You have to feel
sorry for the bad guys at the beginning. The deal the universe gave to them is
this: the good: you're way more powerful than your opponent; the bad: you have
to keep coming across as if you've just met your opponent for the first time, so
all your power seems ill-designed for the opponent currently facing you -- and
therefore not power at all -- and as if previously someone had on a whim just
executed all your teachers so it's perpetually battle 101 for you (why with all
our fire-power can we not destroy a single ship? too small sir. okay, why with
all our fire-power can we not destroy a fleet of ships? they're too small a
fleet of ships, sir. Grrrrr). General Hux falling for the old, if you let your
opponent telephone you and you're on broadcast, you'd actually have to have
shown him up as a total fool -- and thereby have him in self-recriminating mode
-- as Snook and the Emperor before him knew how to do, before letting him
speak, to be effective, for otherwise the power to talk is both-ways and he'll
Taserface you. General Hux is a punk. Weird in a movie where his eventual
superior/co-equal Ren is denatured in sheer intimidation factor as well.
(Previously remember, Hux was hysterically but also terrifyingly commanding a
nazi army saluting the very effective destruction of planets; had more than a
remnant of scary.)
Poe is rendered
down to captain for disobeying orders. This for taking down the enemy's most
powerful warship, long known to be the greatest terror in the sea of space. We
accept this demotion of him because something about going captain after being
commander means less conflict in us as we view him behaving in the way we want
him to -- as a loose canon. Commander is too office chair, and maybe too old.
Brief moments of this, okay, but otherwise--. Leah's response to him seems
objectively inappropriate (she doesn't make a strong case as to why she was
right and he was wrong... though maybe she's sensing that we're so with her
that it's become pointless to even make a case) but narratively appropriate: Po
goes reckless and leader hems him in, but in a way which is really more about
friendship-cementing and, indeed, allowance -- greater actual range, greater
loosity, greater empowerment. Just what we want. What we didn't want is for another
leader to step in and take advantage of this
ostensibly-opposite-of-a-promotion-but-actually-a-promotion promotion to
actually limit him within the constraints of his new rank. To make him so that
he's not now more free, but more sealed off... less free, more inclined not to
take impudent action confidently, but to do so out of seeming desperate,
caught-out in an unfamiliar position, erratic, not-so-well -- out of
juvenile/narcissistic testiness. This was interesting. Vice Admiral Holdo plays
the part of Dolores Umbridge, making use of a position for all the malignant
power always potentially available in an empowered role that had previously
been hidden by the consistent sweet-heartedness of its previous holders, and
Poe finds reason to raise a mutiny against her. But the movie is not interested
in destroying witches, but in drawing our attention to how wrong it is to use
narrative to sustain this negative stereotype of powerful women. Or, rather, it
sort of does, or it looks like it was meant to. But if we think on it a bit,
Holdo, revealing herself as only actually pretending to be a b*itch and her
later sacrificing herself so others can live implicitly implies that if she HAD
only been limiting Poe to the presumptions available to his specific rank, and
had NOT at heart been thinking of depleting herself so that others would
benefit... if SHE HAD BEEN a b*tch, but also an effective, level-headed leader,
performing very strictly but also always strictly within her delineated limits
-- mutiny? Actually, maybe okay. (Also, by declaring that she was only playing
being a b*tich gives us permission to have felt righteous in our discomfort
with her before -- we weren't wrong there -- and efface from mind that we still
find her pretty much the same way: we relax only because she's shown us the
specific avenue for her accepting and agreeing with us. Just work with her.
Not, that is, because all presence of the b*itch is eclipsed out of her.) But
we don't think this because Princess Leia suddenly is back, and has her back,
and no one's in mind to start not cooperating in her not seeming an
all-absolving saint who shrouds holy glow on anyone she stands by.
We might sense,
though, that the power in this film that we would feel least secure in abrading
is Vice Admiral Holdo. (The force might not be in her, but sheer force[fulness]
certainly is.) Offering us Hux and Ren as squabbling siblings, comically
stepping over one another, vulnerably being open to being stepped over or
rivalled -- think Hux's, Gandalf-akin, stepping through Ren's mad anger at Luke
to more deliberately issue orders at the finish of the film -- by their rival,
seem like getting to hang out with a merry band of robin hood democrats in
comparison. Loosity, permission, relaxation -- not something one normally
associates with foes known to automatically quicken tension for their being
known to strangle people in mid thought/expression.
