* Criticism of the first two chapters of ‘The Mandalorian’ available in Disney+ from the 24th of march.
Solitude, a temple of steel beskar, a presence of the of feel how disturbed the Force in half a galaxy, a gait more of Han Solo that Boba Fett and almost less words than what is strictly necessary; Command, as they are directed to the protagonist of ‘The Mandalorian’ in the first few minutes of the series, is a bounty hunter that smells like wild west and let it known through their actionssomething that makes the start of the chapter everything one should be. Next to this more than superb introduction to the hustler played by Pedro Pascal, violence, tad more gross than what you’re used to wear ‘Star Wars’, is the most striking of the starting gun, and it is that stresses in a direct way one of the best things of this first incursion of the saga in the world of the series in real action: the change. ‘The Mandalorian’ embraces a new world at the same time that looks that regustito to the original trilogy that have not been able to reproduce the latest movie of the franchise.
And in this line you’ll hear a loud (and well deserved) round of applause to Jon Favreau, the creator of this fiction and screenwriter of chapter one, but we have been already a few years immersed in the corner of animated of this vast universe, we know that here there is a powerful seal Filoni. In the care for the details, the variety of races, galactic, humor… Dave Filoni, creator of Lucasfilm to George Lucas considered almost as a son, as has commented the own Bryce Dallas Howard, director of another of the episodes of the series; goes back to being a gift.
Of animator went on to top dog on the wonder that is ‘Star Wars Rebels’ and hence to the production executive of the mandaloriano and the address of this luxury of starting point. Filoni, as George, is a bold. He is a brave as Johnson. It is what has given his work on ‘The Clone Wars’ under the supervision of the father of the saga, and the freedom with which he could raise the plots of ‘Rebels’. It is what has given the evolve and grow away from the main focus so disfigured many times by the growing hatred between some of the fans. It’s been a humility very little in common between the scenes of these big productions often dominated by egos. So the mandaloriano looks a healthy daring wonderfully well alternated with all the elements that both worship of the one space opera that would change dramatically the world of cinema and so many others.
That risk is perceived in every detail, based on the thread in which you can become a good soundtrack. Yes, the music is wonderful as to be a well of compliments before even mentioning the development of the story or the approach of the side. The work done by Ludwig Göransson adds epic to scenes more modest and accentuates the moments that beg to be exalted. What gets the composer is as remarkable as the rest of the elements of this redondísima proposal… Or more. The creation of Göransson highlights the tone and mix it with the roll galactic always at the same time that boasts a personality of its own, it works as a subtle transition between scenes or reinforces the moments of tension and relief. It is truly impressive.
As much as the arc of the first adventure of these eight that make up the season. We open with a final, the outcome of one of the trades of Command window to a cold routine that presents the side less sentío of the character of Pascal, and as we move forward, with each reaction of the man hidden behind his armor, we are peeling layers of the onion without the need of seeing even an inch of skin. What magical all-give the situations and the way in which each creature that crosses the mandaloriano tends to undress before him. So the way to unveil details of the apparently hard-protagonist is more than disfrutona, but the effectiveness with which each side contributes their little grain of sand is not back. Humor, wisdom, flashes of the past, clues to the situation that is lived in the extreme far reaches of the galaxy now that has fallen to the Empire… I Could mention Carl Weathers, Werner Herzog, or, lending his voice to the robot IG-11, Taika Waititi, but is that all do a job absolutely flawless.
Impeccable and subtle to the couple that well, as the finish that looks every sequence of a fiction which presumed effects and image quality at each step. Impresses in his creatures, but is seen in the treatment of color, so cold unless in specific moments in which he has to speak for itself, as in the furious flashbacks to the past or Knob in the skin of that adorable baby of which much has been spoken the past few months.
The bill is so good and works so in the shadow of history, as an element of impulse, that makes it blush of envy to the television productions most applauded in that sense. This stamp style as the soundtrack to ensure that we feel this continuity between one episode and another, reinforcing the bet serial at the same time benefits from the differences that brings with each director. Rick Famuyiwa, responsible for contributing your point of view, chapter two, has nothing to do with Filoni at the time of lead and that can be seen at every step, in the framing, narrative resources… This, far from being a burden, or lead to a sense of isolation between episodes, brings a touch of refreshing that enrich the whole.
It is not needed that the Force be with you
All or none is the mantra that seems to hide under the glossy finish of every grain of sand, but also in the dialogue with the spectators. All or none. Here you who know the unusual amounts of data galactic is going to go crazy to hunt winks, and at the same time it is not so much point to the journey without any risk of going over the half-hour ride with the face of a question. The volume of information that moves is intense and there are fabric names, unfamiliar to the common of mortals, but the thing flows divinely.
In this sense, it is impossible not to remember the clumsiness of J. J. Abrams at the time of launch data in the denouement of the saga of Skywalker, a movie so full of answers that asimilabas each piecita you stay there without hole for you to enjoy. In ‘The Mandalorian’ pass quite the contrary, thanks to a structure medidísima with their high action, highly original and dynamic, alternating with that conversation-of-plane direct and reverse shots just of enlightening with his little mysterious. In addition to their way of throwing crumbs not only ensures that every detail has time to take root in a viewer that does not have to strive for anything, but that invites us to theorize, something that usually love to the followers.
In short, ‘The Mandalorian’ knows how to squeeze the most of the advantages that gives the narrative serial retrieves the genuine essence of ‘Star Wars’ and exposes as few stories galactic the amazing thing that it can be this universe when a whole team rowing in the same direction. And this makes the time that kills you with the adorabilidad of a Baby Yoda, which brings an incredible dynamic to the story by the time it sells merchandise that gives taste. When you take perspective and let’s take a look back we will discover that this series is the best thing that has made the tandem of Disney/ Lucasfilm.
The best: How to retrieve the zip of the original trilogy while exploring new horizons.
The worst: Someone to miss because I think that is only focused on selling baby dolls Baby Yoda.