By Susan Granger
Special to WestportNow
On May 25, 1977, John Williams’ propulsive score introduced George Lucas’ sci-fi fantasy “Star Wars,” featuring Luke (Mark Hamill), Leia (Carrie Fisher), Han Solo (Harrison Ford), Darth Vader (James Earl Jones), Chewbacca (Joonas Suotamo), Yoda and the indispensable droids: C-3PO (Anthony Daniels) and R2-D2.
While the Star Wars concept continues in various spin offs, that era has concluded. After George Lucas sold the franchise to Disney in 2012, J.J. Abrams has masterminded the final three ‘origin story’ episodes, introducing desert scavenger-turned-Jedi Rey (Daisy Ridley) and First Order Supreme Leader Kylo Ren (Adam Driver) — aka Ben Solo — under Sith Emperor Palpatine (Ian McDiarmid).
Star Wars: The Rise of Skywalker” begins a year after The Last Jedi. And while the First Order has quashed the Resistance, Stormtrooper-turned-Resistance fighter Finn (John Boyega) and spice-smuggling ace pilot Poe Dameron (Oscar Isaac) have been sent by General Leia Organa (the late Carrie Fisher) to search the galaxy for potential allies.
Obviously, J.J. Abrams’ greatest challenge was seamlessly integrating previously unused Carrie Fisher outtakes from Episode VII, “The Force Awakens,” dumping the “ghosting” technique that revived Peter Cushing’s Grand Moff Tarkin in “Rogue One.”
Abrams introduces Keri Russell as slinky Zorii Bliss, almost unrecognizable under a large brass-and-red helmet, along with Naomi Ackle as a bow-and-arrow wielding warrior astride an equine called an Orbak. And there’s a glimpse of Fisher’s real-life daughter Billie Lourd as a Resistance lieutenant.
Working with co-writer Chris Terrio, Abrams also pays homage to Billy Dee Williams as roguish pirate Lando Calrissian and other nostalgic surprises that I won’t ruin for you. While the convoluted, vaguely coherent plot’s a little vague, cinematographer Dan Mindel chronicles several dazzling battles and tense, lightsaber clashes.
On the Granger Movie Gauge of 1 to 10, “Star Wars: The Rise of Skywalker” is a sprawling, satisfying 7, as familiar memories of flying on the Millennium Falcon continue. And — at least at Disneyworld — The Force will always be with you.
Jay Roach’s flashy “Bombshell” about sexual harassment focuses on three beautiful, blonde women working at Fox News (2015-16): anchor Megyn Kelly (Charlize Theron), daytime program host Gretchen Carlson (Nicole Kidman) and a (fictional) wannabe anchor Kayla Pospisil (Margot Robbie).
Based on a real scandal, their story opens during a presidential campaign debate as Megyn Kelly skewers Donald Trump with a question about his disdainful treatment of women. In misogynistic retaliation, he mentions her menstrual cycle which creates more controversy.
Angry at losing her prime time spot, Gretchen Carlson becomes the whistleblower/catalyst for a campaign that would eventually result in the ousting of predatory CEO Roger Ailes (John Lithgow), who insisted female anchors/reporters wear tight, bright short-sleeve dresses, provocatively hiked above the knee, sheer nude hose and high-heeled pumps — like fembots.
Too bad Carlson’s part is woefully underwritten. There was such pervasive paranoia in the Fox corporate culture that she’s uncertain whether other female employees would come forward, particularly when Kimberly Guilfoyle (Bree Condon) insists everyone wear “Team Roger” shirts.
Milling around are Bill O’Reilly (Kevin Dorff), Susan Estrich (Allison Janney), Jeanine Pirro (Alanna Ubach), Rudy Giuliani (Richard Kind), and Rupert Murdoch (Malcolm McDowell). Kate McKinnon briefly scores as Jess, a liberal lesbian producer who’s terrified of being ‘outed.’
Working from a script by Charles Randolph (“The Big Short”) that’s filled with expedient complicity and disconcerting contradictions, director Jay Roach (“Trumbo”) masterminded Charlize Theron’s remarkable physical metamorphosis into steely Megyn Kelly with the help of makeup artist Kazu Hiro, Oscar-winner for transforming Gary Oldman into Winston Churchill in “Darkest Hour” (2017).
Roach notes: “It’s important to remember that Ailes left Fox News in July, 2016, before the eruption of the #MeToo movement when the Harvey Weinstein story broke in 2017.”
According to the end cards, the remuneration paid to the women was $50 million, while Ailes and O’Reilly’s settlement packages totaled $65 million.
On the Granger Gauge, “Bombshell” is a sensationalistic 7 — yet this timely topic could have been so much more dynamic and effective.
Since Greta Gerwig’s “Ladybird” was one of my 2017 favorites, I had high hopes for her version of Louisa Mae Alcott’s classic story “Little Women,” but she butchers it.
Rather than relate it chronologically, Gerwig shuffles, subverts and skips pivotal scenes, except for the opening Christmas letter from Father (Bob Odenkirk) and the wryly romantic conclusion. Her chaotic, nonlinear interpretation and fast-paced, overlapping dialogue causes not only confusion but consternation for those who aren’t familiar with the plot and characters.
Set in aftermath of the Civil War, Alcott’s 1868 novel follows the ambitions and dreams of the four bickering, impoverished March sisters: writer Jo (Saoirse Ronan), pragmatic Meg (Emma Watson), artistic Amy (Florence Pugh) and piano-playing Beth (Eliza Scanlen).
‘Rounding out the family, there’s wise Marmee (Laura Dern) and caustic Aunt March (Meryl Streep).
Living next-door, Jo’s suitor Laurie (Timothy Chalamet) and his tutor Mr. Brooks (James Norton), plus there’s Jo’s outspoken admirer, Professor Friedrich Bhaer (Louis Garrel), in New York.
For years, filmmakers have been drawn to the material because of Alcott’s insight into the psyche of young women coming-of-age, realizing the limitations and narrowness of how women’s lives and roles were defined back then. It’s about establishing your identity and making choices.
Writer/director Gerwig focuses on rebellious Jo, an impulsive tomboy who rejects the gender conventions of her time, refusing to wear frilly dresses, concentrating, instead, on her work, often clashing with her chauvinistic editor (Tracy Letts), while defiantly retaining her copyrights.
Filmed entirely in and around Concord, Massachusetts, Harvard’s Arnold Arboretum doubles as Paris with several shots at Alcott’s home, Orchard House, which has become a museum.
There have been several screen adaptations, including George Cukor’s (1933) with Katharine Hepburn, Gillian Armstrong’s (1994) with Winona Ryder, Kirsten Dunst and Claire Danes and — my favorite — Mervyn LeRoy’s (1949) with June Allyson, Elizabeth Taylor, Janet Leigh and Margaret O’Brien.
On the Granger Gauge, “Little Women” is a scattered, feminist 5, trying for a festive Currier-and-Ives Christmas.
(Editor’s Note: Westport resident Susan Granger grew up in Hollywood, studied journalism with Pierre Salinger at Mills College, and graduated from the University of Pennsylvania with highest honors in journalism. In addition to writing for newspapers and magazines, she has been on radio/television as an anchorwoman and movie/drama critic for many years. See her reviews at www.susangranger.com.)
