Will there be romance in Star Wars: The Force Awakens? The Cast Isn’t Telling

23 Dec 2015 | Author: | No comments yet »

5 movies to see other than ‘Star Wars’.

HOMESTEAD (KDKA) — Fans have waited months to see the latest installment in the Star Wars series, and the die-hard fans are stopping at nothing to be among the first in the theater for the big event. It can’t be a spoiler – literally, since I haven’t yet seen the film – to quote JJ Abrams’s vision for Star Wars: The Force Awakens. “It came out of conversations about what would have happened if the Nazis all went to Argentina but then started working together again.” Critics and fans have tended to extrapolate from this that the new enemy ideology is a white supremacy movement, borrowing its template of hate from the quasi-Nazi road map laid out in the first six films.

Ever since the film received a PG-13 rating from the Motion Picture Association of America, some parents have wondered whether the movie is appropriate for younger children. Most of the earlier films in the saga were rated PG (although the original trilogy came out before the “13” designation was created in 1984), and until now the only one to receive that more mature designation was 2005’s Revenge of the Sith, which featured the deaths of most of the Jedi – including a group of “younglings” – and a major character who was dismembered and burned over most of his body.

At the start of 1977’s A New Hope, the political aim of the Empire is the suppression of remote systems by fear – being able to unwind local structures of central enforcement is actually a sign that the reign of terror is working well. It reminds me a little bit of George Osborne and the “northern powerhouse”, but it doesn’t really suggest Nazism, with its extermination of the other. If you need one reason: Christian Bale’s has a spot-on performance as the real Michael Burry, an idiosyncratic doctor who predicted the crash of the housing market.

Yet, just as the eyeliner in Cleopatra roots the film far more evocatively in 1963 than in 30BC, so the nature of good and evil in Star Wars is revealed by the small details. The six films so far constitute a highly unusual cultural resource: you can see how concepts such as nobility, meritocracy, class, equality and dignity have changed over time, by the way they are reflected in George Lucas’s work.

If you want to take the time to do it, you can do it; but the ones that really want to do it are the ones who are into that kind of thing.” This he was able conveniently to ignore later on, when the theme of lineage had become so strong as to be defining. Strength, in the beginning, is inextricably linked with higher feeling, sensitivity, empathy – “stretch out your feelings”, Obi-Wan tells Luke Skywalker, as if concentration were its own superpower. Han Solo is shown as a contrast, but he isn’t a person of lower birth so much as of lesser mind – essentially conveyed by his cupidity, and his lack of ambition for anything other than money. But there are a few other isolated moments that are more disturbing… The MPAA ratings board is anonymous and doesn’t explain its decisions to the public, but I’d guess this film got a more mature ranking not because it includes more fighting and death than the other movies, but because those things carry greater weight this time around. The Jedi ideology is meritocratic: anyone can be a higher being, though this will be self-selecting to a degree, since only higher beings are going to work at it.

The drama chronicles the Boston Globe investigative team’s real-life expose on child abuse by local priests and the Catholic Church cover-up that followed Why go? We never saw one without the white armor and mask, and when our heroes donned the uniforms as a disguise it was still possible to imagine a knocked-out, naked machine somewhere. Now, thanks to John Boyega’s Finn, we see that these foot soldiers for the dark side are flesh and blood, many of them kidnapped at an early age and enslaved as expendable weapons of war. And so the Force is now an amoral physical property, whereas previously it was a mental property – thought itself, the source of empathy and therefore, arguably, the source of morality. It’s not explicit, but it’s among the very few times we see red blood in one of these movies – and it’s the first time we see fear and suffering associated with it.

EW’s Analysis: We aren’t usually asked to feel for the “bad guys.” For children younger than 5, it may be a bit overwhelming, but the violence isn’t gruesome – it’s just sad. By Attack of the Clones, three years later in 2002, the Jedi have a kind of UN blue helmets mandate – “You must realise there aren’t enough Jedi to protect the Republic. Kids won’t watch this movie and say, “I want to be a stormtrooper,” but they may absorb the idea that even a stormtrooper can change and become a hero. In 1977’s original Star Wars, the entire planet of Alderaan was obliterated, but the only human agony we witnessed played out on Princess Leia’s face as she watched her homeworld turn into an asteroid field.

But I think it’s actually rather an acute reflection of the post-ideological politics of the 21st century: egalitarian values are vaunted but equality is not pursued, since the essence of modernity is that it is post‑historical, directionless, has nowhere left to go. Undermined by the inconsistency, the culture cannot confidently express itself, and fixates instead upon enemies who are bound to be stronger because they know who they are. The classic Jedi response to subservience can be seen in the contrast between Luke’s first meeting with C-3PO – “I see, Sir”; “You can call me Luke”; “I see, Sir Luke,”; “No, just Luke” – and Qui-Gon Jinn meeting Jar Jar Binks: “Mesa your humble servant”; “That won’t be necessary”.

He has no reason not to be, since at this point he is just an indifferent farmer, but it still foreshadows his knight-personality, which is more of a jiu jitsu, strength-through-attentiveness affair than a born-to-rule act of self-assertion. But here are some things to consider as you make that decision: Don’t underestimate the mature things your child already has to consider in real life. The fussiness of the R2-D2/C-3PO relationship makes them the most three-dimensional characters of the lot; portraying them as beings with the same feelings as humans but fewer rights invites the viewer to reconsider how hierarchies were formed and commonalities established. If he or she is enrolled in a school, they are very likely being taught “intruder drills.” Sometimes, teachers make a game of it to hide the sickening reason for their existence. My children learned to play “rabbits in the hole,” which involves a whole classroom of little ones trying to hide together in a closet without making a sound.

Jar Jar Binks is famous for the tang of racism in his conception – his accent is plainly Jamaican, or Jafaican, if you prefer – and there’s a forelock-tugging slave-subtext that is crass because it’s unaddressed. But borrowing the cliches of a slave portrayal, and draping them over a character who is basically a bit thick, lacks the sophistication that one associates with Lucas. What happens in this movie is pretty mild in comparison, and actually, it seems rather poignant to think about given the tragedies we’ve been forced to endure. Any lingering sadness in your child might be resolved simply by saying: “Who do you think lost more in that moment?” Let the kid know that even when good guys don’t win, there’s victory in simply being good. I know my daughter will feel sadness at some of the darker corners of this otherwise fun adventure, but as we all already learned from Inside Out, it’s okay to feel sadness sometimes.

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