This is my fifth Top 5 for Heavy and my seventh Countdown. With the release of new season of Game of Thrones last year I went all out with a Top 10 Countdown where each piece averaged over 500 words and was published separately counting down to the telecast of the first episode. It was a lot of work that I was happy to do but can’t maintain as a side gig with all the other work I do. A Top 5 of Tom Hank’s best films followed which was a lot shorter and I decided doing something akin to that format was sustainable. It also appeared to be really popular. When it came time to do another Top 5 on Stranger Things Season 2 I found there was too much to choose from and decided to do a Top 10 instead. Top 5s have continued though with Thor: Ragnarok, Star Trek: Discovery, Blade Runner 2049 and now A Top 5 of the Best Things about the Rocky film series which you can find here https://heavymag.com.au/top-5-best-things-about-the-rocky-movies/
It’s been a while since I’ve published with Heavy magazine due to other commitments and time constraints but it is always a pleasure and I hope you enjoy. Feel free to comment on the site of what would be your picks. I look forward to doing a few more in the near future.
Heavy is an independent magazine and website that is all about the music and specifically heavy music and supporting the Australian music scene in general. Fortunately for me they do cover film as well and I have been fortunate to have a few things published there.
It was February 2005 when I watched the 77th Academy Awards hosted by Chris Rock. That’s the last great Oscars telecast I remember. It was a gradual thing Jon Stewart took over the following year and it wasn’t as good but that was alright because Steve Martin and Whoopi Goldberg hadn’t been as good as Billy Crystal right? As time dragged on though, and more ceremonies occurred I couldn’t shake the feeling that the Oscars just didn’t measure up the same away anymore. If I look back over the past few years there’s always bits and pieces I love from all of them but always something lacking. The host sucks, the host was the only good thing, not enough skits, the skits sucked, the speeches were boring, the people accepting were played off by the orchestra before they could start. I would not be surprised either if I popped in a tape of a show that I remember as praiseworthy from the 1990s to find its no worse or better than the ones we see today. The thing I can’t shake though is that at some point the Oscars got scared, it rushed itself not allowing time for individual moments to breathe and organically occur and it worried about getting viewers in rather than celebrating its own community. It would be too easy to pick apart the high pressure work performed by dozens of professionals on a grand stage in front of a worldwide audience. Therefore I thought it would be interesting to put forward some ideas of my own and inevitably celebrate that which has worked in the past.
Bob Hope, Johnny Carson and Billy Crystal are the Kings of Oscar hosting. This year the television networks have allocated their respective late night hosts to the Awards Show they’re broadcasting, CBS gave James Corden the Grammys, NBC slotted in Jimmy Fallon for the Golden Globes and so ABC have given Jimmy Kimmel the Oscars. Kimmel is edgy, very LA and approaching gravitas that comes with long term tenure. There’s a hope he will shake up things but there was a similar hope when Seth McFarlane was named to host and we know how that turned out. Choosing a late night talk show host makes sense given Carson’s reign at the gig but Carson was lightning in a bottle, a superb comic performer, movie star good looking with average folks appeal in his Nebraskan sensibility. Jon Stewart did this twice with only middling success, my favourite David Letterman bombed big time with his snark going over like a lead balloon with the celebrities on their night of nights, Fallon the current king of late night looked intimidated at the Globes earlier this year leaving basically day time host Ellen DeGeneres as the best since Carson – and her Emmy Hosting gigs were far superior to her Oscar ones. I’d love to see Samantha Bee and Jon Oliver tear the place down and I think James Corden actually could do a real good job but I would be looking at a stand-up comic more than a talk show personality to be named host.
