Tag: Luke Skywalker

The Star Wars dynasty

The latest ‘Star Wars’ movie, The Rise of Skywalker, is worth a watch if you’re a committed fan interested in staying up to date with the franchise. Otherwise, all you’re missing is a movie unsure of what it’s supposed to do, and ends up doing too many things as a result.

MAJOR SPOILERS AHEAD

One thing I found notable was Rey’s identity as Emperor Palpatine’s granddaughter. Viewers had expressed some consternation when the film’s trailer was released in April this year because it seemed to suggest Rey was a descendant of the Skywalker line. To quote from an older post:

… if she turns out to be the new Skywalker, then the franchise’s writers will finally have completed their betrayal of the infinite purpose of the fantasy genre itself. They will have been utterly lazy – if not guilty of a form of creative manslaughter – if Rey turns out to be biologically related to the Skywalkers, broadcasting the message that either you’re royalty or you’re not, much like the Gandhis themselves have.

In The Rise of Skywalker, Rey turns out to be a Palpatine but identifies as a Skywalker as a token of her allegiance to the Resistance. But this isn’t very far from Rey simply being yet another Skywalker because the franchise is still seemingly preoccupied with two important families: the Skywalkers and the Palpatines. Instead of persisting with one dynasty or, better yet, abolishing the franchise’s obsession with inheritances altogether, the film’s writers have simply created another dynasty.

Perhaps the only solace is that with the end of this trilogy of trilogies have gone all of the last biological remnants of the two lines, so whatever new production starts from this point – whether a TV show or yet another film – will have a great opportunity to take the franchise in a new direction.

The Oedipal intrigues of Indian cinema and if they undermine hope

British film critic Nicholas Barber has a fantastic insight in this review in The Economist. The gist is that increasingly more productions, especially from the West, have plots that ‘evolve’ to until they become some sort of a family dispute. Barber cites famous examples: Star Wars, Jason Bourne, Sherlock (by extension, Elementary), Goldfinger, Spectre, etc. Some plausible reasons he offers:

It’s not too hard to see why such universe-shrinking appeals to screenwriters. Drama is fuelled by revelations, and there aren’t many revelations more momentous – or easier to write – than, “I am your father/sister/brother!” Giving the protagonist a personal involvement in the plot is also a simple way of raising the emotional stakes, as well as making him or her more sympathetic to the viewer. Most of us will never be lucky enough to blow up a moon-sized space station, as Luke Skywalker did, but we all know what it’s like to be angry at a parent or resentful of a sibling.

But I suspect that there is more to this trend than narrative expedience. The new spate of universe-shrinking, of plots driven by personal animus, could well be a sign of how narcissistic our culture has become, and how desperate film and television studios are to please fans who are obsessed by their favourite characters. But it’s also a symptom of globalisation: now that studios are so reliant on overseas sales, they don’t want to risk offending foreign markets. It’s safer to be personal than political.

I disagree with Barber’s larger point because I think he might be projecting. Numerous episodes of Sherlock are concerned with family but only if that’s what you choose to take away. Instead, Barber appears to be picking on themes and in the process betraying a personal dislike for them. He may also be cherry-picking his examples; his review itself in The Economist has been prompted by one episode of one TV show.

Obviously this made me think of Indian cinema and if it’s been guilty of the same tactics. Of course it has and there are innumerable examples across eras. One that most ground at me was (spoiler alert) the very-recent Dhuruvangal Pathinaaru. But then the occasion also merits some introspection about the place of the Indian family and its sensibilities. Barber thinks more western creators are resorting to, as one comment points out, “Oedipal intrigues” because producers expect them to find more favour with western audiences. Similarly, what kind of “Oedipal intrigues” does the Indian audience like? A tangential take on this line of thought: what possibilities do “Oedipal intrigues” violate? For example, Barber explains how Luke Skywalker’s humble origins – which the audience may have been able to connect better with – are outwindowed when you realise he’s the brother of a famous princess and the son of the series’s greatest villain. Similarly, what possibilities offered by Indian cinema have been undermined by its own “Oedipal intrigues”?

The only thing that comes to mind is its treatment of women. Perhaps you can think of something else as well.

Featured image: A still from the film Dhuruvangal Pathinaaru.