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Riempire i buchi nella trama di Star Wars: Il risveglio della Forza

Multimedia   13.01.16  

Non è passato inosservato l'eccessivo ricorso alla mistery box nel settimo capitolo di Guerre Stellari, diretto da J. J. Abrams. Per tirare le fila e cercare di approfondire i (troppi) punti lasciati all'immaginazione dello spettatore ci viene in aiuto la novelizzazione del film, che per comodità Hitfix ha raccolto in una lista di 45 (quarantacinque) spiegazioni efficaci e piccole differenze qua e là.

È tutto spoiler, attenzione.

#4: Starkiller Base did not originally drain the sun, it was powered by dark matter.
One of the few head scratchers in "The Force Awakens" was how the Starkiller base actually worked. Was it draining one sun after another and then moving on? How did it shoot a beam across the galaxy in real time? Why did it turn INTO a sun at the end (other than the visual metaphor of the light triumphing over the dark?) Turns out, it was never supposed to be powered by the sun. Situated in one place, messing with science they didn't understand, the First Order was harvesting dark matter to power their weapon. As the matter congealed to be sucked into the core, the light was supposed to dim. Then, using more science they barely understood, they beamed the concentrated dark matter THROUGH the galaxy instead of across it. Basically they were ripping holes in time/space. Oh! And the target didn't explode originally. It turned into a tiny sun.

#5: Snoke might have wanted to kill Rey, not train her.
When Ren admits his failure to probe Rey's mind, Snoke senses his apprentice has compassion for this girl. Hoping to teach Ren a lesson and remind him of the power of the Dark Side, Snoke demands Kylo Ren bring the girl to him. It definitely .sounds like he planned to make an example of her, not train her.

#8: There was a whole scene on Jakku that explained how Poe got off-planet.
And it's a shame it was cut as it focuses on showing off Poe's skills as a pilot, even when flying a piece of junk land skiff. Poe is rescued by a Jakku denizen named Naka Iit — of an alien species called the Blarina. The species customs include helping the mad to accrue good karma, so Naka assists the clearly insane human spouting off about fighting against the First Order.

#19: The Resistance had no idea Starkiller Base existed.
This is extrapolated on quite a bit. Snoke's decision to destroy the New Republic is about flushing out the Resistance. Utter annihilation of the enemy is a mere side effect. Snoke knew using the weapon would give away the base's location. The Resistance would then send a reconnaissance team to scout the place and the First Order could follow the scouts back to the Resistance HQ and destroy them once and for all. While this is what happens in the movie, the motivations are a bit murkier.

#22: He also cracked open something in Rey's mind.
One of the advantages of a book is internal narration. When Ren attempts to retrieve the map from Rey's brain he senses something weird within her mind. Not resistance, but a barrier. Probing at it is what causes Rey to suddenly find herself — with no provocation – inside Ren's mind. Now this is just speculation, but it certainly sounds like someone had walled off Rey’s Force sensitivity and Kylo Ren accidentally broke down the wall.

#23: Han hadn't seen Kylo Ren/Ben since he became an adult.
When Ben removes the helmet of Kylo Ren, Han Solo is shocked by how grown-up his son looks as he hasn't seen him since he became an adult. This lends credence to the theory that Snoke seduced a teenaged Ben to the Dark Side. Speaking of which, Leia knew Snoke was trying to get his claws in her son since he was a child and never told Han until right before the Starkiller mission.

#25: Leia and Rey have more interaction.
Sometime between Rey's arrival at the Resistance base and her mission to return the lightsaber to Luke Skywalker, Leia and Rey had a heart-to-heart about Kylo Ren. Leia fears sending Rey off to Luke because the last time she did that, it all went sideways. Leia is much more motherly and tender towards Rey in their interactions in the book.

#36: She struggles with the Dark Side almost immediately.
Rey might look serene as she finds the Force and battles a badly injured Kylo Ren, but she is fighting with rage. After beating down her opponent, a voice inside her encourages her to kill him. She rejects the notion, but is still struggling with herself when the rift opens up and separates the two of them.

E naturalmente grazie allo script originale.

Luke Skywalker Immediately Knows Who Rey Is and Why She Is Here. The script describes Luke Skywalker as being older now, with white hair and a beard. It says that he looks at Rey with a "kindness in his eyes, but there's something tortured, too." Most interestingly, it says that Luke "doesn't need to ask her who she is, or what she is doing here." Does this mean that he knows Rey is his child? Or does this mean that he knows because of the Force? The script only adds that "his look says it all."

Kylo Ren Is Horrified By His Actions. The script gives us some internal insight into Kylo Ren after he just killed his father Han Solo. The screenplay notes that "Kylo Ren is somehow WEAKENED by this wicked act," noting that he is "horrified" and his "SHOCK is broken only when" Chewbacca cries out in agony.

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Ora come allora. Star Wars: Il risveglio della Forza

Multimedia   17.12.15  

Harrison Ford Mark Hamill e Carry Fisher nel 1979 e nel 2015

Leggete questo post a vostro rischio e pericolo. Contiene spoiler.

