Rogue One: A unique Star Wars film

Last year’s The Force Awakens provided us with a nostalgia-driven reincarnation of traditional Star Wars themes and motifs. In an obvious attempt to mirror the tone and structure of the Original Trilogy (sometimes too obviously), the film gave us a new cast of heroes to root for, a new set of destinies to unfold over the next few years. Once again, we saw the fate of the galaxy placed in the hands of a few swashbuckling heroes.

Rogue One is a very different sort of film. I wouldn’t necessarily say it’s a better film than last year’s addition to Star Wars canon, but it certainly succeeds in one aspect that The Force Awakens never could: for the first time, we have a truly unique Star Wars story.

When he began the Original Trilogy back in 1977, George Lucas created something incredible. Not only did he spawn a multimedia franchise that has come to infuse itself into the minds of people the world over. Lucas created a self-contained world in the manner of the greatest fantasy stories, a universe in which there is a constant battle between the forces of good and evil. Star Wars isn’t just science fiction: it’s Tolkien in space.

One of the things I’ve always loved about Star Wars is the depth of the world building. Lucas’ original films created a lived-in universe that science fiction had not seen before. In just a few hours of screen times, the films gave the universe depth and history. The audience knew that there were stories behind the stories they witnessed. This is what has allowed for an expanse of comic books and novels spanning thousands of years.

However, the main film series has always been forced (no pun intended) to focus on central themes of good and evil, fate and destiny. The rest of the universe has necessarily been left to the avid fans, those who purposely seek out the world beyond what we see onscreen. In order to make the main canon accessible to casual and serious fans of all ages, the series has been constricted to broad and romantic themes. To focus on anything else within the main story would have changed the nature of Star Wars.

The Original Trilogy revolved around the fate of the entire galaxy, a battle between the forces of good and evil, and an attempt to bring peace and prosperity to the galaxy. It seems that the Sequel Trilogy will be doing the same, dealing with the revival the lost guardians of peace and hope in order to fight an oppressive and cruel regime.

The oft-maligned Prequel Trilogy also dealt with such themes, though it also attempted to expand the world behind the Original Trilogy. One of the reasons these films are so disliked is because they failed to find a balance between capturing the grandiose themes of the Original Trilogy and providing ultimately implausible outer-space society with an element of reality. In its efforts to explain how the Empire came to be, the Prequel Trilogy lost some of the magical spark necessary that tied it into the main canon.

This is where Rogue One comes in. Free from the constraints of the main storyline, Rogue One has a degree of independence – and thus, originality – that no Star Wars film has had. By following characters who are secondary to the grander storyline, the film gives us a chance to see what life under the Empire is like. We see the realities of fighting a rebellion. Rogue One reminds us that the revolution of the Original Trilogy did not happen without sacrifice. Though Han Solo, Luke Skywalker, and Princess Leia might always walk away unscathed, most members of the Rebellion simply don’t have that luxury. Many are forced to do unspeakable acts, watch their friends and families die in horrific manners. Rogue One gives a previously unseen degree of reality to the Star Wars universe, taking some of the romanticism out of the events of the original films.

The characters of Rogue One are not heroes, not in the same sense that Luke and Leia or Finn and Rey are heroes. These characters are criminals and murderers. They’re the people in the background, the fodder for battles that leading heroes always survive.

Occasionally, Rogue One invokes the grandiosity of the main franchise. The Force, and the morality surrounding it, are intrinsic aspects of the Star Wars universe. The difference in this film is that these elements are secondary to the gritty realities of the universe. Rogue One is, perhaps, the most relatable Star Wars film for this very reason. The characters it involves are not perfect. They aren’t black and white, far from it. These people are conflicted and complex, and they are not always good people. The battles they fight are not fun. War is hell, wherever it is fought. Sometimes, Star Wars might forget this. Rogue One does not.

Rogue One manages to maintain a degree of the levity found in the franchise’s other films. The humour is generally grim but often laugh-out-loud. There are enough throwbacks to let us know that this film exists in the same universe, ending just moments before A New Hope. Secondary characters from the Original Trilogy such as Mon Mothma and Grand Moff Tarkin play central roles. R2-D2 and C-3P0 even make a cameo.

Vader's pun game was on point in this film

Another thing Rogue One does well is its treatment of its antagonists. While Orson Krennic might have been a pretty lame flop of a villain (he basically spends the entire movie whining and getting shot down by his superiors), classics such as Wilhuff Tarkin and Darth Vader are given excellent treatment. Though Peter Cushing (the actor who played Tarkin in 1977) is long dead, his character was brought back to life in beautifully rendered (not to mention controversial) CGI that allowed us a new opportunity to examine one of Star Wars’ most interesting villains.

The real villainous spotlight, however, is Darth Vader. Though the infamous Sith Lord only plays a minor role in the film, his two scenes are among the best we’ve ever seen. In keeping with Rogue One’s themes of realism and shades of grey, Vader’s treatment in this film reminds us exactly why his first appearance in A New Hope had the rebel soldiers shaking in their boots. The new film’s final sequence brutally illustrates that, though he might achieve some degree of redemption a few years onwards, Darth Vader is not, at heart, a tragic anti-hero: he is a cold, cruel, and powerful murderer who will cut down anything in his way.

Rogue One is a film that would not have worked if it had been a part of the main series. The deftness with which it handles the complex realities behind this fantasy universe gives me a new hope for this anthology series (pun very much intended). Rogue One is not perfect. At times, one can see the studio’s invisible hand; there are sections of dialogue that I wish had been rewritten. But in its goal of creating a unique atmosphere and realistic tone, Rogue One is most certainly a success.