Starring: Alden Ehrenreich, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Phoebe Waller-Bridge, Joonas Suotamo, Paul Bettany
Distributor: Walt Disney Studios
Runtime: 135 mins. Reviewed in May 2018
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Alden Ehrenreich would have been forgiven for having a bad feeling about taking on the role that made Harrison Ford into an overnight star. Playing a younger Han Solo, Ehrenreich deals not only with the looming legacy of the veteran actor who originated the role, but also with decades of audience expectations of the character. Luckily Ehrenreich, who impressed with a scene-stealing supporting role in the Coen Brothers’ ‘Hail, Caesar!’, is more than up to the task. His Han is cocky but never unlikeable, charming but also unsure of himself. Ehrenreich’s performance is no impersonation, but rather an imprint, capturing Ford’s roguish qualities but infusing his part with a blend of goofiness, innocence and unearned confidence that conveys his youth. Watching Solo on his path towards the morally complex man we first met in 1977’s ‘Star Wars’ is the greatest joy that this prequel offers. The rest of the film is a little too safe and too flat to give Ehrenreich the star vehicle he deserves, but he, his fellow cast mates and a few other nice touches are reason enough to enjoy ‘Solo’.
The screenplay, written by father-son duo Lawrence and Jonathan Kasdan, follows Han as he joins a gang of outlaws in a daring heist. The small crew consists of leader Tobias Beckett (Woody Harrelson, whose practice in countless mentor roles has paid off), his partner Val (Thandie Newton) and their pilot Rio (voiced by Jon Favreau). Joining the team alongside Han is Chewbacca (Joonas Suotamo), the 7-foot-tall brown-shag-carpet-looking Wookie that fans already know and love. The job is straightforward – steal enough of a super-fuel called Coaxium to make them rich – but there are plenty of complications, not least ruthless crime boss Dryden Vos (Paul Bettany) and Qi’ra (Emilia Clarke), a figure from Han’s tough upbringing turning tricks on the streets of Corellia.
‘Solo’ has the rare distinction of undergoing a directorial handover during production, when the ‘Jump Street’ franchise directors/wunderkinds Phil Lord and Chris Miller left the project, citing the ever-lurking ghoul of “creative differences” with producer Kathleen Kennedy (who serves as the President of Lucasfilm). In their wake, Kennedy drafted Oscar-winner Ron Howard to finish principal photography and substantial re-shoots. While for months this (unusually late) shakeup threatened to dominate the public discourse surrounding the movie, the finished product also hides the silhouette of the behind-the-scenes drama. It feels as though the edges of ‘Solo’ have been sanded down. What should be a funny but rough and ready action-adventure feels strangely dull, its quality supporting cast bereft of characters that leave an impression and its story quite toothless. There are plenty of moments that feel primed for a laugh, but the punchlines are regularly beaten down by blunt editing and John Powell’s overbearing-to-the-point-of-white-noise score (the only memorable musical cues remain those nodding to John Williams’ classic themes). For instance, a young Han tells an administrative drone that he’s going to be “the greatest pilot in the galaxy”, before we smash cut to three years later with Han just another mud-caked foot soldier in the Imperial Infantry. In the hands of Lord and Miller, this feels like a joke waiting to happen – the misdirection of the heroic build-up cut down by the sight gag of Han being shot at and blown up. Instead, it just happens. Howard was brought onto the film as a steadying hand and it feels wrong to lay all blame at his feet, but the film lacks a distinctive voice.
There are some bright spots. The first major set piece, a smaller raid on a mountain railway, is as thrilling as the film gets. As the futuristic train twists and rotates around a central rail to wind its way up and down snow-capped peaks, Beckett and his crew battle encroaching marauders to secure the score for themselves. It’s an energetic introduction to what a heist taking place a long time ago, in a galaxy far, far away might be like, but the subsequent action beats don’t match its flair. The visuals, courtesy of ‘Arrival’ cinematographer Bradford Young, bring a new look to the ‘Star Wars’ franchise, which has leaned toward a clean, glossy palette since the prequel series kicked off in 1999. His frames are smoky, dimly lit and awash with shadows, an aesthetic which suits its underworld settings.
It is in these hazy dens that we first meet Lando Calrissian (Donald Glover), the stylish smuggler and gambler whose flying prowess (and fast ship) make him a valuable part of the developing heist. Glover easily delivers the character’s cool, but he can’t seem to escape the shadow of Billy Dee Williams’ iconic performance in the same way that Ehrenreich manages to with Han. With Lando is L3 (Phoebe Waller-Bridge), his droid co-pilot, who harbours her own dreams of robot revolution. Thanks to Waller-Bridge’s feisty delivery and effortless timing, L3 transcends her generic design to become the film’s funniest (and ironically, most recognisably human) supporting character. Her mission of liberation comes to head during a heist sequence, resulting in what is easily the film’s funniest scene, as she sets a gaggle of indentured bots free.
It’s highlights like these that ensure the blockbuster should still entertain and satisfy the majority of its doubtlessly huge audience. However, ‘Solo’ feels far more calculated and risk-averse than the titular character would have wanted. The Han Solo audiences know is a spiky, charismatic antihero. Alden Ehrenreich gives this young Han his all, but the film around him doesn’t reflect his commitment to the character. ‘Solo’ may take part amongst the stars, but it doesn’t really aim for them.
Callum Ryan is an associate of the Australian Catholic Office for Film & Broadcasting.
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