It’s been seven years since the general cinema going public has visited a galaxy far, far away. In the interim, the streaming wars have raged on, with Star Wars on the frontlines of the content battlefield, with The Mandalorian leading the charge in expanding the universe and the subscriber count. So, of course, it only makes sense to bring Mando and the merchandise Midas that is Grogu to the big screen in what is a fun, delightful albeit inconsequential intergalactic romp.
In the ruins of the fallen Empire, Din Djarin (Pedro Pascal) and Grogu are in the midst of hunting wanted war criminals on behalf of the New Republic. Mando’s latest assignment finds him on a rescue mission, freeing Rotta the Hutt (Jeremy Allen White – no I’m not joking), son of the slain criminal boss Jabba, whose emancipation could lead to the whereabouts of a long feared Empire heavy.
The Mandalorian and Grogu is to The Mandalorian what Cowboy Bebop: The Movie is to Cowboy Bebop – a big budget episode that doesn’t do much to expand the lore or mythology of the show, but allows fans to spend just that little extra time with the characters they’ve come to love. Many have been derisively dubbing the film as a side quest. I don’t see that as an issue. Not every galaxy needs its borders expanded, and lore doesn’t require further depth or development. It can be an understated delight to embark on an isolated rugged adventure, even if the stakes or consequences seem a little fluffy.
It’s easy to be cynical about the state of Star Wars, especially as of late. But there is something endearing and wholesome about The Mandalorian and Grogu – especially as a new father. In a way, it’s returning to its roots, not just in George Lucas’ original vision of A New Hope, but in the filmmaking landscape in which Star Wars was born. An emphasis on a bare bones swashbuckling adventure, practical puppetry, with disgustingly cute creatures that act as jabbering toy commercials. It also has the advantage of not tying itself down to the narrative of the show, with no need to “previously on” the audience. We just jump in and punch it, Chewie.
This does feel like Disney putting the lid on the streaming era of Star Wars, much in the same way that Marvel has severely scaled back its output from the tundra of film and television content it was putting out a mere two years ago. By having the next adventure of Mando and Grogu transferred to the big screen, it’s fair to assume that the days of expansive and expensive television is well and truly over. And that’s – fine. Star Wars started in the theatre, and it only makes sense that it makes a triumphant return to the biggest screen possible and The Mandalorian and Grogu helps bridge that gap.
It may not be the Skywalker saga, nor reach the intellectual complexities of Andor but it doesn’t need to. More than anything else it’s a demonstration of love that director, Jon Favreau and newly minted Lucasfilm exec, Dave Filoni have for not just the world Lucas created but the magic and wonderment of filmmaking as a whole. It’s a film that’s wearing its influences on its sleeve, from Ray Harryhausen to Jim Henson, Lone Wolf and Cub, Blade Runner and a deep love of 80’s sci fi geared towards a younger generation. It’s a story that happily settles into the confines of its universe, content to play in its own sandbox.
If nothing else The Mandalorian and Grogu is a fun, light and breezy demonstration of the flexibility and further potential of the Star Wars franchise. Rarely do you find a narrative umbrella that houses a plethora of genre agility. Something like The Mandalorian and Grogu is a hop skip and a jump way from the likes of Andor or The Skeleton Crew. It’s a broad crowd pleaser, with Saturday morning cartoon energy, and, frankly, it doesn’t need to be anything more than that.
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