A few big hitters include Jerry Seinfeld (he’s so big and established he wouldn’t be afraid to push people around but maybe is too much of an outsider), Louis C.K. (same thing but again outsider) Aziz Ansari (too TV maybe go with Emmys or Golden Globes for him first) and Amy Schumer. Schumer is hip and cool, not an old white guy, has a hit movie and would take aim and fire at some of the absurdities of Hollywood. Would be more than happy to see her have a go but I can’t help but think that a funny Hollywood comic superstar would be a good choice. Crystal, Steve Martin, Whoopi Goldberg have all had their go. You know who never did? Who has the gravitas, the comic chops and was king of the box office for a bit. Eddie Murphy. Now I know Eddie hasn’t been a big deal in a while but a few years ago he was announced to host with Brett Ratner producing, then Brett said dumb shit and had to pull out and Eddie stood by his friend and withdrew too. But Eddie can deliver if he has a good writing team behind him because I believe this sincerely, people would like to see a comeback from that kid who did Delirious. The monologue should be solid, few have been bad in the past few years (Franco and Hathaway I’m looking at you) and as a former stand- up he should be able to spot opportunities when they come up. My favourite hosts of the past decade are easily Tina Fey and Amy Poehler doing the Golden Globes three years in a row but they don’t seem interested and others like Will Ferrell, Steve Carrell and Kristen Wiig only seem interested in doing presentation skits in awards shows rather than the whole thing. By the way look for Key and Peele to host Oscars soon, they’re good comedians and solid actors in their own right and I find it hard to believe the Academy hasn’t already asked them at least once.
In 1996 a landmark occurred when Billy Crystal returned after Letterman bombed. It had been a couple of years since he hosted and he was missed. He was inserted into old movies as himself and that year’s nominees. Letterman even showed he was a good sport and showed up in it to mock his failure from the previous year. It feels more played out these days but when done well it never really gets old. Hell even Anne Hathaway and James Franco had some good bits in one such skit. Last year there was an amazing opening montage, easily the best from the past decade that Oscar has done. It displayed moments from the nominees, blockbusters and everything in between; themed around personal perseverance in a day it brought tears to my eyes with its empathy and hopefulness. It does mean however that if the AMPAS want to they can go big this year, one year they had Cirque du Soleil perform up in the rafters. Maybe it’s time to go big again Academy. Imagine Eddie or Amy inserted in Hacksaw Ridge, La La Land, Manchester by the Sea, Moonlight, Hidden Figures, Fences or Arrival.
If you look back over the years there are always at least a couple of good presentations. Some from really good actors being given funny lines and some from some of the funniest people we have working in Hollywood.
Ben Stiller, the aforementioned Wigg, Ferrel, Fey, Poehler, Steve Martin, and it would be great to see them all back doing their thing. It probably doesn’t get more moving than Christopher Reeve in his wheelchair after the riding accident. Sometimes there can be real quirkiness in the choices, one year a sound effects choir introduced those categories. R2D2, C3PO and BB-8 came out last year. However not everybody has to have a bit, some can wax lyrical about cinematography “The camera allows us to see ourselves like we’ve seen ourselves before – looking like Ryan Gosling.” or something like that and then get off the stage. It would be nice if before presenting the nominees for technical awards like sound editing, sound effects editing to remind the nominees that there’s five of you and nobody gives a shit about your arse cause you ain’t famous so you know you got five seconds each. Thank your wife and then let your buddies thank their wives. Because if you want to get laid tonight you better thank your wife if you win. If there are any female nominees in the technical categories don’t worry, your husband will not hold out having sex with you if you don’t thank him. You get back to the hotel room and he’d be like I can’t believe it, I gave you twenty two years of my life, supported you in your career, helped raise the kids and you couldn’t remember my name in front of a billion people. I am so upset, I’m not having sex with you tonight…..oh you’re wearing those stockings. Never mind. And this is why you really are running the world. But seriously male or female nominees either nominate one person or let everybody thank everybody real quick. If one person in your group is shy or boring, they’re out. There can be no room for weak links. You have got 30 seconds. Actually that’s not true, Harvey Weinstein has 30 seconds, and a special effects supervisor has 12 seconds. If you’re ugly you got 10! So that’s two seconds for each of you!
