Image with words "Final Trailer" and image from 'The Rise of Skywalker |
In hindsight, I’m not sure one spaceship destroying three
is significant. All adventure and action
movies feature a protagonist facing what appear to be impossible odds. The heroes typically turn out okay. But in 1977, if I didn’t already want to see Star
Wars, my friend Greg and my parents’ sailboat trailer convinced me that I
must.
My parents didn’t need convincing. They loved the movies. Soon enough, they took my brothers and me to
see Star Wars. From the scrolling
prologue to the final battle within the trenches of the Death Star, the movie
was everything Greg led me to believe, and more. Like so many other children, I collected a
few Star Wars Action Figures, paying for them with allowance money or
opening them as gifts on birthdays and Christmas. But whether it was Star Wars Merchandise or television
programming that fed off the blockbuster, I had little patience for anything
but the actual Star Wars movie. Anything
that wasn’t the movie, but that made me think of the movie, was a disappointment.
Photo from 1977 of the Madison City Council. Fred Arnold is lower right |
As an adult, when I moved away from my parents’ home, I
continued to seek my father’s opinion of movies. I usually called home once every week or
two. Sometimes my Dad wasn’t home, and I
only talked to my Mom. Any time the call
included a conversation with my father, we typically shared thoughts about the latest
movies we had watched. Beyond the violence, my father’s perspective dipped into
details of film I rarely heard about in movie reviews and trailers. Talking
about Master and Commander: The Far Side of the World, my dad didn’t
tell me about the naval battles or the plot.
He talked about the moments when the Russell Crowe and Paul Bettany characters
played music together. I rented Big
Night over Netflix, for no other reason than to see the main characters
cook an omelet in the final scene, a scene my Dad and my Mom relished.
But my Dad’s thoughts about The Return of the Jedi are
what stay with me stronger than any others. I think about what he said any time I come
across the movie on cable television. I watch the final battle scene, wondering
if any Storm Troopers are spared in the wake of the battle, wondering if any
members of the Empire escape from the Death Star, wondering if any of the
Galactic Empire ships fly away still intact.
Now
that I am older, more so than the final battle scene, I am interested in the
opening sequence with Jabba the Hutt, that ends at the Pit of Carkoon. I track down the chapter on YouTube and watch
closely, wondering if any of Jabba’s minions could have jumped off the barge
before it exploded, then made it out of the desert alive. I ask myself why Luke destroyed the ship
after all the foes above deck had already been killed. He and his crew could
have escaped without killing the musicians and the others below deck. When I watch Luke pull the trigger on the
cannon, sending a blast into the hull, sealing the fate of the survivors, I
believe the original title of the film, “Revenge of the Jedi,” would have been
a more appropriate name for the movie. I
search the internet for reviews and commentary that cover Luke’s decision to
destroy the ship. I find nothing that speaks to the destruction of the barge. I do find a statement that says the Jedi
follow the Light Side of the Force, which is “built around the alignment of
tranquility, compassion, selflessness, and unconditional love for all living
creatures, (https://starwars.fandom.com/wiki/Light_side_of_the_Force).” Unless
the decision was to spare the survivors death under the desert sun, there was
nothing compassionate about pulling the trigger of the canon. Another site that answers questions about the
Dark and Light Side explains that to channel the Force, “a Jedi will silence/bury/control his emotions, (https://www.quora.com/What-are-the-differences-between-The-Light-and-Dark-Side-of-the-Force).” To me, it makes more sense to view the scene
through the context of Luke ‘burying his emotions.” Nonetheless, after Luke
secured his light saber, he no longer needed the powers of The Force. His enemies didn’t have a chance.
My father’s words hover in my memory when I witness
violence on the screen. I don’t believe his intent was to make me think about
movies in such a way, but I can’t help but think about how violence is
inflicted upon thugs and antagonists. When
I watch movies, I don’t dwell on the number of people who die in a movie. I
dwell on the number of antagonists who survive.
