Interpreting The Last Jedi
I’m on record, and have been from the beginning, as a lover of Rian Johnson’s The Last Jedi. When I was on Twitter, I enjoyed having friendly—key word, that—debates with others about it. In fact, just last month I introduced myself to a senior academic at another institution, a person I’ve read but have never met before, and as he shook my hand he said, “Oh, I know who you are. You’re the one who thinks The Last Jedi is a good movie.”
What I don’t enjoy, however, is the reception of the movie as filtered through the culture war. When that happens, the terms of the debate are prefabricated, overdetermined, and (worst of all) boring. All heat, no light.
But perhaps what’s most annoying is how shoddy so much conventional interpretation, pro and con, of the film is. It’s not just that people have good or bad opinions, more or less well reasoned. It’s that it’s not always clear they’ve seen the movie, or at least paid attention when they did (in the theater, once, four years ago).
So, granted that talking about talking about Star Wars is potentially insufferable and inescapably meta, here goes. Here is what The Last Jedi is and is not about; here is how (not) to talk about it.
“Let the past die. Kill it if you have to” is not the theme of the film. It is Kylo Ren’s view, which is not that of either Rey or Rian Johnson.
The theme, or one of the major themes, of the film is what one’s relationship to the past, and to venerable tradition, ought to be. Note that that theme is a question. Johnson is asking the audience, as he asks his characters (esp. Luke, Rey, Ren, Finn, and Leia), to decide what that relationship should be. He gives his answer, though you don’t have to agree with it. In a sense, the visceral reaction of a certain segment of fans to the film is itself their answer to the question. As Matt Zoller Seitz has observed, that means the question was one worth asking.
Neither Rey nor Luke ultimately answer the question the way Ren does. Luke is tempted to, but the trio of Rey, Leia, and Yoda change his mind.
Luke’s answer is not, however, to receive the past as it is; it is not a bare affirmation of the status quo ante; it is not to be silent about the errors and crimes of his forebears. To do that would only perpetuate the cycle he rightly perceives in the decadence of the Jedi: tradition for tradition’s sake; immunity to reform on principle. That way led to disaster.
Rey speaks from want and need, desire and innocence; she doesn’t have an argument to make, only an honest appeal for help. But Yoda does have an argument. Yoda understands that failure need not be absolute. Life follows death, good comes from loss, the young learn from the mistakes of the old. Sometimes a fire is cleansing—though purgation is far from pleasant. The same act (burning a tree, say) can come from opposed intentions: one to purify, the other to destroy. Luke’s impetuous urge to annihilate is a form of the latter; Yoda’s lightning from above, the former.
Note well: Yoda does not obliterate the sacred Jedi texts. He knows Rey took them when she left. Nor is he impugning them. He’s telling Luke that they have become for him nothing but “a pile of old books,” unread totems of a lost age worthy of little more than repudiation. Thus fossilized, they are useless for Luke, who has reached the end of his path. But not for Rey. She is a new start for the Jedi—one both continuous and discontinuous with the old order.
In short, The Last Jedi is about the sublimation of the past—of history, heritage, inheritance, and tradition—neither its rejection as wholly unworthy nor its pristine persistence into the future. Luke was the last Jedi; Rey now is the last Jedi: the eschatological Jedi, the last of the old and the first of the new. The Jedi will continue, though not without change. The blinkered self-regard and decadent haughtiness shall be no more. Padawans in the line of Rey will be Jedi, to be sure; but what it means to be a Jedi will not be the same as it was in the days before Palpatine.
Ren’s solution is wrong, therefore, because he believes that his past—his lineage—determines, must determine, who he is. And yet that lineage includes not only Anakin (himself redeemed before the end) but Han and Leia. That is why patricide and matricide are major themes of VII and VIII (following VI). His parents’ living goodness threatens his simultaneous act of self-creation and self-binding to Anakin’s turn to the Dark Side: he will make himself (in spite of his parents) through forced imitation (of his grandfather—not, note, his maternal grandmother!). Killing Snoke is his second act of patricide; the final duel with Luke seems, at first, to permit him the third and final stroke. But he’s robbed of the occasion, just as Vader was with Obi-Wan. He can’t kill the past: even when it dies, it lives on (“See you around kid”).
Whatever one thinks of Johnson’s handling of this theme (and I’ve not said anything about Finn or Leia, both of whom come to terms with their own past and its bearing on the future), the important thing to see is that it is an honest grappling with the story of the seven preceding films. It’s an honest reckoning with the through-line that runs across the prequel trilogy, original trilogy, and Abrams’ semi-remake sequel. The story of cyclical decadence and Jedi failure is the subtext of those seven Episodes, considered as a single narrative, and what Johnson does is make that subtext text. Luke comes to terms with one more Jedi Padawan rebelling and murdering his fellow students, having once more been seduced by the Dark Side, and like Obi-Wan and Yoda before him, he runs away into exile and the consolations of self-pity. And then he realizes this very dynamic, in self-conscious reflection, and decides to throw a spoke into the wheel: no more Jedi; no more cycles of Light versus Dark; no more high hopes dashed by devastating failure, and lives lost in the balance. This is where Luke is when the film opens, and it’s the only honest emotional and spiritual place for Luke to be in, given how The Force Awakens ended.
In that sense The Last Jedi is indeed a meta-reckoning, as a film, with Star Wars as such. The failure of interpretation is to see it as Johnson disliking Star Wars, either its story or its fans. Instead, it is Johnson putting Star Wars to the test, and seeing whether it will bend or break. The stress test is substantial, but after bending to the breaking point, it snaps back into place: Rey and Luke, together a sort of Jedi apocalypse, save the day; they fight back the First Order, deliver the Resistance from defeat, and light a spark that will burn through the galaxy, inspiring the apathetic and unbelieving to join the fight that will crush the remnants of the Empire once for all. Johnson, like everyone else, loves this franchise; like everyone else, he wanted his heroes to be heroes. But given the cards he was dealt, given the story he’d inherited, he couldn’t cheat. They had to earn it. And so they do.
At any rate, that’s what Episode VIII is about. It’s about other things too. It’s not perfect. And you don’t have to like it, whether or not you think Johnson succeeded in pulling off this particular set of themes. (I certainly don’t like Episode IX, which I prefer to pretend never happened.)
But there’s no question about what Johnson was trying to do; there’s no ambiguity about what the film is up to in this regard. So far as I can tell, there’s nothing to debate there. It can certainly be fun to argue over Star Wars. But only if we know what it is we’re talking about in the first place.