Nothing wrong with that, it’s the growing trendy of daggy celebrities done so well by Fallon. I believe the host should remain present throughout the rest of the evening but more of less reacting to what’s going on. I got a long night planned anyway.
Hollywood used to do the best montages and then a few years ago the kids on YouTube started doing it better. The day after a tribute to James Bond was done at the Oscars, better online contributions went viral. Jon Stewart even joked one year that the whole show was montages. Yet done well they elevate the whole thing, one year they brought performers on stage to perform a raft of best songs from previous decades and it linked you to previous generations. This year I would suggest two major montages. One saluting women of cinema, given the range of strong female performances this year it would be neat and also relevant given current cultural dialogue about gender politics. Hidden Figures for example taps into this in a big way. Imagine iconic moments from Audrey Hepburn, Katherine Hepburn, Deborah Kerr, Bette Davis, Jane Russell, Marilyn Monroe, Liv Ullman, Mary Tyler Moore, Lilly Tomlin, Noomi Rapace, Meryl Streep, Glenn Close, Sally Field, Whoopi Goldberg, Hattie McDaniel, Ginger Rogers, Lauren Bacall, Nicole Kidman, Natalie Portman, Kate Winslet, Susan Sarandon, Julia Roberts, Jodie Foster, Jane Fonda, Viola Davis, Octavia Spencer, Emma Stone, Jessica Chastain, Sigourney Weaver, Emma Thompson, Cher, Charlize Theron, Winona Ryder, Claire Danes, Amy Adams, Felicity Jones, Cate Blanchett, etc.
The second would be long overdue, the work of stunt performers. There’s been a push for at least the past decade for them to get their own Oscar category and maybe this would be a step in the right direction of proper recognition. Sure practical stunts are being replaced by CGI since the heyday of the 70s and 80s but there is still plenty of stunt work being performed and a montage could show the classic stunts we all know and love with behind the scenes footage giving these men and women their day in the sun. There are plenty of stories too. Rick Sylvester’s Union Jack Parachute Ski Jump from The Spy Who Loved Me, Jophery Brown’s bus jump from Speed “ If I’d been directly in the driver’s suit it probably would have broken my back”, Bud Elkins driving that motorcycle over the border fence in The Great Escape, Zoe Bell on the hood of that Dodge Challenger in Death Proof, Vic Armstrong’s work as Indiana Jones, Heidi Moneymaker’s work as Black Widow, Bill Hickman stunt driving in The French Connection, stuntwoman Lila Finn who doubled for Vivien Leigh and Donna Reed right through to doing work on Robocop 2, Yakima Canutt who pulled off that famous stunt in Stagecoach. Anyway the list goes on. The montage could include personal anecdotes about their injuries, close calls, relationship with stars they double for or love of the job. Perhaps mention of some stuntmen and stuntwomen who died doing what they loved. To introduce this montage get an actor who is noted for doing some of their own stunts, Burt Reynolds, Keanu Reeves, Tom Cruise if you believe the hype, and Johansson who trains phenomenally hard in her role as Black Widow often doing more interesting stunt work than her male co-stars in The Avengers movies. Maybe the most perfect choice would be Jackie Chan.
Most song performances have been strong over the years, something as intimate as Dolly Parton singing Travelin’ Thru, to Beyoncé and Idina Menzel giving sterling performances right through to moving pieces as Lady Gaga was joined on stage by real sexual assault survivors performing Til It Happens To You. The energy of Everything is Awesome to the power of Glory. As a template, you could see the potential from this year’s best song nominees. Justin Timberlake’s Can’t Stop the Feeling is idiotic but kind of catchy. Hopefully they’ll avoid trying to get the crowd involved with a bunch of middle aged actors looking uncomfortable although it would be worth it if Harrison Ford ended up punching Timberlake in the face – hey we can dream. Still it is an up-tempo number and if you put a bunch of kids there on stage enjoying it my cold heart will melt.