In Mission Impossible II, when Ethan Hunt, alone a motorcycle, is
pursued by a score of henchmen in cars, I wonder, “How many of those henchmen
will make it alive through this car chase?” I had little interest to see the
latest Indiana Jones Movie, Indiana Jones and the Kingdom of the Crystal
Skull, beyond to learn if any of the Russian soldiers who mix it up with
Harrison Ford’s character would live. I
watch James Bond movies with an eye toward the climactic engagements between
Bond and the villain’s army. I know Bond will prevail. The villain will die. I don’t know if any of the
villain’s mercenaries will survive.
The death count isn’t necessarily about Ethan Hunt, Indiana
Jones, Luke Skywalker, or James Bond.
The death count points to the people behind the script and behind the
camera. I wonder if the extent of the
violence and the outcome of the violence reflects the writer’s and producer’s
views on capital punishment, redemption, and forgiveness. The filmmakers manipulate the actions of the
heroes, who leave piles of bodies in their wake. Sometimes, the script leaves room for the
survival of a few foes.
In the James Bond Film, Tomorrow Never Dies, several
members of the crew on the Stealth Ship appear to escape before the boat
sinks. In Wonder Woman, a few
German Soldiers emerge from the wreckage at the end of the movie. I dwell on the decisions that are made behind
the camera, wondering about what, if anything, the film makers intend to say in
the space between the death of all the antagonists and the survival of a few.
At work, I staff a monthly Peer Support and Art Group. The second Tuesday of every month, people
gather around a few tables. We talk about
what is on our minds. We eat pizza, and then we doodle with crayons, colored
pencils, markers or paint. In December,
we had a group that was larger than typical. For most of the people at the
tables, it was their first time in the group.
We went around the room, introducing ourselves. We were all asked to say
our names and say one thing about ourselves. When it came to one young man who
sat across the room from me, he didn’t speak.
Instead, he typed text onto his Smart Phone and then raised the phone
over his head. A member of his group read
the text aloud. The typed words included
his name and this message, “I like reformed villains.” His words resonated deeply with me. Just like I may have misinterpreted the words
of my father years ago, the words “reformed villain” probably don’t mean the
same thing to that young man as they do to me.
But his words resonated. He reminded
me how I long for film and television villains, and more so the accomplices of
villains, to survive the vindictive wrath of the protagonist and find peace and
reconciliation in the future. I believe that too often popular culture doesn’t
give villains the time to reform, or the protagonist the space to care.
When I told others about the introduction, some asked me to
name a reformed villain. Darth Vadar
comes to mind. His reformation allows
him to die on the acceptable side of the Force. All the other people on the new
Death Star weren’t given a chance to convert.
They were vaporized.
In Tombstone, two of the ‘Cowboys’ have a change of heart after the rest of their gang terrorize the wives of the Earp brothers. As part of their reformation, they join up with Wyatt Earp and Doc Holiday to slaughter the remaining ‘Cowboys.’ In The Black Swan, Tyrone Power’s character gives up his life as a pirate. The powers that be forgive his past transgressions under the condition that he hunt down other pirates. In these examples, reformed antagonists atone through killing other antagonists.
Ebenezer Scrooge from Charles Dickens’ A Christmas Carol
has an entire plot line dedicated to his reformation. If ghosts visited more
villains, there would be more transformations.
One the most recent Bond movies, Spectre, shows
mercy to Blofeld, Bond’s arch enemy. Who
knows what path Blofeld takes in the future, but he is given a chance to follow
a path. A chance not offered to many who
cross 007.
Oak Carving (Forged in Wood) with name "Arnold" inscribed and a tree at the lower right |
And, I imagine talking about movies. I want
to tell him that I still haven’t seen the latest Star Wars Installment, The
Rise of Skywalker. I want to see it.
But the conversation my father and I had decades ago reaches out from
the recesses of my memory. Nearly 40
years after The Return of the Jedi, I still dwell on the decision Luke
made to destroy Jabba the Hutt’s barge. From what I read, I imagine the plot of
The Rise of Skywalker will play out similar to The Return of the Jedi.
I am scared that if I see the new movie, decades from now I will sit around,
wondering why so many lives were lost.