One thing I like about Solo is that the ending surprised me. I won’t spoil it, because I don’t need to say what happens to explain why that’s a big deal.
Considering that it’s a prequel, and it’s about one of my favorite characters in all of fiction, and that there’s honestly only so many ways the story could possibly have played out, I didn’t think it could surprise me at all. But it did! Maybe not on the scale of “Oh, the Titanic didn’t sink after all!”, but more like the relief you feel when you see a movie barreling right for a cliche at full speed and then gracefully pulling away from the crash at the last moment.
There’s a bit in the trailer for Solo that’s been baffling for as long as the campaign’s been running. It shows the crew pulling some kind of train heist in the mountains, and oh no Chewbacca is flying out the side and barely hanging on, and look there’s a rocky outcropping headed right for his face! Is Chewbacca going to make it out of this adventure alive?!
It seems like an odd decision when you’re marketing a prequel, to suggest deadly peril towards one of the series’s most beloved and visibly living characters. But in retrospect, it’s truth in advertising. Solo is a traditional, almost old-fashioned, action-adventure movie that’s more about moments than anything else. It’s got swashbuckling scenes for the same reason that, say, Star Wars had Luke and Leia swinging across a chasm. It’s not really supposed to mean anything, or even contain any suspense. It’s just supposed to be exciting and look cool in the moment.
The movie’s got its issues — Thandie Newton is criminally underused, and it’s easy to play armchair director and point out that the movie would be significantly improved if they’d just combined the multiple heists into one big one. Characters would’ve been given more time to develop, and the whole thing would feel less disjointed. As it is, it has all the trappings of a heist movie, but very few of the clever moments that make heist movies seem smart and surprising.
(Also, L3-37 is a great character, but naming her L3-37 is an inexcusably lame grandpa-trying-to-be-cool blunder. Come on, guys, it’s 2018. Get it together).
But it’s fun and exciting, and it definitely doesn’t deserve the dismal buzz that’s surrounded it for over a year. For whatever reason, people decided they wanted it to be a failure. Before Memorial Day weekend was even over, I saw no fewer than three different think pieces trying to explain why it was such a failure. It’s being called a “flop” for only making over a hundred million dollars in four days. The reviews all read like pre-written obituaries that had to be hastily edited to begrudgingly acknowledge that it wasn’t terrible.
A peculiar phrase kept coming up in reviews, which is that the movie “didn’t need to exist.” Apparently, to distinguish it from the movies about space wizards that are essential.
Overall, the preemptive backlash just reinforced the main lesson of the new Star Wars movies, which is that I don’t care about your opinion of the new Star Wars movies.
It’s nothing personal (in most cases). It’s just that Star Wars has gotten to be way too big and too long-running a cultural phenomenon. I’ve been steeped in this stuff for about 40 years, and it resonates with me at a cellular level, but I still might as well be a Fake Geek Girl™️ compared to the people who can go off in detail about the Clone Wars and Ventress and Mandalorians and all that.
There’s no sense of outsiderdom in being a Star Wars fan anymore, but there are dozens of groups each obsessed with their own little corners, and there’s increasingly little that they have in common. I don’t need any kind of consensus or camaraderie anymore, really. I kind of hated everything in Rogue One apart from the production design, but there are plenty of people who thought it was a near-masterpiece. The Last Jedi eventually grew on me, and I like what it was trying to say overall, but while I don’t have any desire to watch it again, I completely fail to see the point in the hyperbolic outrage over it.
And The Force Awakens bypassed any rational thinking part of my brain and connected directly to the part of my soul that loves Star Wars, so any criticism of it is literally irrelevant to me.
Which is all a circuitous build-up to acknowledging that while a lot of people were predisposed to hate Solo, I was hard-wired to love it. By the time I saw the first complete trailer, I’d already decided that I was on board, and it’d have to work really really hard to throw me off.
When I was a kid at the absolute height of my Star Wars obsession, I read Brian Daley’s Han Solo books and absolutely loved them. Possibly even more than the Chronicles of Narnia in terms of favorite childhood books. I haven’t read them since I was a pre-teen, and I won’t, because I’m fairly sure they wouldn’t hold up now. But for a nine- or ten-year-old desperate to spend more time with these characters and see more of this galaxy, they were perfect.
I’ve heard that in addition to referencing Masters of Teras Kasi, there’s a bit of the Brain Daley books in Solo. I wouldn’t be able to tell you what it was, but it doesn’t matter. Just by existing, the movie promised to be a live-action adaptation (even if unintentionally!) of those books. And it clearly kept the only aspect of Rogue One that I liked: the notion that the look of Star Wars wasn’t an artifact of 1977, but just the way everything in this galaxy looked back in the time of Empire. Cast the impossibly handsome guy who was hilarious in Hail, Caesar!, and the impossibly handsome guy who was hilarious on Community*, and you’ve got all the movie I need, right there.
So there I was, watching the heck out of Solo by treating it like an action adventure movie from 1987 and having fun with it, loving that there’s a Clint Howard cameo, a villain who’s a practical effect, and an assortment of fantastic vintage droids we haven’t seen since the Jawa sandcrawler, and a closet dedicated just to capes, and the long and tortured but delightful attempt to throw a bone to all of us nerds who’ve spent decades snickering that parsecs are a measure of distance instead of time. By that point, I knew exactly how it would end, who would live, who would die, and how those death scenes would play out and turn Han Solo into the cynical rogue he would later become.
But then that didn’t happen. It didn’t deviate enough to be shocking, exactly, but it was enough to knock my brain out of autopilot and appreciate how clever it was. And then later, the final shootout played out precisely how it needed to. But by that time, it felt deserved instead of predictable.
I don’t know if they’re going to try to turn it into a spin-off franchise, but I certainly hope they do. I like Alden Ehrenreich and Donald Glover a lot, I think there’s plenty of potential for more stories in Han Solo’s past, and I think it deserves a movie that pays off on the swashbuckling/heist movie premise instead of feeling like a bunch of cool set pieces fitted together. I think the characters and the setting have still got it where it counts.
- And Khaleesi, of course. If I’m being 100% honest, the thing I love most about Solo is Emilia Clarke’s press tour, because she’s charming AF.