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In a way, maybe the silent version of the film is the answer to their grievances – shorn of dialogue and exposition, it allows the viewer to make up his or her own version of the movie … though why anyone would want to when the existing one is so rich is beyond me.įor those of us who love The Last Jedi as is, seeing it without the dialogue and effects is an opportunity to fully appreciate the weight on these characters – on Hamill’s Luke Skywalker, on Daisy Ridley’s Rey, on Adam Driver’s Kylo Ren, on Carrie Fisher’s Princess Leia, and so many more (it’s amazing how many storylines Johnson finds time to fully develop in his exquisitely balanced structure) – as the faces convey the burden of their decisions as vividly as in a Bergman film.
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Interestingly, this idea of people either enduring in the face of a schism between their longings and reality or being destroyed by the weight of the disappointment is oddly relevant to the film’s reception although a deservedly massive hit, The Last Jedi met with a hyperbolic backlash on social media from fans who felt that Johnson didn’t give them the Star Wars movie they wanted.
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(I should also make clear that this is no faint praise, since I’ve loved every movie in the series – yes, even the prequels.) It was spectacularly entertaining in terms of its dynamic action set pieces and had a delightfully playful sense of humor, yet also managed to be the most adult entry in the saga since The Empire Strikes Back its examination of grief and its exploration of the ways in which people struggle with the difference between the way things are and the way they want them to be were positively devastating at times, largely thanks to Mark Hamill’s brilliant performance, one that equals Robert Forster’s Oscar-nominated work in Jackie Brown in its combination of weary resignation and buried romantic hopefulness. Putting all my cards on the table, I should make clear that in its theatrical release version I thought The Last Jedi was the best Star Wars movie since George Lucas’ 1977 original: the one most in touch with the primal satisfactions of myths, the one with the greatest variety of expertly calibrated tones, and the one with the greatest sense of visual ingenuity. In this sense, the relationship the score-only version of The Last Jedi has to the original is similar to the relationship between The Last Jedi and the previous films in the franchise. He’s also transformed it into an entirely new movie that has different pleasures and more poignancy than the theatrical version while retaining most of what made that movie great.
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Yet the “silent” edition of The Last Jedi is far more than a tribute to Williams’ talent by removing the dialogue and sound effects, Johnson has given his film a newfound purity in which all of its big ideas having to do with memory, legacy, regret and hope are amplified and made more intellectually and emotionally penetrating. Based on Johnson’s tweets about the release, he wanted to put out this version so that people could fully appreciate the breadth and depth of Williams’ music, which is indeed awe-inspiring – no mere pastiche of his previous work in the series but, like the film it supports, a stunningly inventive leap forward that honors the earlier films while moving the saga in surprising, gratifying directions. This special feature is exactly what the description promises, an edition of The Last Jedi stripped of all its dialogue and sound effects, accompanied only by John Williams’ score. One of the best silent movies I’ve ever seen is only a few months old and hiding in plain sight on the Movies Anywhere app: it’s the “score-only” version of Rian Johnson’s Star Wars: The Last Jedi.
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Of course, barely anyone makes silent films anymore, so the pleasures of the form are largely gone from contemporary cinema.
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(My own movies are so verbally promiscuous that they make My Dinner with Andre look like Wall-E.) Yet I must admit than in recent years I’ve been more and more drawn to silent cinema, both to become more aware of how to create meaning via mise-en-scène and as a way of getting back in touch with the purely emotional response to movies I used to have as a child. Mankiewicz, Paul Mazursky and Aaron Sorkin are as integral to my view of film history as Antonioni’s architecture, Kubrick’s tracking shots or Peckinpah’s fast cutting. I’ve never been one of those people who thinks dialogue-driven movies are somehow less “cinematic” than purely visual ones, or who bought into “show, don’t tell” as a screenwriting rule the sharp insights and observations contained in the badinage of Joseph L. Over the festive break, Talkhouse Film is revisiting some of its most read (or listened to) pieces of the year, including this one.