Superstar Sting showing up to sing Empty Chair with the lights dimmed and a montage of reporters lost in the field would be particularly moving. Don’t even say the clip was of all reporters lost doing their job until after the clip too. Not everybody is going to know it’s from the critically lauded documentary Jim about the sadly deceased correspondent James Foley. Audition (The Fools Who Dream) needs a big performance from a big star, Beyoncé, Gaga, somebody of that calibre. Maybe a Broadway star the film community doesn’t know. Think Idina or Kristen Chenoweth before everybody knew who they were. The big production number should go to How I’ll Go from Moana and come early in the piece in case any kids are still up. Lots of lights, moving props and dancers with Auli’i Cravalho singing her heart out.
Which leaves us with City of Stars; this should be sung by Emma Stone and Gosling at piano with their innate chemistry while dancers recreate scenes from the film in the background. The power of the ending should be recreated in this on stage performance. Think Eugene Levy’s wonderful touching of Catherine O’Hara’s cheek at the end of performing A Kiss at the End of the Rainbow in character or the heartfelt singing of Glen Hansard and Marketa Irglova doing Falling Slowly.
Look there’s no denying we want to hear Emma Stone more than who won Best Film Editing speak and so she’ll be given more time. That is fair enough, but give the editor 30 seconds and if it looks like they’re wrapping up soon let it go. They might be about to tell you that their parent recently fought cancer. This can’t be stated enough, some of the most heartfelt and best moments of Oscars past are the speeches that were allowed to just happen in the moment. Don’t terrify people; let them tell their story at a moment of personal triumph. If after 30 seconds they’re bombing jokes or boring us nobody is going to have a problem if the music starts to kick in a little. Hell the recipient will probably thank you even. But stop apologising for the length of the telecast, this is your community you’re celebrating and the people tuning in aren’t just interested in the next blockbuster to pack their kids away in air conditioning for two hours, they’re cinephiles and they’re digging this as much as footy fans dig the halftime commentary.
I know this is never going to happen, The Governors ball allows AMPAS to honour at least 3 recipients a year, focuses an evening more on just a few awardees and takes away the pressure of a live television audience but we’ve lost something with not handing out these Oscars on Oscar night.
Michael standing with his brothers in the stands just a proud son. Deborah Kerr years after retiring flown over from the other side of the Atlantic who simply said “I’m amongst friends.” Anybody know who Michelangelo Antonioni is? He’s an Italian film director who I doubt I have seen the films of but I also doubt I have not seen the films influenced by his work. Oscars always echoed the ghosts of the past, gave a sense of community amongst this sea of celebrity that these rich pricks really just wanted to tell good stories and that the past was never forgotten. As a film buff my first awareness of so many classics came from Oscar ceremonies that remembered and championed work from the past as well as the present. A good choice for a foreign director of lauded classics now would be Wim Wenders who has influenced a whole generation of filmmakers. After ruining the perfect symmetry of Sly Stallone winning the Oscar for Creed last year it’s probably time to give him an Honourary Oscar but maybe some kids out there know who he is. They won’t know who Gene Hackman is; imagine a montage of his work on Oscar night followed by him making his first public appearance in close to a decade. The crowd would go ballistic!Al Pacino, Warren Beatty, Robert Duvall, Dustin Hoffman, Clint Eastwood, Kevin Costner, Frances McDormand are all potential presenters. Traditionally Honourary Oscars go to those who haven’t won in competition but to see Gene I’d just about do anything and if some young film buff out there notices his work and is inspired to watch The Conversation or Missippi Burning the way I was to watch Bronco Billy or Serpico then that’s a goal scored.
Well they’re just some thoughts, any pet peeves or treasured moments you have from previous Oscars or any things you would suggest for the broadcast. Whatever happens next Monday, I’ll be tuning in, judging the fashion with my wife and mother, texting my best friend during the ad breaks in another part of the country long into the evening about who won and who missed out. Maybe the ceremonies since 2004 haven’t been that bad, maybe the ones before weren’t that great. It doesn’t matter; it’s Hollywood’s night of nights and mine too.
