Ensign Lestat's Film Log, 12.19.2016
'Rogue One: A Star Wars Story' had me concerned from the moment I heard about it. Over the past year and a half since it was first announced that this spin-off had been created, I worried endlessly about how it would ruin the franchise I dearly loved.
While everyone hates the prequel trilogy, I've always loved it. It is an integral part of my teenage years, and despite its many flaws and missteps, those three movies have a special place in my heart.
Going into Rogue One, I was disconcerted by the thought that we may have lucked out with 'Star Wars: The Force Awakens'. To have two good Star Wars films in consecutive years seemed an impossibility. It also irked me that while the enormous male cast was hugely diverse, the film appeared to star only one woman, albeit in the lead, and she was white.
Despite my best attempts to avoid as many trailers and clips as possible, I ended up aware of most of the cameos. I think only one was not revealed. It was with immense trepidation that I finally entered the theatre. Tickets had been purchased a good two weeks in advance (we are never this organised), and the week of its arrival was full of an unexpected anticipation. For reasons beyond me, I was counting down the days till we would be able to watch the film. Was the Force trying to tell me something? This is a spoiler-filled review, so go out there and watch the film before proceeding.
Strangely the film starts sans the familiar theme and opening crawl. It's disorientating to say the least, as we're thrown right into the action, which is the origin story of our protagonist Jyn Erso (Felicity Jones). She watches as Imperial Director Orson Krennic (Ben Mendelsohn) kills her mother and forces her father, Galen Erso (Mads Mikkelsen) to rejoin the Empire and build their weapon. Now on her own, she's taken in by her parents' confidante Saw Guerrera (Forest Whitaker). Next we see her all grown up, captive in a prison full of stormtroopers.
We are then whisked away to the Rings of Kafrene, a bustling city packed with people and Imperial stormtroopers. We meet our next lead, Cassian Andor (Diego Luna), an antsy rebel Captain, desperate to get information out of his informant. But their scuffle catches the eye of some passing Imperials, who Cassian swiftly dispatches; only to realise his informant's disability prohibits him from climbing out of the area. Cassian soothes him but then does the unthinkable, shoots him in the back so as to get on his way. It was truly shocking the first time I saw it, but what's far more interesting is how appalled he is at his own act. Characterisation in one scene.
We hop over to Jedha (not to be confused with Saudi Arabian city Jeddah), a giant desert land where a prisoner desperately pleads with an alien to take him to see Saw. We later find out this prisoner is Bodhi Rook (Riz Ahmed), the Imperial defector Cassian's informant told him about. He has a message for Guerrara from none other than Galen.
We're taken to yet another world, this time an Imperial Labour Camp on Wobani, where Jyn attempts to break out of captivity, only to find out she's being rescued. By whom? None other than the Rebel Alliance. They need her to get in touch with Saw, who is on Jedha, heading a militant group of Rebels called the Partisans. Jyn accepts only after they promise her freedom. There's also her unspoken hope that this mission will reunite her with her father. Unbeknownst to her, Cassian is ordered to shoot Galen on sight, a command that does not sit well with him.
Back on Jedha, a transformed Saw Guerrera attempts to get at the truth behind Bodhi's claims by torturing him with some giant octopus-like creature. Couldn't spell its name if I tried. The side effects of such ministrations, according to Saw, is that the victim tends to lose their mind. Nice knowing you, Bodhi.
Jyn, Cassian and his reprogrammed Imperial droid K-2SO (Alan Tudyk) land on Jedha and attempt to get to Saw, only to find themselves in the middle of a fight between militants and stormtroopers. Jyn is gung-ho about getting into the fight - ready with her weapon, but Cassian holds back, reluctant to shoot unless absolutely necessary, yet always displeased by the consequences. Just when the situation seems to be heading south for good, former Guardian of the Whills, Chirrut Îmwe (Donnie Yen) and his comrade Baze Malbus (Wen Jiang) come to the rescue. Only for the entire team to end up being captured by the militants and locked up in Saw's prison.
They find themselves alongside a dazed Bodhi, who is brought back to normality by Cassian's reminders of Galen. Jyn, on the other hand, is taken to meet Saw, for whom she no longer has any affection. He does, however, play Galen's message for her, one that seeps into her hardened heart and stirs her into action. It's the first time we see any emotion from Jyn. How she was able to process all of Galen's instructions is still beyond me. It would have been an overwhelming experience for any person to see a vision of their only living family, no less her father, after 15 years. She's stupefied for some time, but her reverie is cut short when Krennic, on the behest of an excellent CGI render of Grand Moff Tarkin, razes Jedha to the ground using the Death Star.
And thus, Rogue One is born. With the slow build up introducing us to all the characters, including the central villain, we can get on with the plot, and more characterisation and more cameos.
The team-soon-to-be-named-Rogue-One heads off to Eadu to find Galen. Most of them think they'll be rescuing him, but with his kill order gnawing away at him, Cassian becomes anxious and irascible. It doesn't help that landing on Eadu damages their ship beyond repair.
Cassian isn't able to follow through with his orders, something that the audience would have seen coming, but this doesn't stop Galen from being killed anyway by a raiding Alliance Squadron. Thankfully, Jyn is able to speak to her father before he dies, and reassure him that she will carry out his mission and end the Empire. It's a touching and heart-breaking moment, followed by an exquisitely authentic confrontation between the two lead characters.
Jyn calls Cassian out for trying to kill her father, only for him to point out that he was not only under orders, but that the Rebellion has to do everything that is necessary to win. I love that it all ends with her saying he can't talk his way around it, and him retorting with 'I don't have to'. Because they are both correct in their understanding of the situation, yet they are both so very wrong as well.
From this point on, we see a very different side to both these characters. Back at Yavin IV, Jyn tries to persuade the Alliance to follow through with her plan of attacking Scarif and retrieving the Death Star's structural plan so that they can find the flaw that Galen has built in. Surprisingly, she doesn't succeed in swaying them. This happens because of plot purposes, but it's still refreshing for people to not just accept the word of an arbitrary character simply because they happen to be our protagonist.
This leads to the greatest patch up scene in all of Star Wars (I have decreed it). Cassian, accompanied by the surviving members of Saw's Partisans, sides with Jyn, expounding his need to atone for his sins committed as a Captain in the Rebel Alliance. Despite bordering on expository, it is a revelation that was waiting to happen, and is well-acted and integral to his character's growth.
The team steal the stolen Imperial ship they had flown in and Bodhi, in his attempt to get them off the ground, ends up naming them Rogue One.
The climactic scenes are the most Star Wars-esque aspect of the film. We have a space battle, a strike team, and three infiltrators. The beats are in sync, unlike in TFA, which got them horribly wrong. Jyn is completely calling the shots by now, with Cassian looking to her for his strategic cues.
It isn't long before the Imperials are hollering down the comms about the raids and this filters through to the Alliance. The space battle now sees the entire Rebel army entering the fray, trying to fend off the Star Destroyers while Rogue One attempts to retrieve the Death Star plans.
It's an exciting sequence, pared down by some quieter moments between Jyn, Cassian and K-2, as well as the fumbling attempts of Bodhi to keep it all together on the ground.
And then, just when you think everything's going well because Jyn and Cassian have the location of the data disk, Bodhi's been able to patch the communications through to the Alliance fleet, the fleet has successfully brought the shields down, and Chirrut and Baze are successfully vanquishing stormtroopers, everyone dies. Not kidding: 'everyone dies in the end' is the only way to put it. Our Rogue One team, each and every one of them, is killed on Scarif. And suddenly, you realise you love them, and you love this film, and there are unnecessary tears impeding your view of the credits.
Rogue One creeps up on you as a favourite. During the first half, because it was rather slow and inactive, I was imagining all the prequel-series hate that would be levied at it. But when the second half happens, you're floored, taken in and, quite honestly, in love. I no longer remember why I was so concerned about this film, or the characters/ actors in it, because they are my ultimate favourites.
The many throwbacks in this film to 'Star Wars: Episode IV - A New Hope' imbue it with the kind of nostalgia we all love, while still holding its own as a complete story. Who knew that in the end Rogue One's efforts were to get the Death Star plans on to the Tantive IV and into the hands of Princess Leia (who appears as an unsuccessful CGI version of a younger Carrie Fisher). When I first saw the interiors of Tantive IV, I leapt in my seat and practically wept as Leia said that Rogue One had brought them 'Hope'. True confession, second time around I actually did weep when she said that, because this time I knew I loved these characters and was heart-broken at the sacrifice they made.
Rogue One is the first of a planned Star Wars anthology series, and I hope it starts a trend of really good, evocative and provocative space dramas. Many people are pointing out the film's more political leanings - well, Star Wars has always been political. The Imperials are basically space Nazis who only know how to torture and kill to get their own way. They've been that way since ANH.
