When Heroes Age...

One of the difficulties of serialization is the passage of time. On one hand, franchising’s profitable and allows for multi-film storytelling. On the other hand, actors age. And while Hollywood tries slowing down and reversing aging, making it a multi-billion dollar industry, you can only delay it so much. Additionally, the camera doesn’t lie, and audiences take note.

In recent years, there’s been an attempt to try and work around this. Known as “the legacy sequel”, these movies use stars aging as a way of passing the mantle to newer, younger generations. However, like any gamble, it doesn’t always pay off. And sometimes it can be divisive, as in the case of two IPs with entries released in The 21st Century. They’re also Lucasfilm IPs that purchased by Disney that’ve accrued massive backlash because of decisions fans have deemed “incorrect”. But is that backlash warranted?

The first of these franchises is Star Wars. Ever since Disney purchased it in 2012, it was inevitable that they’d milk the property for all it’s worth. It makes sense, as Star Wars has plenty of potential for serialization. However, there were early growing pains here. And nowhere was that more apparent than in The Sequel Trilogy spanning from 2015 to 2019.

I don’t need to go too in-depth here. Despite two of the entries being critical darlings, longtime fans remain divided. This division centred on many areas, but chief among them was Luke Skywalker. Luke, according to canon, had become a hermit who rejected The Force after failing Ben Solo and accelerating his turn to The Dark Side. When Rey attempted to have him confront The First Order, Luke was resistant and resentful. It was only after a conversation with Force Ghost Yoda that he projected his essence, apologized to his nephew and faced down The First Order.

While a unique and bold take on the “elder mentor” trope, many fans weren’t happy. Some considered it a “betrayal of what Luke Skywalker stood for”, claiming Disney had “murdered Star Wars”. I definitely think it’s dark and risky, but it does fit in with Luke’s human side. After all, Luke in the original films wasn’t flawless. He was whiny for two whole movies, even confronting Darth Vader before he was ready and losing his hand. And while he matured for the finale, he also snapped and nearly killed Vader because Vader had threatened to harm Leia.

Essentially, Luke wasn’t the pariah people remember him as. This is especially true because Luke didn’t even end up trying to murder Ben. He felt the urge, let it pass, and was unfortunate enough to have Ben sense it. It was a moment of weakness, and a failure of restraint, but it, while clunky, adds layers to his confrontation with The First Order and ultimate redemption. Isn’t that what good character writing’s about?

I know I’ll probably get crap for saying this, but this backlash, aside from being partially walked back with the next film, led to the Darktrooper hallway fight in The Mandalorian. That’s a fun moment, showcasing Luke’s strength in his prime, but it’s not new for Luke. It’s not new period, being a retread of Darth Vader’s massacre at the end of Star Wars: Rogue One. And while it’s cool to see Luke fight enemies not even Dinn Djarin could take on, the lack of new material is concerning. Why are we opposed to Old Man Luke being a regretful hermit, yet find this exciting?

I like Disney’s Star Wars content. I like Star Wars in general, even when I’m lukewarm on it. Jedi Master Luke Skywalker massacring Darktroopers is fun, and on some level satisfying. But Old Man Luke Skywalker going from jaded mentor to Crait hero is more fun, because it’s grounded in character growth. It also allows Mark Hamill to flex his acting chops in an age-appropriate manner. Because he’s getting older.

On the flip side, there’s Indiana Jones and the Dial of Destiny, which I watched for this piece. I’ve made known my thoughts on the Indiana Jones movies before, but this installment, more than any other entry, tackles how its star is getting older. Harrison Ford was 81 years old when it debuted, and Indy’s age is a primary focus. The film even uses de-aging technology for the flashback scene in the beginning. Said flashback doubles as the opening act.

I won’t discuss the Uncanny Valley aspect of seeing a young Harrison Ford with an older Harrison Ford’s voice. Plenty of more accomplished individuals have done that justice. However, tying in Ford’s advanced age in general with a commentary on Indiana Jones was wise. Without sounding too ageist, there are some stunts Ford can’t do anymore. That’s not to diminish how much he loves this character, but he needs to acknowledge his limitations.

Perhaps the best example is when he and his goddaughter, Helena Shaw, are climbing a cliff and Indy starts complaining. He states that he has a metal plate in one leg and screws in the other. He also points out that Helena is “half his age”, a subtle jab at youthful vitality. Here, the film interrogates if Indiana Jones still has what it takes. Should he persevere, or hang up his hat?

This movie would’ve been a great vehicle for Helena, but there’s a problem: she’s not likeable for most of it. She flip-flops between two modes: smarmy know-it-all, and obnoxious show-off. I don’t blame her actress for this, either. Phoebe Waller-Bridge co-wrote No Time to Die, and she was great as L3-37 in the Star Wars franchise. She does her best here, but she can’t save the character. Not even in the finale, where she and Teddy are forced to play hero.

It’s a shame because the movie isn’t even that bad. It lacks some of the franchise’s more overtly-racist overtones, and director James Mangold definitely cared while making it. Considering Steven Spielberg has admitted that his heart wasn’t really in it with the previous entry, that passion’s an asset. But it’s not enough. Not when your co-lead isn’t fun for most of your runtime.

The blame doesn’t lay on Harrison Ford either. Despite his age, he clearly still cares. But people picking on Ford’s age, especially when he’s not ready to give up the mantle, is a problem. De-aging software’s getting better every day, but is it enough? And will it ever give the authentic performance of a real actor?

I know the solution for many people is to do what Star Wars did: have a younger actor as a stand-in, then graft Ford onto the body. After all, punching Nazis is entertaining! But while this sounds fun superficially, it rings hollow and might even be objectionable. Because getting older is interesting. Staying youthful forever, however, isn’t.

If an actor wants to age out of a character, it should be their decision. Let them leave naturally, as opposed to CGI continuing it indefinitely. Because the audience knows. Executives can claim otherwise, but you can’t fake authenticity. It doesn’t matter how much digital makeup you cake on.

That’s really the dilemma here: what’s the appropriate way to be respectful to aging action stars? Better yet, what’s the appropriate way to be respectful to aging actors, period? People don’t live forever, and part of the fun of life is growing older. Besides, the character of Peter Pan, while beloved, was meant as a cautionary tale. Unfortunately, many people don’t heed that warning. And it’s a shame.

If all else fails, I guess Blade Runner 2049 shows how to properly tackle this approach. Seriously, give it a watch. It’s that good! And if you’re disappointed? Well, at least it respects its aging star, right? I think so.