How high are the stakes for Solo: A Star Wars Story? There’s a disconnect between the extreme scrutiny paid to the film from a real-world perspective (largely due to the hiring of Ron Howard to finish the movie after the firing of Phil Lord and Chris Miller), and the movie’s own identity. Solo is a movie of modest ambitions, and it meets them. This is a solid straightforward crime movie in the Star Wars galaxy with a great lead performance, and that’s all it needs to be a success. The fate of the galaxy isn’t at stake on screen, so the fate of Star Wars isn’t at stake off screen.
On the industrial planet Corellia, Han Solo (Alden Ehrenreich) is unwittingly following in the footsteps of his future father-in-law; he’s indentured to an alien slave driver, and longs to take his skills as a fast driver off-world to be a great pilot. After being separated from his girlfriend Qi’Ra (Emilia Clarke), Han befriends Chewbacca (Joonas Suotamo) and follows the gunslinging cynic Tobias Beckett (Woody Harrelson) into a life of crime.
The era is ten years before the original Star Wars, a time when the Galactic Empire is a fact of life. Stormtroopers are just dystopian cops. Against this backdrop of oppression, Han is introduced hotwiring a landspeeder, and here Ron Howard takes a cue from his past and paints with an American Graffiti brush, all breakaway teens and hairpin turns. Familiar genre conventions are trotted out because they do the job. Of course there are Mexican standoffs, and a train heist (updated to the high-flying, twisting Conveyex), because this is a space western, get it? Several side characters are wiped out, because that’s what happens when a motley crew gets together in a heist movie and a job goes sideways.
One stumbling block is that the film is a little top-heavy with action. How exciting can it be for a ship to rock in a vortex filled with abstractions for ten minutes? The action isn’t a particular highlight, but still, Solo is a fun ride. The opening speeder chase is propulsive, and parts of the Conveyex sequence are spectacular (including a stylish little one-on-one fight between Beckett and the masked Enfys Nest).
Everything is held together by the film’s central performance. Ehrenreich is extraordinary, holding the screen with real presence but doing so with subtle actorly choices. He embodies a few of Harrison Ford’s mannerisms, but more importantly, his roguish essence. When we first meet Han, he looks damaged, determined with a face like an open wound, the product of a pained Dickensian upbringing. As the movie goes on, his worldview evolves, from optimism to that familiar front of being above caring.
Another highlight is the droid L3-37 (Phoebe Waller-Bridge), a (what do you know?) droid-rights activist who, like Rose Tico in The Last Jedi, profoundly represents the spirit of rebellion. However, some odd decisions are made with Solo’s female characters. Maybe Thandie Newton was only free from Westworld for a week or two, but her character Val gets L.O.S.T. in the shuffle (Lack of Screen Time). L3-37 is given such as strong logline for her character but then gets sidelined. And Qi’Ra is taken in a weird nourish femme fatale direction that feels undefined.
Another major player is Lando Calrissian (Donald Glover), who’s great and larger-than-life, complete with a closet filled with nothing but capes. At one point, Lando and Han are given a little call-forward to the famous “I love you”/”I know” exchange from The Empire Strikes Back, but this and other fanservice moments feel decidedly underplayed, to the point that some audience members won’t even catch it. This is the right decision; there’s a way to wink and nod without contorting your face and giving yourself whiplash. Rounding out the characters, we all know it’s all about Luleo Primoc (aka “Vat Weirdo”) and Aurodia Ventafoli’s soulful, plaintive duet.
In the build-up to Solo, it was announced that John Williams would compose a musical theme for Han Solo, something he always wanted to do in the past. But what he’s come up with seems like a copied-and-pasted, slightly faster version of his own Poe Dameron theme, another roguish pilot. The main body of the score is written by John Powell, who uses hints of his own percussion-heavy Bourne scores, as well as an Adiemus-meets-Ennio Morricone cue for Enfys Nest’s Cloud-Riders. But Powell would have done well to incorporate some of the rock instrumentation from the Solo trailers to give the score an extra oomph. It’s a bit of a missed opportunity for the man who, with How to Train Your Dragon, gave us some of the greatest film music of this century by marrying atypical film score instruments with an orchestra. Powell does make great use of existing Star Wars themes, however. The “TIE Fighter Attack” cue, last heard during the Millennium Falcon’s flight under Crait in The Last Jedi, gives the Kessel Run a needed punch-up, and will never stop being a pure injection hit of Star Wars. And, asteroids!
Production designer Neil Lamont adds to the saga’s palette of settings well, a couple of his designs being Han’s cool-as-Hoth landspeeder and the rustic and unusual Lodge set, where the stage is set for Lando’s introduction. Also, cinematographer Bradford Young gives Solo an earthy yet beautiful look. His lighting of the film’s five planets give a shape to the story’s structure all on their own: From the grime of Corellia, to the even-darker War-is-hell mud of Mimban, to the brighter snowscapes of Vandor, to the claustrophobic toxicity of Kessel, to a warmer hope for the future on Savareen.
Solo, while not featuring the best action or the best character dynamics, carries itself well as a fun space caper movie, and is given a big lift by its make-or-break central performance from Ehrenreich. It hits its themes of freedom and family hard and often. It’s filled with that Star Wars spirit of rebellion, albeit in different forms. I’d venture to say it’s a better Han Solo movie than Return of the Jedi (though not a better movie overall). When Han first sees the Millennium Falcon, I did almost cry. And that’s got to count for something. 7/10.
P.S.: YOU CAN’T MAKE THE SPOILER RUN IN LESS THAN 20 SENTENCES!
More than the other recent Star Wars movies, Solo traffics in a delightfully unending stream of offhand references to other elements of the canon. To name a smattering: Aurra Sing (Beckett killed her…!?), Teräs Käsi, Mimban (from the Legends novel “Splinter of the Mind’s Eye”), Colo claw fish (“There’s always a bigger fish…”), we now know how both Lando and Leia got their Jabba’s Palace disguises (see Forces of Destiny), Bossk, the Pykes. But best of all is Maul.
What a payoff for fans of the wider Star Wars canon. What a tribute to the writers of The Clone Wars and Rebels TV series and Maul’s two comic miniseries, who against all odds created a real character out of the cipher in The Phantom Menace. That’s not to mention Ray Park (from the films) and Sam Witwer (from the TV shows), whose distinct approaches to Maul were melded together into one performance here. And this is exactly where Maul would be, as per TV and comic continuity: orchestrating criminal syndicates, and in opposition to the Pykes, who abandoned his service. That little strain of “Duel of the Fates” comes on, and Maul ignites his lightsaber. There you go, that one moment means that every Star Wars movie still includes a lightsaber.