The prequels were also reflections of the political environment in the US, with 'Star Wars: Episode III - Revenge of the Sith' actively aligning Anakin's leanings to those of the Bush administration.
TFA's General Hux is basically Hitler with ginger hair. They don't even try to hide it. Levying the argument that Rogue One is too political does it a great disservice. It is of the world that it was born into and born from. And yet it professes a message of hope, one that all of us who have lived through 2016 so far really need. It is films like this that remind one why we flock to the cinema - we need happiness and we need hope, and sometimes that comes packaged as a ragtag team of misfits bumbling their way across the galaxy to victory and death.
When on Jedha, I was surprised to see the militants were veiled and covered in Arabian garb. At first, I was very annoyed by this. We're showing Middle Eastern-like people bombing places and people, what a terrorist stereotype! But these aren't just people they're attacking, these are stormtroopers, they're the Empire who have invaded these so-called militants' homes, taken their resources and tormented them everyday. This wasn't a stereotype, this was the creators calling out our acceptance of the invasion of Arab Worlds and then referring to the victims as terrorists for wanting their countries back. Yes, this film is political, it has to be, because we won't pay attention otherwise.
Before I begin extolling more of the film's virtues, let me point out a few of the negatives. For the first time ever, a live-action Star Wars film is not scored by John Williams. Michael Giacchino's score doesn't have quite the same impact of Williams' work. This may be an inherent bias, but those spine-tingling epic crescendos are missing in Rogue One. The standout musical moments were the throwbacks to Williams. I feel like Giacchino got the job because he's always worked with J.J. Abrams, and now that Abrams is a Star Wars king, what he says goes. I'm all for looking to the future and not relying only on Williams, but couldn't we get someone whose work is better?
CGI - What was up with that choice? Grand Moff Tarkin is completely CGI and it is mostly convincing. The trouble is when the character speaks. It's a bold move by the director, but not completely successful. Somehow, young Leia's two seconds on screen is even worse. I'm surprised, given how successfully 'Captain America: Civil War' was able to age down Robert Downey Jr. for a significant amount of time. Not sure why director Gareth Edwards didn't use the same technology. It would have looked brilliant.
Women are all but missing in this film. I love that Jyn is our hero. We need more women leads who are negative and selfish and unkind and complicated, yet grow to become heroes because the situation calls for it or because they know that they must. But she's pretty much the only woman among the heroes. Young Mon Mothma commands the Alliance, we have a vehement Black woman on an opposing side, Jyn's mum, who is killed for plot purposes (not without a fight however), and three pilots in the final Scarif battle. That's pretty much it. And I was complaining about TFA!
I understand that part of the reason for this is so that the lack of women in ANH will not feel so drastic for the viewer, yet it's a step back from TFA, and that film was not very good at female representation either.
It is especially irksome given how ethnically diverse the main cast are. While we could have done with a POC woman finally leading Star Wars (when will that happen?), the rest of the gang are made up of half-Mexican Luna, Chinese Yen and Wen, and Pakistani-origin Brit Ahmed; not to mention Aussie Mendelsohn, African-American Whitaker, Latino Jimmy Smits (back in the form of scene-stealing Bail Organa) and Danish Mikkelsen.
We get to listen to a range of accents, some more pronounced than others, like in Luna and Mikkelsen's case, while Yen and Wen have subtler ones. Ahmed's was a bit up and down; but turns out that his natural one. Having only seen his American roles, I assumed this was another one he was trying on for the character, but his reticent vocal fry gave Bodhi an air of innocence and timidity that leant itself well to the character. It's unusual to come across such a range in any blockbuster, and them not being token characters, but full-fledged ones, makes it all the more special.
Which is why the absence of more women was so obvious. I firmly believe the creators should have made more of an effort to include women, even if it didn't fit the ANH mould. Or make up an explanation, excuse, anything, as to why they weren't in the original trilogy (without trashing those). They aren't even seen in the Rebel base - even 'Star Wars: Episode V - The Empire Strikes Back' included them in strategic positions. Rogue One should have done the same.
How would the story have gone had Lyra been the scientist and Galen the dead father? It's the first thought that entered my head when I saw the film, and has stayed with me since. We're so used to movie mums being killed off and movie dads (dead or alive) being upheld as pinnacles of aspiration, that Rogue One would have done well to subvert that trope. For one, it would have meant an extra female character in the cast, one which would not have impeded the overall look of the original trilogy. We have a great hero in Jyn, why not give her a great woman to look up to and aspire to be?
Story-wise, I am more than impressed by how the writers were able to flesh out the characters without relying too heavily on exposition, while also making a concrete plot that led to the events of ANH.
There's plenty of detail in every scene and in much of the dialogue. The espionage narrative is the strongest, and there are clues pitted throughout revealing what's to come. Unfortunately, the many trailers and promos detracted from the mystery, but it still is gripping throughout.
Nuances like the Empire claiming on Jedha that there's a reward for a 'missing' pilot (Bodhi), when in actuality he's defected, stood out for me. That and the overriding view that most Imperials are idiots and have to be told what to do, as in the case of the battle on Scarif.
Additionally, despite the disorientating nature of all the planet-hopping, the locations were brilliant. Loved the desert land of Jedha, the dichotomy of Kafrene, as well as the uber-beautiful Scarif, a location that is quite out of sync with the demise of Rogue One, but completely in line with the film's bright outlook.
And now, on to the characters:
Orson Krennic - Actively hate this guy. He's not as evil as he is petulant, which is weird, because Star Wars' newer villains all appear to be petulant. He's adamant that the Emperor be made aware he's behind the Death Star, but gets short shrift from Tarkin and from Vader (yeah, Vader's in this film, but his theme is not). Krennic keeps trying to get in the way of Rogue One, but they get the better off him in the end. Nothing made me happier than watching him look up after being shot by Cassian to see the Death Star had targeted the very place he now lay in. Revenge is sweet!
Saw Gerrera - Never caught him in 'Star Wars: Clone Wars', but he felt like an extra cog in the Rogue One wheel. Maybe it's because I just wasn't taken by Whitaker's performance in this film, but Gerrera never came alive for me. His performance was uneven - hammy one moment, pretentious the next. His militia were more interesting than he was. I also couldn't tell if they were trying to make Saw's appearance disturbing or humorous, because Bodhi's confused look echoes ours. It's almost as if he was included simply so that they could say there was a black dude in the film. Pretty sure we could have had more POC people and Black people on the Rebel base (with speaking lines) who would have had just as much screentime as Saw.
Having said that, it would still be interesting to know what made him so much of a cyborg (his sister Steela's death, perhaps?) and how he was able to command such a formidable militant group. There's history right there begging to be written.
Darth Vader - He appears for three scenes (approximately), and is introduced in his 'castle' on the Mustafar system. Now, I understand Darth is a sinister villain and we must make him as scary as possible, but for me, to see him living in a bacta tank on the planet that led to his ruin and life-long suffering was one of the saddest moments in the film. Complain as much as you want about the prequels, but I'm never going to forget how I spent the entirety of ROTS thinking everything would turn out fine for Anakin and Padme, only to realise, when Anakin was burning up in lava, that that was never on the cards. But the Anakin we knew was a character and a person, whose reimagining as the template for body-horror villains struck me as melancholic. He remains just as forbidding when in his suit, especially given the return of James Earl Jones' voice acting. I think it's telling that the only time we see a lightsaber in Rogue One is when Vader is wielding it to get to the Death Star plans. It's a great anticipatory shot, albeit a very dark one, that appears to be a precursor to the claim that the Jedi are indeed an 'ancient religion'.
Galen Erso - We see very little of him, but he is an intelligent man with boundless love for his family. His most important scene is a prolonged expository monologue, which is an unfortunate way to reveal the true reason for his message - the flaw he's built into the Death Star. His most memorable moment is on Eadu, when he willingly gives himself up to Krennic in lieu of saving his engineer comrades. It is all in vain, however, but at least he dies knowing his daughter is not only alive but a potential saviour of the galaxy. He seems a likeable character, one we would have seen a lot of in another film, but thankfully not in this one.
Baze and Chirrut - I'm writing them together because this pair is inseparable. They are the most unlikely heroes I would have imagined in any action film. Chirrut is blind and Force-sensitive. He's full of optimism and light. Baze is cynical and jaded, living with his weapon on his back. He is skeptical of the Force and Chirrut's reliance on it. But it is evident the two of them have been by each other's side for a long time. They bicker like an old couple, but rely on each other's protection to get by. Chirrut is hasty when getting into a fight, and is only able to do so because come hell or high water, Baze is close behind him, weapon at the ready in case Chirrut doesn't see an enemy coming. You can see the concern etched on Baze's face every time Chirrut walks into gunfire and the look of knowing on Chirrut's when Baze saves him.