In quella galassia lontana, lontana dove ciclicamente ogni 30 anni i mondi periferici perdono memoria degli jedi relegandoli a mito, una nuova, seppur familiare, minaccia incombe.

Il risveglio della Forza vi terrà incollati alla poltrona. Intrattenimento puro, un futuro vecchio e polveroso, droidi restii a condividere informazioni, la Forza, apocalittiche armi di distruzione di massa, vecchi eroi e nuovi amici.
L'essenza di Guerre Stellari confezionata elegantemente per essere rivenduta a quelle generazioni ansiose di assaporare l'esperienza diretta di un evento di cui hanno sempre sentito parlare. Per i millennial un nuovo sfavillante inizio in un universo sconfinato di avventure. Per la vecchia guardia un dejavù che si farà amare come una madeleine proustiana dal sapore di dolci ricordi.
Disney e J. J. Abrams non hanno voluto rischiare passi falsi. Nessun salto nell'iperspazio dell'incertezza, nessuna svolta improvvisa tra le nebbie di Dagobah. Ogni singola scena è un archetipo di Star Wars, tutto è cliché del mito, tanto da rasentare il remake di Una nuova speranza o i più lealisti direbbero da rendere omaggio alla ciclicità narrativa che risale ai poemi epici.

Il moderno villain in divenire è un nano di fronte all'ingombrante iconico e titanico ricordo di Darth Vader, ma come per il giovane Anakin il suo cammino verso il Lato Oscuro e il rapporto con il suo mentore e padrone è appena incominciato e non c'è dubbio che la narrazione del suo conflitto interiore potrà riservare nel futuro della trilogia solo nuovi colpi di scena. Così sarà anche per l'eroina dal passato ignoto con l'intrigante capacità di entrare in connessione con la Forza tipica di uno jedi (o di un padawan).

In Star Wars il climax è frutto del destino. Tutto è predestinato come in una profezia che si autoadempie. In questo Il risveglio della Forza non fa eccezione. Il triste fato già scritto, per convenienza, era stato solo rimandato. Di tre decadi circa.

La morte, la vita, la speranza, l'angoscia, un passaggio di consegne tra generazioni. È un risveglio dell'avventura più genuina che lascerà il segno nel bene e nel male.
Con questo capitolo la transizione ora è alle spalle che esca un nuovo (qui mi prendo un attimo per porre l'accento su nuovo) e più avvincente affresco.

Guerre Stellari è tornato a casa. Dopo il reboot.

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J. J. Abrams, i sith, gli jedi e la Forza

Multimedia   10.11.15  

L'intervista fiume di Wired al regista del VII episodio di Guerre Stellari, J. J. Abrams.

We wanted to tell a story that had its own self-contained beginning, middle, and end but at the same time, like A New Hope, implied a history that preceded it and also hinted at a future to follow. When Star Wars first came out, it was a film that both allowed the audience to understand a new story but also to infer all sorts of exciting things that might be. In that first movie, Luke wasn't necessarily the son of Vader, he wasn't necessarily the brother of Leia, but it was all possible. The Force Awakens has this incredible advantage, not just of a passionate fan base but also of a backstory that is familiar to a lot of people. We've been able to use what came before in a very organic way, because we didn't have to reboot anything. We didn't have to come up with a backstory that would make sense; it's all there. But these new characters, which Force is very much about, find themselves in new situations—so even if you don't know anything about Star Wars,you're right there with them. If you are a fan of Star Wars, what they experience will have added meaning.

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Le nuove inquadrature di Star Wars

Multimedia   21.04.15  

Il teaser di Star Wars: The Force Awakens rivela le cinque tecniche di ripresa che rinnoveranno il linguaggio cinematografico di Guerre Stellari.

One of the great pleasures of the new Star Wars: The Force Awakens trailer is seeing a new director inject his own flourishes into an already visually distinctive series. The Star Wars visual catalog has a few staples that have stayed consistent throughout the series: think transitional wipes and pilot POV shots. Unfortunately, the prequels saw George Lucas expand the toolset with a lot of uninspired tricks: slow zooms on wide shots, Barbara Walters glow, and a stubborn use of a locked-down camera.

From the looks of the new Star Wars trailer, J.J. Abrams and his cinematographer, Dave Mindel, seem to be trading out the bad visual trademarks and replacing them with some of their own. Here are some examples of what we might be able to expect from Abrams' visual take on the galaxy.

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Il primo sguardo su Star Wars Episode VII: The Force Awakens

Multimedia   28.11.14  

Nell'ottantina di secondi del teaser del VII episodio di Guerre Stellari, Il Risveglio della Forza, c'è tutta la cifra stilistica di J. J. Abrams, il montaggio, i riflessi, la ricerca, il design della nuova spada laser Sith e significativi accenni alla Trilogia originale, il mistero, l'adrenalina, i mondi di confine, la Forza, la tecnologia polverosa.

Sensazioni, più che indizi, che il nuovo capitolo possa almeno in parte rispettare le quattro regole per renderlo epico e coerente con l'universo di Star Wars.

L'ambientazione è la frontiera.
Il futuro è vecchio.
La Forza è misteriosa.
Guerre Stellari non è puccioso.

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