Who steers a
ship, who gets to speak, who gets silenced... all of this is very important in
the film. (Tension is heightened and relieved when a left-out character
initially fails to but eventually finds avenue to be centre-stage in an
articulation of a plan to a commander.) Every character who might have been
humiliated in being silenced, takes centre-stage, and relief is felt -- YOU
count: you're not going to get upstaged again. In this film, it actually means
a demotion at times of, former Mary Sue, Rey, who if I remember is not
displacing Chewie as Han's second but serving as adjunct in a space battle to
Chewie. Furry beasts have rights too. Step aside sister. (Rey of course takes
another hit when her using the force is shown up as creating more mess for
service personnel to clean up, making her seem temporarily just another
highfalutin the masses never liked but always had to put up with.)
Finn seems bound
to a relationship he really has no choice in. Rose Tico feels like a character
appropriate to a series adjunct to the main line of Star Wars films, not its
centre. She seems appropriate to Rogue One. One could feel the
I'm-with-the-force-the-force-is-with-me in her relationship to the
"Asian" symbol, feel the imposition, the imposter-hood (i.e., alien
to and zero to do with the force manifest in the Star Wars universe, and indeed
more a fetish, a long-extended transitional object the enfranchised geek gets
to take with her), and our disability to raise hackles against it (for then we
wouldn't be anti an unwanted artifice -- deep, deep, ostensibly mild and meek
in appearance but actually interminably demanding geekhood -- through a welcome
inclusion of a prominent Asian character, but only anti-Asian), and also
Finn's, "man, I'm down amongst the downstairs crew again." (Poor
Finn: introduced to us in two sequential films by being beat on by a woman
while haplessly trying to explain his justified case. And also poor Finn:
through his being tied up with her, he becomes quintessentially a sanitation
worker here -- a demotion hidden by emphasizing the expertise behind the role
-- which is actually a reduction of his being just a number in the previous
film, for there, one of a number of.... countless Stormtroopers, battle
warriors -- knights. And also poor Finn: not only is he tasered by the one of
lowest established regard in the film, but his choice to -- Poe-like -- go solo
against an armada is taken away by her as well, as she explains how he once
again has to fit within the limits of her expressed understanding of things...
is Poe this film's #metoo victim?). Is this dignity for working class personal,
for who they were (service) rather than whom they "ascended" to (the
heroic)? Or is this risking filing an enterprise which had been open to open
objective judgment within the ranks of people who need flattering and who'll
own your ass if your ever show signs of escaping the range of their fiercely
insistent emotional needs? When Rey is told she's all lower class too,
quintessentially so, has the movie worked its spell in our actually feeling
relieved that she's not actually much beyond any of us -- half-bullsh*t at
best, and even villainous for hoisting her grandiose specialness over peers...
all that stuff about her counting the days until "royalty" descends
to rescue her -- or do we never stop seeing her as grand in spirit, even with
this reveal, and thus someone still considerably better than us, that is, as
someone to envy? Do we want her to seem someone we could reduce to a puddle if
she ever displeased us? Or someone who in her response to us would leave us
feeling compromised and guilty for demanding this of her? Where does the movie
tilt us? I feel -- both ways, probably. But more to the former.
Being amongst all
the ostensibly little people, taking time to attend to them, can feel rank if
it means that every little truly penurious thing about them is no longer allowed
to be accorded -- it all becomes actually inherently valuable things that got
cast as worthy of denigration by mean, belittling people. A lot rests on their being like the
#metoo victims, people of true dignity and worth that previously was effaced.
And not like the Eves of "All about Eve," narcissists given licence
we can't withdraw, for once let out they range over, take over everything, and
indeed to be seen piloting every ship.
I would have
liked the first-shown grand code-breaker to have proved the actual
code-breaker, the first guy shown wearing the badge. Style and panache. It was
disappointing to find it to be someone within our range, slob-man who doesn't
make us feel insecure, make implicit demands. Of course -- THIS heep! Well, we
can accommodate him without any problem because he fits type... someone from
the underworld, not the world of high class -- which makes us nervous -- but
the mystery that would have developed if we knew the film maker could have
shown himself feeling comfortable sticking with the showboat, with the truly
unexpected, with someone who could discriminate, see our flaws, with the high
class Bond! (This said, the long looks we garner of so many people of ordinary
looks and appearance, not only seems updated, but like we've become more
grown-up in our relinquishing even the desire to see wall-to-wall beauties.
It's something to be so fascinated at all the many flaws in appearance of the
rebel personnel -- bulges of fat here, crooked nose there, aged skin here,
skin-and-bones there -- so confidently contested as something perverse to find
oneself blinking at).
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