmmakers deliver the goods by leaving you with that inexplicable feeling of wishing yo cold stay with these characters a bit longer, not wanting for the fantasy to end, ultimately that there may one day be even more.
Ron Howard's "Solo: A Star Wars Story" certainly does set itself up for more young Han Solo adventures and this time, I hope that these films actually get made because against all odds, the Force remained strong!
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