Most people sit in an office cubicle, on a work site, at a factory line for days on end, year after year. The commute might change, the company might be re-located, the pay may increase and the time straining your back may decrease but it’s all the same. Working for a pay cheque towards one holiday, one house, and one kid with a college degree and good teeth. Most enjoy their jobs to a point; very few would state it was their dream. Nobody gets exactly what they want out of life and that’s okay but it’s why we push our kids to pursue opportunity and it is why we watch Greats. Athletes, leaders and celebrities-we’re in love with them all. They tell us they were poor, they tell us they were knocked back and told they were no good and we think yeah maybe if one thing went my way I could have been just like them. How often is that really true? Eddie the Eagle implausibly showed up at the 1988 Winter Olympics as Britain’s sole Ski Jump competitor. His performance was so significantly behind the second last place getter that a new rule was instituted making it more difficult to place in the sport for the Olympics. There are those who to this day who were embarrassed that he was there and confounded by his popularity. That’s because they don’t know what it’s like on that factory floor or in that office cubicle. Eddie had dreamed the impossible dream and we like dreamers. We need them, when they achieve something they keep our dreams alive. They make anything possible, thank you Eddie.
The reality was despite always running low on funds and living rough, Eddie was a gifted and experienced athlete. A quick look at Wikipedia reveals he was the world number nine in amateur speed skiing at one point, narrowly missed the Great Britain team in 1984 for his original sport downhill skiing and had already competed at the 1987 World Championships in Ski Jumping placing 55th in the world when he arrived in Calgary. How many people can say they were 55th in the world at anything?
Eddie the Eagle the movie does not relate a lot of these facts. It makes you believe he jumped the 90m ski jump for the first time at Calgary for example which is not true. I suppose it’s hypocritical to not blanch at Creed which depicts a boxer with limited experience having a bout against the current world champion and then fear this movie is criminally unrealistic when Eddie continues to fling himself down mountains at high speeds with little training but that was my reaction. Maybe I’m getting old but when his father urges him to be a plasterer and stay in England I couldn’t help but see his point.
The film is criminally put together with Hollywood tropes and artificial drama. The film begins with Eddie narrowly missing the team in 1984 for downhill skiing and sets off overseas to train in ski jumping. Early scenes with his father Terry (Keith Allen) are more effective than latter ones. Terry fears his son is throwing away good money and time on an amateur sport which will yield no true results for him. As Eddie waits at a bus stop to leave he drives by and tells him “I’m not made of stone.” And his son replies “Goodbye Dad.” With clear determination to chase his dreams. We like dreamers. We admire both men in this scene for who they are and what they believe. Later the film miscalculates as his father sits down and is surprised his wife is going to watch their son at Calgary. Dad at that point becomes nothing but a caricature that will inevitably make a late minute turn around in his support of his son.
Eddie arrives in Garmisch-Partenkirchen, Germany (he actually went to Lake Placid in real life) with no support and low on funds where he comes across fictional coach Bronson Peary. Peary played by Hugh Jackman conveniently has every cliché you need for a film like this, he’s a former naturally talented skier who never lived up to his potential and now drinks while working the snow plough at the training facility trying to forget how disappointed he made Christopher Walken. Oh. Eddie offers him the kind of redemption his character so desperately needs. Watching Hugh Jackman be ignored by pretty girls and lose fights is a little refreshing but I’m not buying it, he was far more authentic and mature as Jean Valjean. Only one sequence truly implies what is at stake when something goes wrong in this sport which truly requires courage. At Calgary it was perpetuated that Eddie was afraid of heights to which he has said “They said I was afraid of heights. But I was doing sixty jumps a day then, which is hardly something someone who was afraid of heights, would do.” The film does not give the impression Eddie Edwards had done 60 jumps before he arrived at Calgary.