These two have the best action scenes in the film. Chirrut's moves are a cool mix of martial arts and Star Wars magic while Baze is a grizzled old trigger-happy fighter.
I'd love to know the backstory of these two and how they became so close. I kept feeling, throughout the film, that there was something more than just a comradeship between them. It struck me, especially given that once Chirrut dies, Baze pretty much runs into certain death, but when it is his turn to die, he makes sure that the last thing he sees is Chirrut. I don't know if I'm reading too much into all this, but it's a relationship that is played out excellently throughout the film. It helps that Yen and Wen have superb chemistry and they riff off each other perfectly.
K-2SO - I heard a lot about the droid that everyone liked from the trailers, but I knew nothing of him. I couldn't imagine what appealed to viewers till I watched the film. Where BB-8 was cuteness overload, K-2 is the king of snark. I absolutely loved him and the huge infusion of humour he brought to the proceedings. He wound his way into our hearts without us even knowing. Trust Star Wars to make robots lovable; well, they've been doing it since 1977. Alan Tudyk's voice acting is brilliant, and I think he needs to consider it a mainstay of his career in the future.
Even though K-2 doesn't care much for Jyn, it isn't long before she wins him over with her kindness and courage. I would love to know, though, what Cassian did to get this droid. A reprogrammed Imperial droid would be very valuable as a resource to Alliance members, yet Cassian's the one who has him. Snark aside, they treat each other like friends, with K-2 displaying remorse at hitting his friend and concern for his well-being at every turn. K-2 also does everything that Cassian says (unless it's to stay behind; no one follows that order), which makes me wonder what power Cassian holds over him. They've evidently worked together for a while, so there's a story we all want to read about.
K-2 is the first of Rogue One to die. His death is tragic, especially given that his final act is to make sure Cassian and Jyn know how to get the data disk and to ensure their safety. It was a sad, heartbreaking moment. If only we'd known then that the heartbreaks were just beginning.
Bodhi Rook - A major part of the reason to watch this film (aside from it being, you know, Star Wars) was to finally see a sub-continental origin actor as a lead in a blockbuster. We're pretty invisible in these kinds of films, which frustrates me no end, especially as I grow older. To see a Pakistani-origin actor as one of the leads is pretty fantastic. Riz Ahmed is quite talented, and though I haven't seen all that much of his work, I feel like greatness may be around the corner for him. His Bodhi is an unlikely hero but an endearing one. When first we meet Bodhi, Riz does an amazing job of mushing his words and imbuing humour and realism into a tense scene. He's a scared, jittery character which fits in with the Empire preying on and recruiting the weak and keeping them that way.
Bodhi's been a part of the Empire, and being a defector puts him in unknown territory. Poor guy's captured, tortured, imprisoned and witness to his home city being eradicated by the Death Star, so it's no wonder he's a bit uncertain about his actions.
I was sure Bodhi would turn out to be a bad guy, because anyone with a Muslim name in Hollywood nowadays can't seem to escape the terrorist stereotype. But Bodhi isn't the bad guy, he's just trying to be brave and do what's in his heart.
Riz has excellent chemistry with all the crew, and his best moments are when Bodhi finds his courage. I find it interesting that he makes such a drastic leap on the behest of Galen. It's evident Galen was a huge figure in his life, because otherwise I can't see how someone as timid as him could have defected. Also, the very last thing he says before being blown up is 'This is for you, Galen'. I'm foreseeing a backstory of Galen grooming him for this very mission, and him looking up to Galen as a father figure.
Can I just say that what appealed to me most about Bodhi was how frenzied his mind was in stressful situations? He can't hardly keep up with the many thoughts in his head, displaying a kind of verbal dysphasia, which is why we often see him stop and compose himself before speaking. This is especially apparent when he is finally able to contact the Rebellion when Rogue One is on Scarif. He blurts out the first thing that comes to his mind, but then has to backtrack and get the message across coherently. I do that all the time - that's so me, and to see Bodhi (a sub-continental person like me) do the exact same thing was incredibly life-affirming.
I do wish Bodhi had been given a couple of action scenes. He's the only one who doesn't get in on the action, which is a bit of a shame. He doesn't even get to land a punch! But he has a lovely subtle story arc of finding the bravery that has been asked of him and playing an integral role in ending the Empire. That resigned look on his face when the grenade lands inside the ship is a truly tragic end.
Jyn Erso - I will admit that I found her a little cliched when I first saw the film. Not because she travels the path of usual female characters, but that she takes the common route of a regular hero. Starting off as a criminal in prison who agrees to this mission only to gain her freedom, it is her link to her father that keeps Jyn going. But, once she realises that her father's plan will destroy the Empire, she makes the mission her own. Suddenly, the Rebellion is real to her and she takes this opportunity with both hands. She's not a strategist or a soldier, but she makes great speeches and has hope in abundance. She is very accepting of her circumstances. In the end, she welcomes her death in the arms of her comrade (or something more?). While not an impressively innovative journey, it's still a well-rounded character we don't get to see many women play.
It's refreshing to see a Star Wars film not governed by a Force-sensitive character. Jyn goes about things by her wits and her courage. She is another uncertain hero, and her mousy appearance coupled with her hesitant speeches make her at once relatable and likable.
In Jyn we have a balanced hero who knows enough. She's had to be street-smart, hence her eagerness to retaliate. But she doesn't care about politics so most of those conversations are ignored by her. She doesn't have much technical prowess - so we don't suddenly see her manning the big guns or the cockpit. What she has is instinct. It's no wonder Cassian turns to her for direction once Rogue One absconds to Scarif. She's just an average person who believes that the war can be won by hope (that's Cassian's fault). She's a different kettle of fish than Rey (Daisy Ridley) whose Force-sensitivity enables her quick reflexes and seeming expertise in all skills.
Jones emotes well, but is a bit flat when Jyn is stoic - which is most of the film, unfortunately. I think she could have done more to bring Jyn alive, but I think we love Jyn irrespective of this, because she commands her own presence.
How refreshing is it to see a central female character not involved in any romance? There's no hint of it in Jyn's past (coloured as it is by her criminal actions), and none that is burgeoning during the course of the film either. The filmmakers certainly throw in plenty of red herrings where Jyn and Cassian are concerned, but not till much later, and they thankfully do not act on it. Another trope bites the dust in Star Wars.
Even Jyn's interest in Cassian, whether romantic or friendly, only surfaces once she has his full support. While it's not spelt out, Jyn's line to Cassian about her not being used to people sticking around in a fight is exactly how her life has panned out. When things got too rough in the Empire, her parents split to the back of beyond. The moment Krennic came after them, she was told to run. Just when she was getting back on her feet, Saw disappeared. It has been the story of her life. And now she has Cassian on her side. She had given him short shrift till this moment, when he does something no one else in her life has - taken a stand, by her side.
The film is littered with moments like this - snippets of dialogue or expressions that give away deeper histories of each of the characters. Each character is a fully realised version of themselves, irrespective of how much or how little we see of them. There's plenty of mystery surrounding Jyn's life in between the first scene of the film and her reappearance in prison - let's hope someone writes some good stories about it soon.
Cassian Andor - Watching this film was tense because I didn't know whom to trust or like. Everyone has gray areas, none more so than Cassian. As mentioned earlier, when we first meet him he shoots an innocent man to expedite his own escape. It's such an unusual incident, that the first time I watched the film, it took me a moment to realise the shot that killed the informant came from his gun. It was during my second viewing when I noticed the sickened look on his face following the informant's death.
Cassian is ruthless in his appraisal of Galen Erso (something he's obviously passed down to K-2, who voices similar concerns) and Gerrera. He is the kind of anti-hero who pushes the boundaries of acceptance, but still redeems himself through a number of acts. Despite being given direct orders to kill Galen, he relents and doesn't. He's killed under orders before, that is evident from his behaviour, but he is unable to cross that line any more.
Cassian is best at talking his way out of things. He successfully brings Bodhi back from Saw's ministrations, a scene that I wish had been prolonged. It hinted at Cassian's soothing negotiating powers (as seen in the informant death scene). It's also the kind of talent that characters played by male actors do not often have. They usually punch people back to normality (see: Hulkbuster fight in 'Avengers: Age of Ultron'), but Cassian tries to get to the heart of people to get what he wants. In this case, he needs Bodhi the Imperial pilot, and he gets it.
