Exploring the Intersection of War and Fantasy in Star Wars: The Force Awakens

As a 75-year-old born during World War II, one cannot experience the latest installment of the Star Wars saga without the weight of historical conflict looming large. The spectacle on screen coincides with a pressing issue: the current plight of refugees fleeing war-torn regions like Syria, Afghanistan, Ukraine, and various African conflicts.

When my eldest son invited me to see the seventh chapter of the Star Wars saga, I hesitated briefly. Yet, as a lifelong fan of science fiction, I knew I had to see it. Ultimately, our trip to the Mathäser cinema included not just the two of us but also, in spirit, a virtual collection of characters: a seven-year-old version of myself, a 15-year-old me, a 38-year-old me, and, inevitably, a young Syrian man in his twenties, who had recently fled the ongoing violence in the Middle East with his wife and child, living in constant danger.

This marks my sixth contribution to the current blog storm surrounding this topic, which continues to resonate with me. The fictional Syrian man feels particularly relevant, as The Force Awakens also portrays characters fleeing from the attacks of the First Order, equipped with planet-destroying weapons. However, these refugees appear only fleetingly, overshadowed by the overarching war narrative. There is a poignant moment when Han Solo embraces Princess Leia, who implores him to bring back their “lost son.”

To clarify, amidst the discussions of war and its seemingly inescapable nature, it’s essential to note that refugees from Syria and Afghanistan are coming to Europe because there has been NO WAR FOR SEVENTY YEARS!

My love for science fiction began in childhood, likely sparked by Sinbad the Sailor. Although that tale is a fairy tale and often pure fantasy, is Star Wars not also a form of fantasy? The fantastical elements are evident in the simple question: Who funds all of this? Consider the massive fleets and swarms of fighter jets, most of which are destroyed. As I meticulously record my expenses for December 2015, I find myself pondering the costs of a Death Star and how these space wars are financed. Concepts like faster-than-light travel, anti-gravity, telepathy, and even lightsabers are pure fantasy.

However, the financial calculations make sense on a different level: for George Lucas, who sold the rights to his creation to the Disney Corporation for a staggering four billion dollars, and for Disney itself, which will undoubtedly reap multiple returns on that investment, a feat Hollywood excels at.

Despite these reflections, I was able to enjoy the film in the packed Mathäser cinema.

Warning: Spoilers Ahead! In an earlier episode (the second), the shocking revelation that the villainous Darth Vader is the father of Luke Skywalker and Princess Leia left audiences stunned. In this seventh episode, the revelation that Han Solo is the father of the equally villainous Kylo Ren, who treacherously murders his father with a lightsaber, is less surprising. I found it puzzling why Kylo Ren commits this act (or did I miss a crucial detail while perhaps dozing off?). If every son disappointed by his father were to kill him, merely citing influences from some dark side of a power, we would be in a dire situation!

The final scene, where the long-lost Luke Skywalker is found and Rey hands him his lightsaber, is touching. However, leaving the cinema, one can't help but feel like this film is just a setup for the next trip, Episode 8.

One compelling reason to see the film is the outstanding performance by Daisy Ridley. Yet, one might feel that her character Rey, as a fierce yet nurturing young woman, bears a striking resemblance to Katniss Everdeen from The Hunger Games.

Notes from the Edge of the Galaxy George Lucas has crafted his own mythology with Star Wars, which the new director Abrams continues in a somewhat seamless manner, perhaps too seamless for my taste. He draws from literary influences that also deeply impressed me as a youth, particularly Edmond Hamilton's The Star Kings and John W. Campbell's The Incredible Planet. However, one must acknowledge that James Cameron also borrowed heavily for his Avatar, a film that resonated with me far more than Star Wars ever did. This borrowing is a natural part of the creative process and reflects a societal phenomenon that taps into familiar sources for audience connection.

In Hamilton's The Star Kings, amidst all the superficial war games and feudal admiration for star empires, the narrative does touch upon the grim realities faced by war victims, including veterans.

Trauma in Space Opera Occasionally, the trauma experienced by war participants surfaces. The Vietnam veteran Joe Haldeman even wrote an entire novel about it, The Forever War. In the opening of The Star Kings, the protagonist reflects:

Gordon suddenly woke up with a start. This time, he was a little worried. Was something wrong with his mind? He had often heard that it was a bad sign when one began to hear voices. He had come through the war without a scratch, but perhaps those years flying over the Pacific had harmed his mind. Was it possible that a delayed psychoneurosis was surfacing? “Damn it, I’m actually getting worked up over such childish things!” Gordon said gruffly to himself. “It’s just because I’m nervous and restless.”

Five Perspectives Post-Film

• The seven-year-old: Awesome movie!
• The 15-year-old: Great film, but it feels very familiar.
• The 38-year-old: The first Star Wars I saw in 1978 was incredible! I should rewatch it. This new film is a 1:1 remake, with the same characters, lightsaber duels, and computer-generated dogfights. Boring. Almost put me to sleep, except for the vibrant new character Rey, brought to life by Harrison Ford’s enduring charm as Han Solo.
• The 75-year-old: I’ve seen enough to know the truth about war—this is just childish nonsense. The new character Rey is impressive, brilliantly portrayed by Daisy Ridley. Lucas created a unique mythology with the original Star Wars, and while Abrams continues it, it feels too seamless for my liking. There’s almost no sense of wonder, the essential spice of any sci-fi story. Only when Rey awakens the Force and frees herself from captivity does that feeling arise. Spare me from more lightsaber and princess nonsense!
• The fictional Syrian refugee: I can only speculate how he would respond. Perhaps he is a science fiction fan and enjoyed the film like the seven-year-old and the 15-year-old, but likely, he would be haunted by flashbacks of the real war he just escaped.

The Ubiquity of the Labyrinth Motif What unknown individual from the Middle East can afford a house costing over 275 million euros? Likely someone who has profited from oil or arms dealings, thus benefiting from wars. This aligns perfectly with the ongoing blog storm. Coincidentally, just before the film, I stumbled across an article in the Süddeutsche:

The real palace of the French Sun King is eight kilometers south, drawing seven million visitors annually to Versailles. Yet, the Chateau Louis XIV in western Paris exudes baroque charm. An unknown buyer recently paid 275 million euros for the property, making it the most expensive house in the world. The price per square meter hovers around 55,000 euros. According to Bloomberg, the future owner hails from the Middle East. The sprawling villa, only four years old, was built by Emad Khashoggi, a Saudi real estate mogul. The 23-hectare garden, featuring a gold-leaf fountain and a two-kilometer hedge maze, follows the principles of André Le Notre, the landscape architect for Louis XIV. The palace conceals all the luxuries of the 21st century: a solar-powered air conditioning system, remote-controlled lighting, a luxury cinema, a disco, and a massive swimming pool. A unique feature is the relaxation room, where a glass orb with a giant leather sofa is surrounded by an aquarium. Such serene contemplation beside trout and sturgeon was never afforded to Louis XIV.