‘Rogue One’ is back on the circuit

Felicity Jones and Diego Luna with “Star Wars” androids in the most accurate derivative of the Jedi franchise

Rodrigo Fonseca
On the eve of the premiere of “Andor”, on Disney +, on September 21, the rogue played by Diego Luna, at the head of the Rebel Alliance, returns to the exhibition circuit with the return of the memorable “Rogue One” to the screens. It passes at the UCI New York City Center in Rio and in three rooms in São Paulo (Espaço Itaú Pompeia; Cinépolis Iguatemi and UCI Anália Franco.
In Brazil, the voice actor Sergio Rufino lent his voice to the villain, Dr. Orson Krennic, played by one of the most exciting actors in the industry today, the Australian Ben Mendelsohn. And Clarice Espíndola dubs Jyn, the protagonist, with rare elegance. Felicity Jones is the star who lives Jyn.
Faced with the exhaustion of the epic flame inherent in war narratives, foreshadowed by the quantitative excess of feature films on gunpowder-scented fronts, Hollywood and English cinema (this overcoat) invented a way to renew the vein of war films: leaving historical preciousness aside and invest in the adventure, using real combat only as a backdrop. This is the case of memorable productions such as “The Guns of Navarone” (1961), by Lee J. Thompson; “The Eagle Landed” (1976), by John Sturges; and the tarantine “Inglourious Basterds” (2009). Convulsive from beginning to end, “Rogue One: A Star Wars Story”, currently in theaters, aligns itself with this historic group of films, taking their aesthetics into space, in a tense narrative, guided by the editing supervision of Midas of the edition. Stuart Baird, from “The Omen” (1976) and “Lethal Weapon” (1987). Its worldwide box office scratched the mark of US$ 1 billion. To be exact, it made one billion, fifty-six million, and fifty-seven thousand dollars. And he was also nominated for an Oscar for special effects and sound mixing, under the firm direction of Gareth James Edwards, of the 2014 Hollywood version of Godzilla.
Owner of the greatest villain in all of pop culture – in this case, Lord Darth Vader – the Star Wars franchise surpasses itself – and surprises us – once in the apparently unpretentious “Rogue One” by presenting the public with a new and seductive incarnation of Evil. , able to inject freshness into the representation of perversity on canvas. This is the aforementioned Dr. Krennic (Mendelsohn). He is one of the many virtues of this $200 million production, drafted to be a spin-off of the series’ second trilogy, set before the 1977 feature film. and well-cut of every brand founded in the late 1970s, with frames that value – in close-ups – the existential concerns of the characters, all of whom are always in doubt, except Darth Vader. Yes, the biggest audiovisual squib appears – no one should say where – puts the film in his pocket and gives us one of the most breathtaking action sequences of the decade. Worthy of applause. His presence is another finding, which creates a kind of reverse reflection of Krennic’s figure.

With his white cape, the officer in charge of fulfilling Vader’s designs is a well of humanity in the gymkhana of hunts, pursuits, escapes and fights directed by Gareth Edwards. In the circuit of challenges built by the filmmaker there is a woman who must feed the Rebels’ dreams of hope.
Much has been said about her, the heroine, Jyn, played by Felicity Jones. She is the rogue who must steal the plans for the Death Star (a kind of indestructible battleship designed to crush the Rebel Alliance). Jyn carries on the legacy of her father, Galen Erso (the always unsettling Mads Mikkelson). It was he who idealized that Star and fled from the Dark Side of the Force, to isolate himself with his wife and Jyn where he couldn’t have his ideas found by the Emperor’s acolytes. But as much as he tried to save the republican side of the universe from Evil, he falls into Krennic’s hands, being imprisoned for years on end, conceiving the definitive (or almost) weaponry of Vader. Everything Jyn will do throughout the film is mediated by the absence or presence of Galen, as if he were her compass, her north, her model. And in the journey to follow in his footsteps, she achieves a heroic becoming, but not something that speaks for itself.

Lord Vader

The same cannot be said of Krennic, who is a kind of incarnation of failure, even though he bears a taint of frightening. Capturing Jyn’s father was his only hit. As an officer, he is a disgrace, being the object of derision at the hands of his superiors and Vader’s telepathy. Everything he does goes wrong, but his missteps do not mitigate his righteousness, his quest to try to fulfill a mission: to prevent the Death Star blueprint from being stolen. A living contradiction, Krennic is a full plate for Ben Mendelsohn to consolidate (and keep alive) a symbolic Frankenstein, a bondage of bad feelings in a weak body. It’s a superb performance for a film that starts its narrative promising to be a standard Star Wars adventure and turns into a “Platoon”, with battle shots only found in classic war movies or their tastier – and taster – derivatives. of popcorn – the aforementioned war adventures.
In this warlike adventure, one more character stands out: the oriental warrior Chirrut, drawn from all the charisma of Donnie Yen. It is about a blind samurai, fervent faithful to the Force, who uses a weapon staff. With him, we live the most adrenaline moments of the feature, which deserves to inspire other derivatives of the same height, such as the series “The Mandalorian” and the spectacular “Obi-Wan Knobi”.

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