To break it down a bit, let's assess the first time we see Cassian use this skill. He and his anxious informant are having a chat, one which the informant (one day I'll know his name) is desperate to end so that he can get out of the system. But Cassian's aggressive, shoving him into a corner to get his answers. This attracts the attention of the stormtroopers. Cassian's quick-witted and a quick shot, but him killing the Imperials sends the informant over the edge. He's panicked and frightened, and you can see that he is a second away from making a scene that will give them both away. So Cassian approaches him as a friend, assuring him that everything will be fine. When the shot is fired, the informant is completely calm thanks to Cassian's ministrations. It's all to save his own skin, of course, but that's a much better way of going about things (especially if the final plan is to just kill the other guy) than start a fight and be all bloody and bruised.
With Bodhi, Cassian doesn't see him as a threat, but he isn't dispensable either. When Baze is going all Chewbacca on his non-reactive self, Cassian gets him out of the way so that he can connect with Bodhi.
Not for nothing does Baze later describe Cassian as having the face of a friend. It may be the politest, non-gayest way of saying he's pretty as hell and doesn't look like he could hurt a fly (or is that my assessment?) but it is a true description of the character as well - Cassian is kind and generous and his greatest asset is his ability to be a friend. When he finds Bodhi in the cell, he comes at him as a friend, reminding him of who he is, why he's there and who he's here for. As I said, had the scene been a little longer we could have seen Cassian really fill out this ability of his.
Contrast this with the contrived malarkey that went down in Ultron where the only woman on the team had the superpower of the 'lullaby' which brought the Hulk back to being Bruce Banner. It was extremely out of character for the Black Widow, who, up until Joss Whedon decided she wasn't maternal enough, had no time for molly-coddling anyone. Here, it's a given that only SHE can do this because of her otherworldly womanly powers.
The one time during the film when Widow is unavailable for her mommy role, Tony Stark has to step in to bring Hulk back. How does he go about it? Not in the way that appears to have worked for the Avengers team in between films; no, he brings out his biggest guns (and suit) and literally tries to beat the sanity back into the Hulk. That works as well as you can imagine. Tony's actions are very in character, but the inaction of his team mates' suggestion that he use the 'lullaby' is not.
On the back of these kinds of plot moments in stories immemorial, Cassian is a novelty worth repeating.
I've never seen Diego Luna in anything else (though his name sounds very familiar), but he is undoubtedly the outstanding star of this film. It takes a brave man to take on a role where he's the leader for one half of the film, and a follower for the next, but he does it with aplomb. His nuanced acting brought Cassian alive. Whether he knows it or not, Luna made Cassian so real. You could see the fight within Cassian at every turn. How antsy he gets when he nears potential fight zones, how agitated he is when he knows he will need to execute Galen soon. He is a man who has been battling his moral compass for far too long. It's evident he hates confrontations - when the militants attack on Jedha, Cassian keeps calling to Jyn to return to safety and not enter the fray. He takes forever to shoot, and only does so when there is a direct danger to him and Jyn. And it sickens him. In every scene where he has to shoot and kill, he looks sick to his stomach.
Cassian has a commanding presence without being overly aggressive. I don't know if it's because he's an actor of colour, but that air of machismo is missing from his performance and his character. It's similar to Finn (played by the lovely John Boyega), who was an everyman once out of his stormtrooper uniform, trying to get his head around this brave new world he's found himself in. He too had a strong moral core, one that propelled him to rescue potential victims even though they were strangers. He also isn't the main hero of the new trilogy, a role I'm sure would have been really hard to give to most young white male actors nowadays. Perhaps I generalise, but these earthier, meatier roles aren't the kind our superheroes play, and most of our superheroes are all white.
Back to Cassian. Perhaps the only let down in Cassian's entire arc was the Eadu scene. We see Cassian at his anxious best, and without him saying a word, we know that it's because of the impending assassination he must carry out. Once in position, he sends Bodhi away so that he can take aim at Galen. Yet, despite all the wonderful tense build up, the moment when he gives up is poorly played out. I blame the director and not the actor. I feel like something may have been cut, or redone. Cassian just lets go of the trigger and that's it. That's not how we wanted it to go down. We should have concentrated on his struggle; on him beating his own demons.
Moving on, I was at first confused why Cassian seemed overly concerned about Jyn's whereabouts. Frankly, Jyn is his charge and I've come to the conclusion that he was unwilling to sacrifice any person's life, especially not of any Rebel. Having said that, he and Jyn had no concept of personal space (one could say these were manifestations of some deeper feelings between them), which could be the reason why he appeared to care more for her.
During their confrontation about the assassination attempt on her father, he rapidly closes the gap between them, bearing down on her with a sense of urgency, apt self-righteousness and purpose, more than aggression. I kept thinking the scene would end differently, because of how outraged he was, and how calm she appeared. This is going to sound really silly, but when Cassian is nose-to-nose (figuratively speaking as there's quite a height difference) with Jyn, I was convinced, during my first viewing, that their fight was about to end in a kiss. I kid you not, I was tense with fear that the writers, keeping in line with the overall '70s feel of the film, would give the scene a '70s film ending. Imagine my relief and surprise when they end their fight by one upping each other before Cassian walks away - like most people do. Hollywood has never understood people, but Rogue One does. No unnecessary destruction of a fantastic scene, where we meet both the real Cassian and the real Jyn.
And they're comrades again two scenes later. I'm guessing Cassian heard some of her ideas about taking down the Empire during Jyn's discussion with the Alliance. We don't see him in that scene, which makes me think he wanted to hear her out in secret, establish the authenticity of her plan and then back her play.
It's interesting to see him side with Saw's militants when he proposes his plan to join Jyn's coup. His revelatory speech, another first for Star Wars, establishes the gray areas of the Rebel Alliance, and the sacrifices the Rebellion asks of its people. It's evident he doesn't see himself as any different from the militants who kill and maim for the cause. I firmly believe he never stooped to that level, or didn't have to, but Cassian paints himself with the same brush.
From this point on, he's no longer calling the shots. He turns to Jyn for guidance and decisions. I like that about him. He's charting unknown territory - Jyn has the message from her father and his knowledge. Not once, during this second half, does Cassian try and dominate the proceedings. He has the ideas, but only Jyn knows when to execute them. He's listening as she gees up the strike team before the battle. He waits for her signal before launching the ground attack. Even when they're in the database vault, she takes the lead in leaping to the tower of disks. It's almost as if he needs her strength to inspire him.
I'm iffy about Cassian's two deaths. First time around, when we see him get shot and fall painfully on a platform below, there was a hush around the theatre. It was close on the heals of K-2's death, but we weren't expecting it. Well, actually, some of us knew he was a goner when Krennic started shooting and Cassian couldn't get out of the line of fire.
But we weren't allowed to mourn Cassian for long. In the very next scene Chirrut is killed. Then Bodhi, who has fulfilled his mission, is hit by a grenade. And right after, Baze walks into heavy fire and another grenade. The only Rogue One member left standing is Jyn, and she almost doesn't fulfill her mission because of Krennic.
But voila! Krennic is shot by Cassian who is barely holding up. I have an issue with this scene. While it was brilliant to see Cassian alive again, next to never do you see a male protagonist sans weapons, or unable to defend himself in any way. Had Cassian not been alive, I'm thinking the only thing that may have saved Jyn would have been some quick acrobatic manoeuvres and a super-stealthy kick to Krennic's face. Actually, scratch all that, Jyn probably didn't need Cassian to save her, she would have successfully got Krennic herself. They just wanted to bring Cassian back with a bang.
Once Cassian shoots Krennic, Jyn is able to transmit the giant data file through the giant disc. And then the two of them limp away from the citadel. But here's the curveball that Rogue One unexpectedly throws at us. We're watching our two (romantic?) heroes essentially walking away into the sunset, except, at that moment Tarkin decides to use the Death Star to blow Scarif sky high. No never mind that there are Imperial troops down there. He wants nothing to do with such a volatile and compromised location (and what better way to get rid of that meddling Krennic?). So, as Cassian and Jyn talk on a sandy beach, against the sunny sky, they look up to see the horizon coming right at them. Rogue One turns the romantic trope on its head, with Jyn offering Cassian comfort with a squeeze of his hand and a friendly hug as they welcome death.
I found it fascinating that they did not end up snogging, this would have happened in 99% of other films. Instead it's just a hug and a calming chat about winning (I don't know what they said, the tears were too loud - both times). They don't even profess any love for each other, which the writers tried to hint at throughout the film. It's either the writers' fault, or the fault of Luna who spent part of the film making goo goo eyes at K-2, and the other part making goo goo eyes at Jyn. It maybe a Luna thing, or a Cassian thing, but it's evident that the two characters felt something for each other. Also, as mentioned above, the two of them had no sense of personal space - they were always walking into each other or accidentally bumping into each other. Unfortunately, the two actors have zero chemistry, so not going the romantic route was a saving grace. The film, in fact, did not have a single romantic storyline in it.
