Updated: Mar 10, 2020
as reviewed by Dan
Format reviewed: Digital/Lucasfilm (2018).
The first Star Wars Anthology film - Rogue One: A Star Wars Story (2016) - was critically and commercially successful. It benefitted from a pre-existing, direct link to the original trilogy, and by extension, the ability to use established series icons such as the Death Star and of course, Darth Vader. It wasn’t especially logical from a narrative standpoint, but it ultimately played out like a love letter to the very idea of Star Wars. Rogue One had an extremely problematical development process, with various delays, casting issues and ultimately, a change of director. Yet by the time THAT scene had concluded - and one’s senses had returned to normal - many within the fanbase were hailing Rogue One as the best thing to happen to Star Wars in three decades.
Solo: A Star Wars Story experienced an equally fraught transition from concept to screen, with significant issues concerning casting, tone, editing and once again, direction. Originally pitched as being more comedic in tone, Disney rapidly became concerned the film would lean too heavily in that direction, and ultimately fired the original directors, Phil Lord and Christopher Miller. Despite an intriguing premise and exploration of a much-heralded aspect of the Han Solo mythos - the Kessel Run - the film simply wasn’t embraced by the Star Wars fandom. On the contrary: they reacted with outright hostility. Part of the reason for this lies in the fundamental stupidity of the concept. Of all the characters to explore in greater detail, Han Solo was and is the least desirable and most unnecessary. Harrison Ford is indelibly associated with the character he brought to life. De-mystifying Han’s origins and requiring another actor to portray him, only serves to (arguably) diminish the character’s original legacy. Obi-Wan Kenobi, who has already been portrayed by two different actors, or Boba Fett, of whom so little has been officially established, would’ve been much wiser choices.
I could quite feasibly spend the rest of my natural life detailing the various political and cinematic issues associated with Star Wars Episode VIII: The Last Jedi, but I’m not going to. Suffice it to say, Episode VIII polarised the hardcore fanbase like nothing before it. This all stems from the alleged role the film plays in advocating specific societal values, roles and lifestyles, at the expense of continuity and creative choice. It’s an occasionally interesting but mostly tedious debate. In truth Episode VIII is a good but inherently flawed film. There are thousands of articles, pseudo-studies and screaming rants on YouTube regarding its chequered place in the Star Wars cannon, and if you find yourself so inclined, one or two actually contain some cogent observations. Most of the others apparently originated in Russia, and are artificial in origin. Which is most curious. What matters is this controversy, and the ensuing discord, destroyed any possibility Solo had of monetarily succeeding. Legions of Star Wars fans boycotted the film, thus hitting Disney in their dollar-shaped testes. As such, Solo has become the cinematic equivalent of collateral damage.
Solo: A Star Wars Story is a genuinely good film. It is very well cast with a slew of enjoyable, credible performances, that honour the original spirit of the characters. Special mention must go to Donald Glover, who delivers a simply uncanny performance as Lando Calrissian, and Alden Ehrenreich, who undertakes the thankless task of embodying Han Solo - sans Harrison Ford - with gusto, and by the end of the film has found some authentic swagger. Hell, even the wildly inconsistent Emilia Clarke manages to convince. The film has an intriguing story and maintains a sharp, well-balanced pace throughout. Hollywood veteran Ron Howard brings his redoubtable quality to the director’s chair, and the film is never boring, nor does it take itself too seriously. It even incorporates a Marxist droid - perhaps owing to the Russian thing again - and a genuinely exciting twist! How ironic then, in this time of discontent, that a film deliberately ignored by fandom should represent such a good example of a Star Wars film. It’s a popcorn movie, and doesn’t pretend to be anything else. It’s bloody good fun and deserves a second chance to be appreciated via home media. All good films deserve to be seen, and Solo, though by no means perfect, is worth mine and your time.