When you have too many cooks in the kitchen, the result can be a sloppy mess of mixmatched ingredients and half-baked concepts. Especially when you fire your cook when the meal’s almost done and hire another cook to try and salvage the dish.
“Solo” tells the beginnings of Han Solo (Alden Ehrenreich), a rebel on the planet Corellia trying to escape with his girl, Qi’ra (Emilia Clarke). A series of events leads him through the Empire, a band of new rebels and a group of smugglers led by Beckett (Woody Harrelson) as well as future companions Chewbacca (Joonas Suotamo) and Lando Calrissian (Donald Glover).
The film is now infamous for the firing of directors Phil Lord and Christopher Miller near the end of the film’s production. Ron Howard was brought on board and the result was a rushed schedule and costly reshoots. The final film is a conglomeration of different ideas and loose ends, some obviously Lord and Miller’s, some Howard’s and some the studio’s, specifically Kathleen Kennedy, whose reputation continues to take a beating with the constant behind-the-scenes drama that unfurls with each new Star Wars film.
The very idea of a Han Solo spinoff film seems uninspired, more like a safe excuse to make another Star Wars film; another franchise character, some small tidbits about his past and a whole new array of potential merchandise opportunities. Alden Ehrenreich is a serious step down from the charismatic Harrison Ford. Rumors of acting coaches being brought in during the shoot certainly must not have done well for his confidence and his chemistry with Emilia Clarke is lacking. He’s caught between trying to be the cocksure, charming Ford while being his own thing while adapting to modern day acting in contrast to the 1970s and 80s Ford style. It’d be difficult for any actor, and it just doesn’t work.
There are some fun moments to be sure. After a dismal first half, the film picks up with double-crosses, space battles and slave uprisings. There’s a few funny moments (probably delivered by Lord and Miller) and some of the action scenes are fun and interesting. But they’re surrounded by a production that feels mismanaged and lacking focus.
If a Han Solo film needed to be made, a focus on Solo’s character was needed. How did he become who he becomes? The film does try to show how he gets the Millennium Falcon and how he meets Lando, but doesn’t show his character progression.
How did he become the burned-out, selfish renegade at the start of “A New Hope”? The natural progression would be from idealist to cynic. You can see during the film that’s where things were generally heading, but the character change is minimal at best, most likely because Disney was planning a sequel to complete the narrative (as evidenced by an open ending and an eyeball-inducing cameo from Darth Maul). For this to feel like an actual, complete story, Han’s character arc needs to be complete.
Imagine this: the film starts much as the film actually does; a young Han and his first love, Qi’ra, scrounge on Corellia, dreaming of getting out and being rich and happy. They make plans and try to ignore the destitution they live in. Then the Empire roars in and drafts all able-bodied men and women into the armed services. Han and Qi’ra are separated. He sees Qi’ra personally taken by an Imperial commander, a man who has a history with the couple and has always wanted Qi’ra for himself (let’s call him Zoran). Han eventually runs off from the Empire after he refuses to massacre the Wookies on an Imperial campaign, in the process saving Chewbacca. Chewbacca and Han connect over their lost loves, Han missing Qi’ra and Chewie, his life partner. They are recruited by Beckett who teaches them how to survive as smugglers (a la Oliver Twist), seeing in Han an innate gift for the job. Han is wary of compromising his morals, but Beckett promises that after their big score, which he’s been planning for years, he’ll personally take him to find Qi’ra. They gather a crew, including Lando, and, heist style, detail exactly how the operation is going to go down: a cosmic, fun, intergalactic scenario that barely succeeds, but ends in success. Beckett stays true to his word and takes Han to Qi’ra aboard an Imperial shuttle under the guise of an emissary to the Empire. There, he discovers Qi’ra has married the Imperial lieutenant, who is secretly working with crimelords on the side. Han tries to run with Qi’ra, but she is torn. She tries to convince him that she loves Zoran, but he doesn’t believe her. Then he is betrayed by Beckett as the old man makes a deal with the crimelords on Zoran’s side. Trapped and alone with just Chewbacca, Han becomes the bitter man we know. Chewie saves him by breaking him out and they escape. Qi’ra, realizing her love for Han, tries to abscond with him, but is held back by Zoran. Chewie and Han are trapped in an elevator shaft, but Qi’ra manages to make it to the control panel and release them, saving them as they blast off on a stolen ship into hyperspace. Qi’ra is detained by Zoran, her fate a mystery. We cut to a year later, Han a womanizer going from job to job with Chewie. They rendezvous with Beckett, cornering him in a bad deal with Lando’s help. The two men talk about their father-son relationship, talk about old times and how the world has led them to this place of eat-or-be-eaten. Han shoots Beckett before he can draw.
This sort of storyline would show a clear progression of Han’s character and a streamlined story, with more dramatic moments and actual sorrow, joy and tension. The new Star Wars films are too preoccupied with repeating the formulas of the past: shoot ’em ups, blasters firing, good and evil, etc. Branching out and trying something different would have gone a long way. The plot I outlined above includes some Dickens, some classic Western, some heist and some film noir. Not nearly enough thought beyond franchise building went into “Solo.”