I kind of forgive the writers for bringing Cassian back because it meant that a) the last member standing is not the white person (what a trope), and b) his eventual death is far more fitting. He dies with a friend, who is far more confident and accepting of her fate. Interestingly, Jyn is facing the oncoming blast, but Cassian is turned away from it. It's evident she's protecting him as much as possible from what's to come. It's a brilliant moment, and one that said a lot about their characters.
It is no wonder I was so moved by the film. It made these characters real for us, and all the space and political mumbo jumbo only added to the novelty of it all. Escapism at its finest.
Star Wars is giving actors of colour a shot at stardom, even if, like in the case of Rogue One, they're only in it for one film. These are characters who'll stay with us forever, quite like how the original trilogy characters have endured; Rogue One's unlikely crew, their diversity, humour and unpretentious characterisations are a breath of fresh air. There's enough mystery surrounding their pasts to warrant books, comic books, live action shorts (surely that's a possibility), etc.
I did wonder if the film passed the Shukla or DuVernay tests. It fails the Bechdel test, which frustrates me, because we have yet to see a Star Wars film that passes it (or does the chat between Rey and Maz in TFA count?).
The Shukla Test, created by author Nikesh Shukla who recently edited the bestselling essay compilation 'The Good Immigrant' (which features an eloquent hard-hitting essay by Riz), is based on the Bechdel Test. It looks for books, films and television shows where a) two main characters are people of colour who b) talk to each other without c) mentioning their race. Shukla asks for at least a five minute conversation like this for the film to get a passing grade. It's not surprising to see how few films pass this test. A lot of television, nowadays, has been passing this basic test, but then they often have anything between 8 to 23 episodes to squeeze in at least one five minute multicultural conversation every few episodes.
We have four main characters from ethnic minorities in Rogue One, and they talk to each other quite a bit mostly about the central plot. Race is completely not in context in this film, so point c is taken care of. Whether these conversations last more than five minutes is debatable. Not many conversations in Star Wars last that long. But I think the film sails through with 0 Apus, for sure.
The DuVernay Test is far more taxing. Coined by New York Times film critic Manohla Dargis, film must fulfill the requirement that "African-Americans and other minorities have fully realized lives rather than serve as scenery in white stories." Technically speaking, all of Rogue One are fully realised characters with mysterious pasts the audience is meant to fill in (till the origin stories get written). Each of them has an arc:
Yet another test comes from Nadia Latif and Leila Latif. They ask:
Are there two named characters of colour? - Yes, or rather, actors of colour whose character have names
'Rogue One: A Star Wars Story' had me concerned from the moment I heard about it. Over the past year and a half since it was first announced that this spin-off had been created, I worried endlessly about how it would ruin the franchise I dearly loved.
While everyone hates the prequel trilogy, I've always loved it. It is an integral part of my teenage years, and despite its many flaws and missteps, those three movies have a special place in my heart.
Going into Rogue One, I was disconcerted by the thought that we may have lucked out with 'Star Wars: The Force Awakens'. To have two good Star Wars films in consecutive years seemed an impossibility. It also irked me that while the enormous male cast was hugely diverse, the film appeared to star only one woman, albeit in the lead, and she was white.
Despite my best attempts to avoid as many trailers and clips as possible, I ended up aware of most of the cameos. I think only one was not revealed. It was with immense trepidation that I finally entered the theatre. Tickets had been purchased a good two weeks in advance (we are never this organised), and the week of its arrival was full of an unexpected anticipation. For reasons beyond me, I was counting down the days till we would be able to watch the film. Was the Force trying to tell me something? This is a spoiler-filled review, so go out there and watch the film before proceeding.
Strangely the film starts sans the familiar theme and opening crawl. It's disorientating to say the least, as we're thrown right into the action, which is the origin story of our protagonist Jyn Erso (Felicity Jones). She watches as Imperial Director Orson Krennic (Ben Mendelsohn) kills her mother and forces her father, Galen Erso (Mads Mikkelsen) to rejoin the Empire and build their weapon. Now on her own, she's taken in by her parents' confidante Saw Guerrera (Forest Whitaker). Next we see her all grown up, captive in a prison full of stormtroopers.
 |
| The most surreal shot in the entire film. |
We hop over to Jedha (not to be confused with Saudi Arabian city Jeddah), a giant desert land where a prisoner desperately pleads with an alien to take him to see Saw. We later find out this prisoner is Bodhi Rook (Riz Ahmed), the Imperial defector Cassian's informant told him about. He has a message for Guerrara from none other than Galen.
 |
| Bodhi attempting to get an audience with Saw. |
Back on Jedha, a transformed Saw Guerrera attempts to get at the truth behind Bodhi's claims by torturing him with some giant octopus-like creature. Couldn't spell its name if I tried. The side effects of such ministrations, according to Saw, is that the victim tends to lose their mind. Nice knowing you, Bodhi.
Jyn, Cassian and his reprogrammed Imperial droid K-2SO (Alan Tudyk) land on Jedha and attempt to get to Saw, only to find themselves in the middle of a fight between militants and stormtroopers. Jyn is gung-ho about getting into the fight - ready with her weapon, but Cassian holds back, reluctant to shoot unless absolutely necessary, yet always displeased by the consequences. Just when the situation seems to be heading south for good, former Guardian of the Whills, Chirrut Îmwe (Donnie Yen) and his comrade Baze Malbus (Wen Jiang) come to the rescue. Only for the entire team to end up being captured by the militants and locked up in Saw's prison.
 |
| I'm one with the Force and the Force is with me. |
And thus, Rogue One is born. With the slow build up introducing us to all the characters, including the central villain, we can get on with the plot, and more characterisation and more cameos.
The team-soon-to-be-named-Rogue-One heads off to Eadu to find Galen. Most of them think they'll be rescuing him, but with his kill order gnawing away at him, Cassian becomes anxious and irascible. It doesn't help that landing on Eadu damages their ship beyond repair.
Cassian isn't able to follow through with his orders, something that the audience would have seen coming, but this doesn't stop Galen from being killed anyway by a raiding Alliance Squadron. Thankfully, Jyn is able to speak to her father before he dies, and reassure him that she will carry out his mission and end the Empire. It's a touching and heart-breaking moment, followed by an exquisitely authentic confrontation between the two lead characters.
Jyn calls Cassian out for trying to kill her father, only for him to point out that he was not only under orders, but that the Rebellion has to do everything that is necessary to win. I love that it all ends with her saying he can't talk his way around it, and him retorting with 'I don't have to'. Because they are both correct in their understanding of the situation, yet they are both so very wrong as well.
 |
| Not sure if angry or smitten. Cassian arguing with Jyn. |
This leads to the greatest patch up scene in all of Star Wars (I have decreed it). Cassian, accompanied by the surviving members of Saw's Partisans, sides with Jyn, expounding his need to atone for his sins committed as a Captain in the Rebel Alliance. Despite bordering on expository, it is a revelation that was waiting to happen, and is well-acted and integral to his character's growth.
The team steal the stolen Imperial ship they had flown in and Bodhi, in his attempt to get them off the ground, ends up naming them Rogue One.
The climactic scenes are the most Star Wars-esque aspect of the film. We have a space battle, a strike team, and three infiltrators. The beats are in sync, unlike in TFA, which got them horribly wrong. Jyn is completely calling the shots by now, with Cassian looking to her for his strategic cues.
It isn't long before the Imperials are hollering down the comms about the raids and this filters through to the Alliance. The space battle now sees the entire Rebel army entering the fray, trying to fend off the Star Destroyers while Rogue One attempts to retrieve the Death Star plans.
 |
| For Jedha! For Galen! For the Rebellion! |
And then, just when you think everything's going well because Jyn and Cassian have the location of the data disk, Bodhi's been able to patch the communications through to the Alliance fleet, the fleet has successfully brought the shields down, and Chirrut and Baze are successfully vanquishing stormtroopers, everyone dies. Not kidding: 'everyone dies in the end' is the only way to put it. Our Rogue One team, each and every one of them, is killed on Scarif. And suddenly, you realise you love them, and you love this film, and there are unnecessary tears impeding your view of the credits.
Rogue One creeps up on you as a favourite. During the first half, because it was rather slow and inactive, I was imagining all the prequel-series hate that would be levied at it. But when the second half happens, you're floored, taken in and, quite honestly, in love. I no longer remember why I was so concerned about this film, or the characters/ actors in it, because they are my ultimate favourites.