As you may have guessed by now, the film is predictable and full of clichés. But! It’s about a dreamer and we like dreamers. Taron Egerton (a ridiculously good looking kid) convinces as Edwards with a strained jaw and polite manner. It’s a delight to see his steely resolve come out from beneath his unassuming demeanour every time people write him off. Hugh Jackman meanwhile might be too nice to effectively be a grumpy coach but he has an easy chemistry with Egerton and he plays a scene teaching Eddie how to control the body in the run down the slope just right. Others would’ve played it louder and it would have been too much. See the film and you’ll know what I mean.
80s power ballads blare suiting the period and theme of the film and there’s some great location shooting and doubles instead of CGI appear to have been used where they can. The action could have been staged better maybe but we get a sense of the sport and the risks involved. It wouldn’t be argued this is a great film but you follow Eddie in his plight no matter how crazy at times it may seem. Whatever the film makes up, it charms and hooks you in with the true appeal of Eddie the man who is a nice guy and a dreamer… We like dreamers.
In real life Eddie Edwards attempted to qualify for 1992, 1994 and 1998 Winter Olympics. He’s done a variety of things since including co-hosting radio shows and appearing on reality competition television programmes. In 2013 he competed in a celebrity diving TV program called Splash on ITV. He trained hard and did an inward 1.5 somersault pike from 10m in the semi-final. He won by public vote after a synchronised dive in the final. An athlete at heart still, a Champion in spirit, A True Olympian.
Creed is a lot better than most audience members would expect it to be. Combining new talent in actor Michael B. Jordan and director Ryan Coogler with the venerable Italian Stallion himself Sylvester Stallone to produce a film that honours the original Rocky and yet pulses with a story for today’s world.
We first meet Adonis “Donnie” Johnson as a youth serving time in juvenile hall. The offspring of an affair Apollo Creed had shortly before his death in Rocky IV, his mother has also passed on and Mary Anne Creed (Phylicia Rashad), Apollo’s widow, having tracked him down takes him into her home. Adonis as an adult comes from two worlds and does not feel like he belongs in either. He’s made use of the opportunities Mary Anne afforded him to work a white collar job but on his weekends he heads down to Mexico, boxing in underground matches, eager to throw punches at the world. At night he watches Apollo’s old fights and shadow boxes not Apollo’s opponents but the father he never knew.
Shut out from his father’s old contacts he goes to Philadelphia to seek out the man who knew his father as a boxer best – Rocky Balboa. Balboa as a boy was told by his father that he didn’t have much of brain so he better learn how to use his body. Here Balboa sizes up Adonis pretty quick and says you sound like you went to school, you don’t have to fight. Yet fighters fight and even though he has to continually prove it Donnie is a fighter.
He goes to Mighty Mick’s Boxing Gym and trains while pestering Balboa any chance he gets for coaching tips. In the meantime he meets a girl, Bianca, in the apartment beneath his and they tentatively start a relationship. Played by Tessa Thompson, Bianca has got dreams of her own in the music business and deteriorating hearing that puts a clock on her time to achieve something the way an athlete’s body does on a boxer’s dreams. There are echoes of the original Rocky series throughout, two young lovers relax on a couch and long term fans will remember Rocky and Adrian sitting there while Donnie is now the energetic youth around Rocky the way Rocky once was around Mick. Yet Creed is telling its own story to tell with Donnie and tells it well.
The original Rocky was about believing in one’s self enough to take a shot at life. Creed is focussed on a character with a great deal more confidence but still intimidated by the shadow of his father and a world that he wants to enter. By moving Adonis to Philadelphia from his native LA, the film plays up his sense of discovery with the city, love, boxing and himself. Moving at a leisurely pace, equal time is given to the sweet love story and to Adonis learning his profession. Bianca and Donnie’s first date is really about them discussing their hopes for the future and whether the other person will support them or not, appropriate since this film series has at its heart always been about chasing dreams through adversity.
