exe ex machina
Kylo was here
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It's not just the mythological elements that are important. It's how they are executed, through a film's visuals and through its characters. Ant Man doesn't do so in such a visually and emotionally powerful way. Its mythological elements are coated in the mundane, and in the visually bland, and that will always keep its resonance muted. Not so with TFA.
In TFA, when the archetypal son (the Oedipal Ren) decides to kill the archetypal father (Han), a star winks out of existence, and the scene goes dark, illuminated only by a hellish red light. Nothing in Ant Man holds a candle to that moment.
In TFA, a hero and villain fight in what feels like a primeval forest. In the dark, and in the snow. Visually, it's a clash of blue and red light in the dark. It's beautiful and elemental simplicity is seared into the mind. Nothing in Ant Man holds a candle to that moment.
In TFA, a Percival (Rey) climbs an ancient mountain in the middle of a vast ocean to waken the Fisher King (Luke), by offering him his ancestral sword. He stands atop that mountain like a long-lost Druid of ancient Ireland. Nothing in Ant Man holds a candle to that moment.
As I've said before, the visual language Lucas created is one of the main reasons for this added resonance. But what Abrams does so well is to use that visual language in a way that Lucas once did, and to mobilize that language to create strong, mythic moments.
In my view, the Skellig scene is already a classic of modern cinema. I am going to bet that it will end up on lots of top 10 and top 20 lists in the future - by critics and audiences alike. I now fully understand why it was so important for the production to go through the hassle of filming there.