The many throwbacks in this film to 'Star Wars: Episode IV - A New Hope' imbue it with the kind of nostalgia we all love, while still holding its own as a complete story. Who knew that in the end Rogue One's efforts were to get the Death Star plans on to the Tantive IV and into the hands of Princess Leia (who appears as an unsuccessful CGI version of a younger Carrie Fisher). When I first saw the interiors of Tantive IV, I leapt in my seat and practically wept as Leia said that Rogue One had brought them 'Hope'. True confession, second time around I actually did weep when she said that, because this time I knew I loved these characters and was heart-broken at the sacrifice they made.
Rogue One is the first of a planned Star Wars anthology series, and I hope it starts a trend of really good, evocative and provocative space dramas. Many people are pointing out the film's more political leanings - well, Star Wars has always been political. The Imperials are basically space Nazis who only know how to torture and kill to get their own way. They've been that way since ANH.
The prequels were also reflections of the political environment in the US, with 'Star Wars: Episode III - Revenge of the Sith' actively aligning Anakin's leanings to those of the Bush administration.
 |
| If you're not with me, then you're against me. |
When on Jedha, I was surprised to see the militants were veiled and covered in Arabian garb. At first, I was very annoyed by this. We're showing Middle Eastern-like people bombing places and people, what a terrorist stereotype! But these aren't just people they're attacking, these are stormtroopers, they're the Empire who have invaded these so-called militants' homes, taken their resources and tormented them everyday. This wasn't a stereotype, this was the creators calling out our acceptance of the invasion of Arab Worlds and then referring to the victims as terrorists for wanting their countries back. Yes, this film is political, it has to be, because we won't pay attention otherwise.
 |
| Partisans in Jedha |
CGI - What was up with that choice? Grand Moff Tarkin is completely CGI and it is mostly convincing. The trouble is when the character speaks. It's a bold move by the director, but not completely successful. Somehow, young Leia's two seconds on screen is even worse. I'm surprised, given how successfully 'Captain America: Civil War' was able to age down Robert Downey Jr. for a significant amount of time. Not sure why director Gareth Edwards didn't use the same technology. It would have looked brilliant.
 |
| Robert Downey Jr. - Young and Old |
I understand that part of the reason for this is so that the lack of women in ANH will not feel so drastic for the viewer, yet it's a step back from TFA, and that film was not very good at female representation either.
It is especially irksome given how ethnically diverse the main cast are. While we could have done with a POC woman finally leading Star Wars (when will that happen?), the rest of the gang are made up of half-Mexican Luna, Chinese Yen and Wen, and Pakistani-origin Brit Ahmed; not to mention Aussie Mendelsohn, African-American Whitaker, Latino Jimmy Smits (back in the form of scene-stealing Bail Organa) and Danish Mikkelsen.
 |
| How many blockbusters sport this kind of range? In ethnicity anyway. |
Which is why the absence of more women was so obvious. I firmly believe the creators should have made more of an effort to include women, even if it didn't fit the ANH mould. Or make up an explanation, excuse, anything, as to why they weren't in the original trilogy (without trashing those). They aren't even seen in the Rebel base - even 'Star Wars: Episode V - The Empire Strikes Back' included them in strategic positions. Rogue One should have done the same.
How would the story have gone had Lyra been the scientist and Galen the dead father? It's the first thought that entered my head when I saw the film, and has stayed with me since. We're so used to movie mums being killed off and movie dads (dead or alive) being upheld as pinnacles of aspiration, that Rogue One would have done well to subvert that trope. For one, it would have meant an extra female character in the cast, one which would not have impeded the overall look of the original trilogy. We have a great hero in Jyn, why not give her a great woman to look up to and aspire to be?
Story-wise, I am more than impressed by how the writers were able to flesh out the characters without relying too heavily on exposition, while also making a concrete plot that led to the events of ANH.
There's plenty of detail in every scene and in much of the dialogue. The espionage narrative is the strongest, and there are clues pitted throughout revealing what's to come. Unfortunately, the many trailers and promos detracted from the mystery, but it still is gripping throughout.
Nuances like the Empire claiming on Jedha that there's a reward for a 'missing' pilot (Bodhi), when in actuality he's defected, stood out for me. That and the overriding view that most Imperials are idiots and have to be told what to do, as in the case of the battle on Scarif.
Additionally, despite the disorientating nature of all the planet-hopping, the locations were brilliant. Loved the desert land of Jedha, the dichotomy of Kafrene, as well as the uber-beautiful Scarif, a location that is quite out of sync with the demise of Rogue One, but completely in line with the film's bright outlook.
 |
| Jedha - Is that a fallen statue of a Jedi Knight with a Lightsaber? |
Orson Krennic - Actively hate this guy. He's not as evil as he is petulant, which is weird, because Star Wars' newer villains all appear to be petulant. He's adamant that the Emperor be made aware he's behind the Death Star, but gets short shrift from Tarkin and from Vader (yeah, Vader's in this film, but his theme is not). Krennic keeps trying to get in the way of Rogue One, but they get the better off him in the end. Nothing made me happier than watching him look up after being shot by Cassian to see the Death Star had targeted the very place he now lay in. Revenge is sweet!
Darth Vader - He appears for three scenes (approximately), and is introduced in his 'castle' on the Mustafar system. Now, I understand Darth is a sinister villain and we must make him as scary as possible, but for me, to see him living in a bacta tank on the planet that led to his ruin and life-long suffering was one of the saddest moments in the film. Complain as much as you want about the prequels, but I'm never going to forget how I spent the entirety of ROTS thinking everything would turn out fine for Anakin and Padme, only to realise, when Anakin was burning up in lava, that that was never on the cards. But the Anakin we knew was a character and a person, whose reimagining as the template for body-horror villains struck me as melancholic. He remains just as forbidding when in his suit, especially given the return of James Earl Jones' voice acting. I think it's telling that the only time we see a lightsaber in Rogue One is when Vader is wielding it to get to the Death Star plans. It's a great anticipatory shot, albeit a very dark one, that appears to be a precursor to the claim that the Jedi are indeed an 'ancient religion'.
These two have the best action scenes in the film. Chirrut's moves are a cool mix of martial arts and Star Wars magic while Baze is a grizzled old trigger-happy fighter.
 |
| Brothers in arms. |
K-2SO - I heard a lot about the droid that everyone liked from the trailers, but I knew nothing of him. I couldn't imagine what appealed to viewers till I watched the film. Where BB-8 was cuteness overload, K-2 is the king of snark. I absolutely loved him and the huge infusion of humour he brought to the proceedings. He wound his way into our hearts without us even knowing. Trust Star Wars to make robots lovable; well, they've been doing it since 1977. Alan Tudyk's voice acting is brilliant, and I think he needs to consider it a mainstay of his career in the future.
Even though K-2 doesn't care much for Jyn, it isn't long before she wins him over with her kindness and courage. I would love to know, though, what Cassian did to get this droid. A reprogrammed Imperial droid would be very valuable as a resource to Alliance members, yet Cassian's the one who has him. Snark aside, they treat each other like friends, with K-2 displaying remorse at hitting his friend and concern for his well-being at every turn. K-2 also does everything that Cassian says (unless it's to stay behind; no one follows that order), which makes me wonder what power Cassian holds over him. They've evidently worked together for a while, so there's a story we all want to read about.
 |
| Unlikely friends. |
Bodhi Rook - A major part of the reason to watch this film (aside from it being, you know, Star Wars) was to finally see a sub-continental origin actor as a lead in a blockbuster. We're pretty invisible in these kinds of films, which frustrates me no end, especially as I grow older. To see a Pakistani-origin actor as one of the leads is pretty fantastic. Riz Ahmed is quite talented, and though I haven't seen all that much of his work, I feel like greatness may be around the corner for him. His Bodhi is an unlikely hero but an endearing one. When first we meet Bodhi, Riz does an amazing job of mushing his words and imbuing humour and realism into a tense scene. He's a scared, jittery character which fits in with the Empire preying on and recruiting the weak and keeping them that way.
Bodhi's been a part of the Empire, and being a defector puts him in unknown territory. Poor guy's captured, tortured, imprisoned and witness to his home city being eradicated by the Death Star, so it's no wonder he's a bit uncertain about his actions.
I was sure Bodhi would turn out to be a bad guy, because anyone with a Muslim name in Hollywood nowadays can't seem to escape the terrorist stereotype. But Bodhi isn't the bad guy, he's just trying to be brave and do what's in his heart.
