The Star Wars franchise has consistently created stars. Harrison Ford transformed from a carpenter into a leading man in numerous action films. Carrie Fisher, though Hollywood royalty, used Star Wars as a springboard for her writing career. Mark Hamill evolved from a novice actor to achieving the pinnacle of celebrity: guest-hosting The Muppet Show.
However, its upcoming original film represents a departure: producing a Star Wars movie akin to other blockbuster space operas, featuring an established star and director. A recent statement from that actor demonstrates the narrative stands on its own as a quality film, not merely a good Star Wars installment.
Ryan Gosling is currently promoting his latest film, Project Hail Mary, with extraordinary effort. He’s performing skits on Jeopardy, sharing mysterious videos, and literally throwing Hail Mary passes with a football. Yet this is typical of Gosling’s star persona: he’s the subject of “Hey Girl” memes and the lead actor in The Notebook.
So why would such a major celebrity join Star Wars: Starfighter, Shawn Levy’s forthcoming Star Wars installment? In a recent interview, Gosling credited the narrative itself. “It was Shawn’s enthusiasm and his vision and the script,” Gosling explained. “I had steered clear of these projects because they never seemed right. I’m grateful I waited, because this, [like] a book like this, [was] worth waiting for. It’s a once-in-a-lifetime chance.”
While it may seem odd, most Star Wars projects have historically cast relatively unknown actors. Prior to The Mandalorian, Pedro Pascal was recognized primarily for Narcos and his brief, striking role in Game of Thrones. Before the sequel trilogy, Oscar Isaac was known for Inside Llewyn Davis and Ex Machina. The original trilogy’s most notable established star was Alec Guinness, who had enjoyed a substantial career in the 1950s and 1960s.
Selecting Gosling for this film could be a gamble, yet it follows standard practice beyond the Star Wars realm. Perhaps treating a Star Wars film like a conventional production could revitalize the franchise, which remains damaged following the controversial 2019 release of The Rise of Skywalker.
This May, The Mandalorian & Grogu will transfer the beloved series to cinemas, but Star Wars cannot rely solely on television spinoffs. Perhaps the path forward involves creating films that don’t feel like franchise installments.