There are 3 matches that Adonis takes part in throughout the film, each shot differently and each displaying the growth of the character. The first shows a young man isolated with no support arrogant in relying on his anger to give him the edge. The second is a stand out sequence filmed in one take over multiple rounds with make-up applied in quick turns to the crowd or corners. This is where Adonis finds out if he can be a true professional boxer able to take hard hits and dish them out. Beyond the virtuoso filmmaking on display, Jordan has trained hard and sells himself as a professional athlete in this sequence. Like a boxer in a real ring, there is nowhere for him to hide any weaknesses. The third and final match is shot more conventionally like a HBO telecast as the young Creed takes on a world champion to prove worthy of his father’s legacy.
Ryan Coogler co-wrote and directed this film as a love letter to his father who was a huge fan of the Rocky series. The film is sprinkled with lots of references to the past that his father should enjoy, including a very poignant return to the steps of the Philadelphia Art Museum, but Coogler is writing a new story to inspire today’s generation. A young kid who never saw Rocky could watch this film, relate to it and enjoy it without the trappings of nostalgia. Coogler’s own father was going through health issues when he wrote it and this inspired the subplot of Rocky Balboa getting sick with cancer. This sub-plot again gets a lot of emotion out of long term fans but does not require familiarity. The reason is that Sylvester Stallone turns in his best performance since Copland. Now the same age Burgess Meredith was in the original Rocky, it’s interesting to note that after all that plastic surgery Stallone looks like a character actor in this film. As a performer he’s gained himself enormous dignity by admitting Rocky and him finally got old. There’s a small scene where he visits Adrian and Paulie’s graves and talks about ageing in a warm casual manner. In his scenes with Jordan every now and again he smiles recognising himself in Adonis at a different time like a father with a son. Sure he shows the physical deterioration of the cancer but the small choices in his performance make him worthy of an Oscar win let alone nomination. Look carefully at Stallone’s face when Rocky is told his prognosis. Or how he plays the very next scene in the gym. If you think Stallone plays it too obvious you haven’t been paying attention.
Rocky Balboa allowed the character to retire with grace and dignity. Despite Coogler’s stunning debut Fruitvale Station, Creed sounded like something that could turn out to be a huge mistake. Instead it is something remarkably special, it gives us a delayed sequel to a beloved series that not only adds in quality to those films but can stand apart on its own. This is one of the best films of the year.
This is it in another 24 hours Star Wars: The Force Awakens will be playing across cinemas in my local cinema and the world. This is the last day I will know as little as I do. The last day I won’t know the answer to a million questions like did Han and Leia stay together all those years since we last saw them? Why not? What has Luke been doing? Are the new characters related to any of the old characters and who out of them will be Force sensitive? It is the last day anybody will really discuss the quality of the trailers because afterwards it will only matter if the film was good. Perhaps most importantly it is the last day to be this excited about a new Star Wars movie. There is something about the thrill of the unknown and the advertised but not yet consumed product. Tomorrow you might see a movie which you love dearly and go back to see 2 or 3 times. You’ll never be this excited about it again.
Disney have played this well. That last trailer has to be the best trailer of the year but it works mostly if you’re a fan. Recent trailers for blockbusters this past month have been shoddy when compared to the marketing for this movie. They’ve put the new characters Rey, Finn, Poe and Kylo Ren front and centre because they are where the franchise is heading and these films have to speak to a demographic that at best grew up on the prequels. Rey says she’s no one but we know she is going to prove to everybody she is someone. She dreams of adventure and seeing beyond where she grew up. A young man once looked out at two suns and thought similar thoughts. Finn does not know his purpose anymore or even who he is. We know he will find out both in this story. These are questions all of us ask of ourselves at different points of our lives but most keenly when we are young. Audiences could relate to Luke Skywalker in his dreams for adventure in the original Star Wars. Rey and Finn will do this for another generation.
Speaking of generations the trailers suggest Han Solo and Chewbacca will be guides for Rey and Finn throughout this universe and keepers of past stories much like millions of parents will be as they take their kids to see this space opera which is kind of like Guardians of the Galaxy only less funny sweetie. “A Jedi. The Dark Side. It’s true, all of it.” Han says in the trailer and these are the kind of words you would tell a child when telling Star Wars as a bed time story.