Riz has excellent chemistry with all the crew, and his best moments are when Bodhi finds his courage. I find it interesting that he makes such a drastic leap on the behest of Galen. It's evident Galen was a huge figure in his life, because otherwise I can't see how someone as timid as him could have defected. Also, the very last thing he says before being blown up is 'This is for you, Galen'. I'm foreseeing a backstory of Galen grooming him for this very mission, and him looking up to Galen as a father figure.
 |
| Bodhi Rook - The Bold and the Brave. |
I do wish Bodhi had been given a couple of action scenes. He's the only one who doesn't get in on the action, which is a bit of a shame. He doesn't even get to land a punch! But he has a lovely subtle story arc of finding the bravery that has been asked of him and playing an integral role in ending the Empire. That resigned look on his face when the grenade lands inside the ship is a truly tragic end.
Jyn Erso - I will admit that I found her a little cliched when I first saw the film. Not because she travels the path of usual female characters, but that she takes the common route of a regular hero. Starting off as a criminal in prison who agrees to this mission only to gain her freedom, it is her link to her father that keeps Jyn going. But, once she realises that her father's plan will destroy the Empire, she makes the mission her own. Suddenly, the Rebellion is real to her and she takes this opportunity with both hands. She's not a strategist or a soldier, but she makes great speeches and has hope in abundance. She is very accepting of her circumstances. In the end, she welcomes her death in the arms of her comrade (or something more?). While not an impressively innovative journey, it's still a well-rounded character we don't get to see many women play.
It's refreshing to see a Star Wars film not governed by a Force-sensitive character. Jyn goes about things by her wits and her courage. She is another uncertain hero, and her mousy appearance coupled with her hesitant speeches make her at once relatable and likable.
 |
| The hero to root for. |
Jones emotes well, but is a bit flat when Jyn is stoic - which is most of the film, unfortunately. I think she could have done more to bring Jyn alive, but I think we love Jyn irrespective of this, because she commands her own presence.
How refreshing is it to see a central female character not involved in any romance? There's no hint of it in Jyn's past (coloured as it is by her criminal actions), and none that is burgeoning during the course of the film either. The filmmakers certainly throw in plenty of red herrings where Jyn and Cassian are concerned, but not till much later, and they thankfully do not act on it. Another trope bites the dust in Star Wars.
Even Jyn's interest in Cassian, whether romantic or friendly, only surfaces once she has his full support. While it's not spelt out, Jyn's line to Cassian about her not being used to people sticking around in a fight is exactly how her life has panned out. When things got too rough in the Empire, her parents split to the back of beyond. The moment Krennic came after them, she was told to run. Just when she was getting back on her feet, Saw disappeared. It has been the story of her life. And now she has Cassian on her side. She had given him short shrift till this moment, when he does something no one else in her life has - taken a stand, by her side.
The film is littered with moments like this - snippets of dialogue or expressions that give away deeper histories of each of the characters. Each character is a fully realised version of themselves, irrespective of how much or how little we see of them. There's plenty of mystery surrounding Jyn's life in between the first scene of the film and her reappearance in prison - let's hope someone writes some good stories about it soon.
Cassian Andor - Watching this film was tense because I didn't know whom to trust or like. Everyone has gray areas, none more so than Cassian. As mentioned earlier, when we first meet him he shoots an innocent man to expedite his own escape. It's such an unusual incident, that the first time I watched the film, it took me a moment to realise the shot that killed the informant came from his gun. It was during my second viewing when I noticed the sickened look on his face following the informant's death.
 |
| On the Rings of Kafrene |
Cassian is best at talking his way out of things. He successfully brings Bodhi back from Saw's ministrations, a scene that I wish had been prolonged. It hinted at Cassian's soothing negotiating powers (as seen in the informant death scene). It's also the kind of talent that characters played by male actors do not often have. They usually punch people back to normality (see: Hulkbuster fight in 'Avengers: Age of Ultron'), but Cassian tries to get to the heart of people to get what he wants. In this case, he needs Bodhi the Imperial pilot, and he gets it.
To break it down a bit, let's assess the first time we see Cassian use this skill. He and his anxious informant are having a chat, one which the informant (one day I'll know his name) is desperate to end so that he can get out of the system. But Cassian's aggressive, shoving him into a corner to get his answers. This attracts the attention of the stormtroopers. Cassian's quick-witted and a quick shot, but him killing the Imperials sends the informant over the edge. He's panicked and frightened, and you can see that he is a second away from making a scene that will give them both away. So Cassian approaches him as a friend, assuring him that everything will be fine. When the shot is fired, the informant is completely calm thanks to Cassian's ministrations. It's all to save his own skin, of course, but that's a much better way of going about things (especially if the final plan is to just kill the other guy) than start a fight and be all bloody and bruised.
With Bodhi, Cassian doesn't see him as a threat, but he isn't dispensable either. When Baze is going all Chewbacca on his non-reactive self, Cassian gets him out of the way so that he can connect with Bodhi.
Not for nothing does Baze later describe Cassian as having the face of a friend. It may be the politest, non-gayest way of saying he's pretty as hell and doesn't look like he could hurt a fly (or is that my assessment?) but it is a true description of the character as well - Cassian is kind and generous and his greatest asset is his ability to be a friend. When he finds Bodhi in the cell, he comes at him as a friend, reminding him of who he is, why he's there and who he's here for. As I said, had the scene been a little longer we could have seen Cassian really fill out this ability of his.
Contrast this with the contrived malarkey that went down in Ultron where the only woman on the team had the superpower of the 'lullaby' which brought the Hulk back to being Bruce Banner. It was extremely out of character for the Black Widow, who, up until Joss Whedon decided she wasn't maternal enough, had no time for molly-coddling anyone. Here, it's a given that only SHE can do this because of her otherworldly womanly powers.
The one time during the film when Widow is unavailable for her mommy role, Tony Stark has to step in to bring Hulk back. How does he go about it? Not in the way that appears to have worked for the Avengers team in between films; no, he brings out his biggest guns (and suit) and literally tries to beat the sanity back into the Hulk. That works as well as you can imagine. Tony's actions are very in character, but the inaction of his team mates' suggestion that he use the 'lullaby' is not.
On the back of these kinds of plot moments in stories immemorial, Cassian is a novelty worth repeating.
I've never seen Diego Luna in anything else (though his name sounds very familiar), but he is undoubtedly the outstanding star of this film. It takes a brave man to take on a role where he's the leader for one half of the film, and a follower for the next, but he does it with aplomb. His nuanced acting brought Cassian alive. Whether he knows it or not, Luna made Cassian so real. You could see the fight within Cassian at every turn. How antsy he gets when he nears potential fight zones, how agitated he is when he knows he will need to execute Galen soon. He is a man who has been battling his moral compass for far too long. It's evident he hates confrontations - when the militants attack on Jedha, Cassian keeps calling to Jyn to return to safety and not enter the fray. He takes forever to shoot, and only does so when there is a direct danger to him and Jyn. And it sickens him. In every scene where he has to shoot and kill, he looks sick to his stomach.
Cassian has a commanding presence without being overly aggressive. I don't know if it's because he's an actor of colour, but that air of machismo is missing from his performance and his character. It's similar to Finn (played by the lovely John Boyega), who was an everyman once out of his stormtrooper uniform, trying to get his head around this brave new world he's found himself in. He too had a strong moral core, one that propelled him to rescue potential victims even though they were strangers. He also isn't the main hero of the new trilogy, a role I'm sure would have been really hard to give to most young white male actors nowadays. Perhaps I generalise, but these earthier, meatier roles aren't the kind our superheroes play, and most of our superheroes are all white.
Back to Cassian. Perhaps the only let down in Cassian's entire arc was the Eadu scene. We see Cassian at his anxious best, and without him saying a word, we know that it's because of the impending assassination he must carry out. Once in position, he sends Bodhi away so that he can take aim at Galen. Yet, despite all the wonderful tense build up, the moment when he gives up is poorly played out. I blame the director and not the actor. I feel like something may have been cut, or redone. Cassian just lets go of the trigger and that's it. That's not how we wanted it to go down. We should have concentrated on his struggle; on him beating his own demons.
 |
| The moment of truth - Cassian on Eadu. |
During their confrontation about the assassination attempt on her father, he rapidly closes the gap between them, bearing down on her with a sense of urgency, apt self-righteousness and purpose, more than aggression. I kept thinking the scene would end differently, because of how outraged he was, and how calm she appeared. This is going to sound really silly, but when Cassian is nose-to-nose (figuratively speaking as there's quite a height difference) with Jyn, I was convinced, during my first viewing, that their fight was about to end in a kiss. I kid you not, I was tense with fear that the writers, keeping in line with the overall '70s feel of the film, would give the scene a '70s film ending. Imagine my relief and surprise when they end their fight by one upping each other before Cassian walks away - like most people do. Hollywood has never understood people, but Rogue One does. No unnecessary destruction of a fantastic scene, where we meet both the real Cassian and the real Jyn.
