Next year will mark the 50th anniversary of “Star Wars” — and, let me remind you that “Star Wars” is precisely how that first film in the franchise was presented originally when it opened in theaters on May 25, 1977. It wouldn’t become “Star Wars: Episode IV — A New Hope” until it was reissued in 1981. It was the first film in a media franchise created by George Lucas that rapidly evolved in an enduring component of pop culture, which now encompasses feature films, television series, novels, video games, comic books and theme park attractions.
For the sake of comparison, let’s consider films that celebrated their 50th anniversary in 1977. Fritz Lang’s German expressionist science-fiction silent film “Metropolis,” made in Germany during the Weimar period, premiered in Germany in January, and in New York in March. The 1927 silent war film “Wings,” which would go on to win the first Academy Award for Best Picture, earned much acclaim for its synchronized musical score with sound effects. “The Jazz Singer,” which is considered the first feature-length “talkie,” also debuted in 1927. Its success presaged the end of the silent film era.
I’ll confess: I’ve only seen one of those three films.
“Star Wars” also changed the film industry. It helped launch the era of blockbuster movies. It revolutionized visual effects through the establishment of Industrial Light & Magic, founded by Lucas in 1975. It also illustrated the power of merchandising through licensing rights, with Lucas receiving significant revenue from the sale of Kenner’s line of Star Wars toys — enough dough to fund the next few installments of his space saga.
If you are an avid, lifelong fan of the franchise, you probably know that “Star Wars: The Mandalorian and Grogu” is currently in theaters. If, on the other hand, you don’t pay any attention to the pop culture juggernaut, news of the film may come as a surprise. Several people I have spoken to in recent days had no idea there was a new “Star Wars” film opening this summer. Maybe that’s because the era of blockbusters has been winding down since the COVID pandemic. Maybe it’s because “Star Wars” merchandise is so ubiquitous in stores that people expect to see it, and don’t necessarily connect new products to a new film. Maybe it’s because Walt Disney — who now owns and controls the franchise — has mainly focused on producing limited television series presented on Disney+ over the last few years.
With this film, Lucasfilm and Disney have pivoted back to the big screen.
“Star Wars: The Mandalorian and Grogu” opened in theaters on May 22. The film is directed by Jon Favreau, who co-wrote the film with Dave Filoni and Noah Kloor. It focuses on the “Mando-verse.” That’s a term fans have attached to a subset of the greater “Star Wars” universe, set in the New Republic Era, featuring stories about the bounty hunter Din Djarin and his foundling Grogu, an infant member of the same species as Yoda. These characters were introduced in the Disney+ series “The Mandalorian,” which first aired in 2019.
It’s helpful to know all that, but it’s not necessary to enjoy “Star Wars: The Mandalorian and Grogu.” And rest assured, the movie is enjoyable. Favreau achieves the right balance between nostalgia and originality. It feels old-school in all the right ways, and without propping up cameos and call-backs to franchise heavyweights. It introduces new characters, familiarizes us with a few tangential personas, and continues to build upon the father-son relationship between its two leads.
The story revolves around Din Djarin (Pedro Pascal), also known as the Mandalorian, and Grogu. It is set in the period after the Empire has fallen, but renegade Imperial warlords are still scattered across the galaxy, trying to reestablish their autocratic, totalitarian fascist dictatorship. The only thing stopping that from happening is the fledgling New Republic, the democratic government formed by the Rebel Alliance following the defeat of the Galactic Empire.
The New Republic solicits Din Djarin along with his young apprentice, Grogu, paying them to track down the warlords. Zeb Orellios, voiced by Steve Blum, also provides support.
After a “messy” mission that resulted in the death of a wanted warlord, Colonel Ward (Sigourney Weaver) sends the Mandalorian on another mission: Locate and apprehend the Imperial Commander Coin (Jonny Coyne). To find him, Din Djarin must run an errand for the Hutt Twins — “rescue” Rotta the Hutt (voiced by Jeremy Allen White) — in exchange for information. This undertaking leads to a revelation, a vendetta, and a confrontation with the Kyuzo bounty hunter Embo. All of these events flow seamlessly together in a fulfilling, focused, episodic adventure.
Favreau has crafted “The Mandalorian and Grogu” in such a way that it evokes a spaghetti Western ambiance. Comparisons to the Japanese manga series “Lone Wolf and Cub” are equally valid.
Unlike many films in the franchise, this is pleasantly self-contained. It is a rousing adventure, but on a smaller scale. No heavily populated planets are going to be vaporized by a despotic megalomaniac space wizard. There is certainly peril: Din Djarin faces significant challenges, and heroes encounter situations where sacrifices may need to be made.
The film never comes across as having an agenda, though it certainly reinforces desirable qualities such as kindness, courage, empathy, and responsibility. The script combines action and emotional engagement with solid storytelling. Add to that a fantastic score by Ludwig Göransson and a return to practical effects and tactile filmmaking, and this entry in the franchise — the 13th feature film — comes across as a refreshing throwback.
And somehow, Rotta the Hutt gets one of the most memorable lines in the movie. I won’t spoil it: You’ll have to watch the movie to find out what it is.
Lee Clark Zumpe is entertainment editor at Tampa Bay Newspapers, a Tomatometer-Approved Critic, and an author of short fiction. He can be reached by email at lzumpe@TBNweekly.com.