For my generation they’ve handed out nostalgia hits with John Williams score and money shots of the Millennium Falcon which paradoxically may not hold much appeal for Millennials. But make no mistake this is the ultimate 4 quadrant hit. When the Falcon moved into hyper drive and the score kicked in I felt goose bumps all over. At the end when Lupita Nyongo told me “The Force it’s calling to you…just let it in.” the Meta was strong with me. A million fans who felt burned by the prequels would’ve all felt the same way – she’s talking to me directly and I do want to let it in. I don’t think it’s unnatural to feel directly addressed by a trailer and yet share that feel with millions. These are films after all that make fans feel a tremendous sense of ownership. Look at the furore over Greedo shot first and the insistence that is it Star Wars not Episode 4: A New Hope!
Disappointment over J.J. Abrahams last film Star Trek: Into Darkness has tempered some expectations but his Super 8 felt so much like a movie from the 1980s made for kids that I believe Abrahams will nail the feel of the original trilogy’s world. I’ll make a prediction here and now and it’s the safest bet. It will be good, it won’t be terrible and it’s won’t be great. It can’t be 1977 again. The freshness is gone. I suppose Mad Max: Fury Road, Creed and Skyfall felt like films of their franchise but reinvented for a new modern age and as good as anything that came before. Maybe Star Wars could do that too and I hope it does but that is a hell of a thing to pull off and even then can it possibly meet the expectations set by that final trailer?
Part of what has me nervous is how excited I was when The Phantom Menace trailer dropped back in the day. It’s fascinating to look back now and see bits of scenes that were awful in it. Look Obi Wan is shaking Jake Lloyd’s hand but that’s the kid that says “Now this is pod racing.” All that CGI which at the time was exciting because we’d never seen anything like it and the scale was so impressive. We couldn’t tell how fake it was all going to look. There’s Jar Jar Binks getting zapped by the engines but we didn’t know how maligned his character would be. Jar Jar, Watto, battle droids these were impressively rendered CGI aliens who opened up the scope of the universe like the aliens in the original had. Lots of space battles. None of that suggested the endless boring political subplot. Ewan McGregor sounded so much like Obi-Wan I wondered if he’d been dubbed by Sir Alec Guinness who was still alive at the time. Yoda my favourite character was back and his dialogue was good and Samuel L. Jackson was going to be a motherfucking Jedi!!! It’s pretty fashionable these days to hate the prequels and my sentiments are with the original trilogy but I’ve got to say I don’t hate them. There are things I find in all of them worthwhile. In The Phantom Menace I really like Qui-Gon Jinn as a character and I think Darth Maul was suitably awesome as someone who made two Jedis look brave for going up against him. The Pod Race was fantastic and meeting Anakin as a slave’s child on Tatooine was a really interesting choice. But I digress. I went to a midnight screening with two friends from high school. I was 18 and about to leave uni in my first year. We caught a cab into the city afterwards just to walk through it in the middle of the night. Desperate for freedom and to see the world, like a certain young Skywalker I guess. Dissecting everything, discussing where to go in the sequels we liked it but things nagged at us. The biggest thing for me was the flow of the film, the dialogue often seemed stilted and the scenes rushed quickly by but paradoxically dragged as well. To me the story settled down best on Tatooine but the beginning I had found very jolting.
If anything makes me real nervous it is that we haven’t seen any scenes from the film yet. I don’t know if the dialogue will not flow any better than a prequel at this point in time but JJ and Lawrence Kasdan haven’t written bad dialogue in the past so I remain hopeful. I’ll be honest as a teenager back in 1994 I read George Lucas was going to make new Star Wars movies and I got really excited. The original trilogy had alluded to such a rich history and vast universe that my head spun with the possibilities. Yet even as a teenager I sat and wondered if Lucas could still make good movies. Radioland Murders, Tucker, Howard the Duck and Willow were in the rear view mirror at that point. I was right to be worried then. I hope I am right to be optimistic now. One more day and we’ll know. May the Force Be With You.