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They lose significant objects tied to their identities. Last Jedi is often a painful, mournful film about loss: as the bleak story unfolds, the characters lose allies and friends and family, agency and options, treasured illusions and ideals. The “let it go” theme is so pronounced that it sometimes feels like a repudiation of both The Force Awakens and the fandom itself.
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His characters repeatedly talk about the need to put the past aside, to make their own choices and accept the future, to discard everything they’ve been holding onto, because it’s been holding them back. Instead, Johnson’s film feels remarkably close to a coda for the new trilogy, a platform for a radical departure from canon when the untitled sequel arrives in 2019.Īnd Johnson is certainly aware of how far and how fast he’s pushing this well-worn narrative. There’s been some fan concern that Last Jedi might mimic Empire Strikes Back too closely, down to the dark tone and open ending. And he makes some even more radical choices, abruptly shutting down open storylines and wrapping up loose threads. But he also borrows from Return of the Jedi, compressing the rest of the original trilogy into a single fast-moving, far-reaching story. The Last Jedi does feature sequences that directly recall The Empire Strikes Back, though Johnson’s script uses their familiarity to play against expectations and subvert viewers’ nostalgia, instead of paying it off. Instead, he chose a less-obvious option: he did both.
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Given that foundation, Brick and Looper writer-director Rian Johnson had a few obvious options with The Last Jedi: continue the trend and remix The Empire Strikes Back into a 2017 version, or buck the trend, move sharply away from the legacy content, and push the series away from familiar places.
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It was a smart approach in terms of giving fans something familiar to embrace while easing them into the series’s inevitable generational shift, but nostalgia has its limits, and it was hard to escape the feeling that The Force Awakens wasn’t a new film, so much as a jaunty modern remix of a familiar one. At the same time, Abrams and company brought back A New Hope’s original Luke / Leia / Han Solo / Chewbacca quartet, and set them up as beloved legends whom the new characters all but worship. They introduced new characters and centered the story around them, but that story was remarkably close to a retelling of A New Hope, complete with new Empire and Rebellion analogues facing off, a new Death Star to destroy, a new Luke Skywalker equivalent trying to escape a new backwater desert planet, and so forth.
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Abrams and writers Lawrence Kasdan and Michael Arndt rebooted the Star Wars film franchise in 2015 with The Force Awakens - the first in a sequel trilogy, following the original Star Wars trifecta of 1977’s A New Hope, 1980’s The Empire Strikes Back, and 1983’s Return of the Jedi - they found a fairly winning formula that split the difference between respecting fans’ love for the original trilogy, and nudging the franchise into the future.