And they're comrades again two scenes later. I'm guessing Cassian heard some of her ideas about taking down the Empire during Jyn's discussion with the Alliance. We don't see him in that scene, which makes me think he wanted to hear her out in secret, establish the authenticity of her plan and then back her play.
 |
| In Jyn's defense, you can't be angry at that face for too long. |
From this point on, he's no longer calling the shots. He turns to Jyn for guidance and decisions. I like that about him. He's charting unknown territory - Jyn has the message from her father and his knowledge. Not once, during this second half, does Cassian try and dominate the proceedings. He has the ideas, but only Jyn knows when to execute them. He's listening as she gees up the strike team before the battle. He waits for her signal before launching the ground attack. Even when they're in the database vault, she takes the lead in leaping to the tower of disks. It's almost as if he needs her strength to inspire him.
I'm iffy about Cassian's two deaths. First time around, when we see him get shot and fall painfully on a platform below, there was a hush around the theatre. It was close on the heals of K-2's death, but we weren't expecting it. Well, actually, some of us knew he was a goner when Krennic started shooting and Cassian couldn't get out of the line of fire.
But we weren't allowed to mourn Cassian for long. In the very next scene Chirrut is killed. Then Bodhi, who has fulfilled his mission, is hit by a grenade. And right after, Baze walks into heavy fire and another grenade. The only Rogue One member left standing is Jyn, and she almost doesn't fulfill her mission because of Krennic.
But voila! Krennic is shot by Cassian who is barely holding up. I have an issue with this scene. While it was brilliant to see Cassian alive again, next to never do you see a male protagonist sans weapons, or unable to defend himself in any way. Had Cassian not been alive, I'm thinking the only thing that may have saved Jyn would have been some quick acrobatic manoeuvres and a super-stealthy kick to Krennic's face. Actually, scratch all that, Jyn probably didn't need Cassian to save her, she would have successfully got Krennic herself. They just wanted to bring Cassian back with a bang.
 |
| How did this gif get in here? |
I found it fascinating that they did not end up snogging, this would have happened in 99% of other films. Instead it's just a hug and a calming chat about winning (I don't know what they said, the tears were too loud - both times). They don't even profess any love for each other, which the writers tried to hint at throughout the film. It's either the writers' fault, or the fault of Luna who spent part of the film making goo goo eyes at K-2, and the other part making goo goo eyes at Jyn. It maybe a Luna thing, or a Cassian thing, but it's evident that the two characters felt something for each other. Also, as mentioned above, the two of them had no sense of personal space - they were always walking into each other or accidentally bumping into each other. Unfortunately, the two actors have zero chemistry, so not going the romantic route was a saving grace. The film, in fact, did not have a single romantic storyline in it.
I kind of forgive the writers for bringing Cassian back because it meant that a) the last member standing is not the white person (what a trope), and b) his eventual death is far more fitting. He dies with a friend, who is far more confident and accepting of her fate. Interestingly, Jyn is facing the oncoming blast, but Cassian is turned away from it. It's evident she's protecting him as much as possible from what's to come. It's a brilliant moment, and one that said a lot about their characters.
It is no wonder I was so moved by the film. It made these characters real for us, and all the space and political mumbo jumbo only added to the novelty of it all. Escapism at its finest.
 |
| Rogue One |
I did wonder if the film passed the Shukla or DuVernay tests. It fails the Bechdel test, which frustrates me, because we have yet to see a Star Wars film that passes it (or does the chat between Rey and Maz in TFA count?).
The Shukla Test, created by author Nikesh Shukla who recently edited the bestselling essay compilation 'The Good Immigrant' (which features an eloquent hard-hitting essay by Riz), is based on the Bechdel Test. It looks for books, films and television shows where a) two main characters are people of colour who b) talk to each other without c) mentioning their race. Shukla asks for at least a five minute conversation like this for the film to get a passing grade. It's not surprising to see how few films pass this test. A lot of television, nowadays, has been passing this basic test, but then they often have anything between 8 to 23 episodes to squeeze in at least one five minute multicultural conversation every few episodes.
We have four main characters from ethnic minorities in Rogue One, and they talk to each other quite a bit mostly about the central plot. Race is completely not in context in this film, so point c is taken care of. Whether these conversations last more than five minutes is debatable. Not many conversations in Star Wars last that long. But I think the film sails through with 0 Apus, for sure.
The DuVernay Test is far more taxing. Coined by New York Times film critic Manohla Dargis, film must fulfill the requirement that "African-Americans and other minorities have fully realized lives rather than serve as scenery in white stories." Technically speaking, all of Rogue One are fully realised characters with mysterious pasts the audience is meant to fill in (till the origin stories get written). Each of them has an arc:
1. Cassian - He gives up the fight and sides with his morality while also lifting the burden of the Rebellion off his shoulders onto someone more willing to take it on.
2. Bodhi - He comes out of his fearful shell to ably command the strike team into action. He finds the bravery that has always been in his heart, and then acts on it.
3. Chirrut - He convinces everyone around him that the Force is real, dies a hero and in the arms of his friend, who he has also converted into believing in the Force.
4. Baze - From being a trigger-happy soldier, he ends up believing in the Force, his friend and the Rebellion.
5. Saw - Goes from being an angry, disillusioned militia leader to believing the Rebellion will succeed. Readily sacrifices himself to die with his people.
Trouble is, their story is closely intertwined with all the white people's. All of the Rebellion is white, except for Cassian (I'm not wrong). Aside from him, the Partisans, Saw and the Jedha-ites (is that what they're called?) are of colour. So Rogue One may not have passed the 'scenery' part. I'm guessing the film scrapes through, but only because all the authority figures are white.
 |
| Rogue One cast photoshoot |
Are there two named characters of colour? - Yes, or rather, actors of colour whose character have names
Do they have dialogue? - For sure
Are they not romantically involved with one another? - Iffy about Baze and Chirrut, but sails through with Cassian and Bodhi's interactions with the rest of Rogue One.
Do they have any dialogue that isn’t comforting or supporting a white character? - Totally!
Is one of them definitely not magic? - Tough when you think about Chirrut, but the rest are very human and their magical qualities are how compelling they are.
Talking of canon, Rogue One officially recognises the prequels. We get to meet Bail Organa (Jimmy Smits), as well as Mon Mothma (Genevieve O'Reilly), who was part of a deleted scene in ROTS. Additionally, Vader's on Mustafar, which is a significant link to Anakin's 'death' and Vader's birth from ROTS. So yeah, the prequels happened, they're part of the Star Wars universe and there's nothing any of us can do about it. Eat that, haters!
There is an overwhelming sense of hope and positivity from this film, which contrasts with the fact that everyone dies at the end. But they die to get Leia the plans that will eventually bring down the Death Star, and well, no other ending seemed more apt for this film. Still breaks your heart, but it cements these characters as your favourites because of it. They were incredibly brave and legitimate heroes who rose to the occasion, and gave us viewers a couple of hours of unfettered joy and entertainment, while still maintaining a sense of realism. Just when you thought Star Wars couldn't get any better, it did. May the Force always be with you, Rogue One.
The trouble with trying to assess race in the Star Wars franchise is that 'race' in itself is very alien. The characters aren't addressing race as we know it. However, actors of colour are involved in roles that, at the very least, provide them with names. In the case of Rogue One, the actors have the important distinction of being called leads and get posters and action figures modeled on them. Let's face it, who in the world looked at Diego Luna and decided he looked like a Galactic Rebel Hero? It just doesn't happen with POC actors, yet, now, it has!
Pass or no, these characters have become indelible entries into the Star Wars canon. (I say pass, by the way).
Talking of canon, Rogue One officially recognises the prequels. We get to meet Bail Organa (Jimmy Smits), as well as Mon Mothma (Genevieve O'Reilly), who was part of a deleted scene in ROTS. Additionally, Vader's on Mustafar, which is a significant link to Anakin's 'death' and Vader's birth from ROTS. So yeah, the prequels happened, they're part of the Star Wars universe and there's nothing any of us can do about it. Eat that, haters!
There is an overwhelming sense of hope and positivity from this film, which contrasts with the fact that everyone dies at the end. But they die to get Leia the plans that will eventually bring down the Death Star, and well, no other ending seemed more apt for this film. Still breaks your heart, but it cements these characters as your favourites because of it. They were incredibly brave and legitimate heroes who rose to the occasion, and gave us viewers a couple of hours of unfettered joy and entertainment, while still maintaining a sense of realism. Just when you thought Star Wars couldn't get any better, it did. May the Force always be with you, Rogue One.
 |
| Hope |
Comments