Man of Honour
I thought that Chinese trailer was going to be the same as one a few weeks ago, wrooooong. Pretty sure that's one trailer too far for me, wish I could unsee it!
I thought that Chinese trailer was going to be the same as one a few weeks ago, wrooooong. Pretty sure that's one trailer too far for me, wish I could unsee it!
That trailer particularly is making the film look like a rehash of ep 4...
That trailer particularly is making the film look like a rehash of ep 4...
I agree - every film I watch has actors! what's that about? Cant somebody be original for once.
Do I really need to explain!!??
I thought that Chinese trailer was going to be the same as one a few weeks ago, wrooooong. Pretty sure that's one trailer too far for me, wish I could unsee it!
So storm-troopers now have a weapon that seems geared to take on light sabres despite sabres being an ancient barely used weapon?
Barely used? They only figure there is one Jedi left so it seems a lot of R&D for one man Especially when you can just overwhelm him with numbers and shoot him anyway.
Disney going to recoup all their money back after 1 film ?
That trailer particularly is making the film look like a rehash of ep 4...
To fully understand the series’ unique soul-stirring charge, you have to go back to California in 1973, where George Lucas was writing an intricate script called ‘The Star Wars’, full of knights and princesses and extraordinary creatures. Lucas had set out to write a science-fiction adventure modelled on Akira Kurosawa’s 1958 historical epic The Hidden Fortress. But as he wrote, he noticed fairy-tale motifs creeping into the plot – and realised that, since the decline of the Western, American cinema was still waiting for another myth.
After making his 1973 teen film American Graffiti, which itself looked back to a simpler world, Lucas said in an interview that he wanted his work “to set standards, not to show people the world the way it is.” As the Vietnam War continued to grind on, and the US political establishment was shaken by Watergate, you can see the attraction of a more morally clean-cut ideal.
“One thing that art can do is to show you the way things should be,” he continued. “Basic values aren’t innate, they’re passed down.” And for Lucas, those values “need to be said over and over again, generation to generation, otherwise a generation misses it and they don’t get it because it’s lost.”
Lucas immersed himself in world folklore, and redrafted the entire Star Wars to fit in with what the mythologist Joseph Campbell called ‘the monomyth’ – the great, archetypal adventure story that keeps surfacing thought history in different guises. Each version varies, but all of them feature a hero or heroine who sets out from his humble home into “a region of supernatural wonder”. They pass through various trials and temptations which lead to a confrontation with an all-powerful father figure, who can only be overcome with the help of an all-encompassing, maternal loving power that was bestowed along the way. This leads to a cosmic rebirth – and finally, a bittersweet return home. It’s Star Wars, but it’s also The Hobbit, The Chronicles of Narnia, The Wizard of Oz, The Fairie Queene and many other literary classics that have a similar primal pull on our imaginations.
In her indispensable book From the Beast to the Blonde, the writer Marina Warner suggests the most compactly brilliant explanation as to why this might be that I’ve ever read. Fairy tales, she says, offer “vividness of experience in the midst of inexperience”: in other words, the characters explore their fantastical world in the same way we as children explored our own. That’s why the parts of Star Wars that stay with us are the everyday details – the glass of blue milk Luke Skywalker pours himself at his aunt and uncle’s homestead, or the shoebox-sized mouse droid that whistles to himself as he scoots along the Death Star’s corridors.