That those who do not wish that we “divulge” the multiple surprises contained in this first episode of the Mandalorian season 2… go their way. While silencing the main issues of the general intrigue of The Marshall, the ninth episode of an exceptional duration of 54 minutes, the detailed analysis of the five major cinematographic references of this saga derived from the Star Wars universe, will reveal some parts of the plot.
Jon Favreau, the great master builder
First of all, it should be noted that this long first episode (the first 8 parts of season 1 last between 30 and 38 minutes) is directed by Jon Favreau himself. This is a first for this “showrunner»Who developed the concept of the series Mandalorian, in collaboration with producer Kathlyn Kennedy and Dave Filoni.
The director of Iron man and the live version of Jungle Book takes an obvious pleasure to put back on the rails this derivative series which it carried on the baptismal font not without difficulties vis-a-vis Lucasfilms and Disney.
It was he who created the characters, developed them, and above all who defended the creation of “ baby Yoda », The Mysterious Child who immediately won the hearts of a large number of fans. Favreau anchors the main plot in the very heart of the universe imagined 43 years ago by George Lucas and rekindle the little flame of the spirit Star wars original. This nostalgic scent that smells of western, Japanese chanbara (mainly the saga Baby cart featuring a masterless samurai accompanied by a baby in his pram), and the space opera discovered in Star Wars IV: A New Hope, in 1977.
Its staging is full of references to the oldest trilogy of Star Wars. And yet, it reinvents this dusty past by giving it the finery of the new thanks to an innovative and unprecedented technology, the “large digital video wall “Which allows the filmed sets to be projected onto a scenic space in the studio without using a” Green background “. A technology he perfected in The Lion King then The jungle Book…
A winning return to Tatooine
From the first images we find Mando and the Child advancing towards a boxing fight arena in search of another Mandalorian who could help them bring home “ Baby yoda “. It should be noted that the graffiti against the Empire is signed by the American street artist David Shoe. Once entered the room, we recognize of course the Gamorrean bodyguards seen in episode III Return of the Jedi with their wild pig muzzle, wild boar fangs and green skin.
It is on this occasion that Din Djarin learns that a mysterious Mandalorian lives on the planet Tatooine. Tatooine is “THE” great reference in terms of decor and atmosphere linked to Star wars. It is on this desert planet at the Lawrence of Arabia illuminated by two suns that begins Luke Skywalker’s Odyssey in Star Wars IV.
To return to Tatooine is to return to the very source of the mythology of Star Wars. It is to find the Jawas (small hooded beings kings of the recovery and the barter, of which one sees only the small shining eyes) and the Tuskens, these looters of the desert, these “Sand men»Dignified and fierce who are somewhat inspired by the nomadic tribes and Bedouins of the Sahara. It also means seeing the famous Banthas, these large woolly animals with large twisted tusks, a mixture of mammoths and camels that advance in a column on the crest of the sand dunes …
A wise nod to Dune by Frank Herbert
The fact of situating the plot of this first episode on Tatooine allows Jon Favreau to address a judicious nod to the Dune saga of Frank Herbert. Published in 1963, this cycle of novels (Dune is the best-selling science fiction book in the world) was the subject of an attempted film adaptation by Alejandro Jodorowsky in the 1970s, will be brought to the big screen for the first time in 1984 by David Lynch, before that Denis Villeneuve works forty years later on a new adaptation with Timothée Chalamet, Zendaya, Rebecca Ferguson, Oscar Isaac or Jason Momoa…
George Lucas never made a secret of the fact that he had nourished mythology Star wars influences from the science fiction of the time. Released and popularized in the 60s and 70s, Dune is of course part of the lot. In Return of the Jedi, the Sarlacc, a sort of desert monster hidden in a bottomless well, is a sort of giant sand worm about 100 meters long which “ digests its victims for years “.
The only known person who survived the digestion of Sarlacc is Boba Fett, a Mandalorian inadvertently shoved into the monster’s mouth at the start of the Return of the Jedi by Han Solo. Warning Spoilers: it seems that the person who stands out against the backdrop of the Tatooine desert at the end of this episode is Boba Fett, played by New Zealand actor Temuera Morrison (who plays Jango Fett, Boba’s father in episode II and III).
Lucky Luke’s or Sheriff Woody’s red scarf
The Marshall of the small mining town of Mos Pelgo is called Cobb Vanth (played by Timothy Olyphant). As in the good old westerns, he embodies the authority while sporting not a star of Sheriff, but the armor of Boba Fett which he bought from the Jawas, as a symbol of power. Funny wink: When the two team up to fight a huge Krayt sand dragon, he kicks Cobb Vanth on the shoulder, of course reminiscent of Han Solo’s gesture of unwittingly triggering the Jetpack by Boba Fett in Return of the Jedi.
This Sheriff character wears a cute red scarf like Morris and Goscinny’s Lucky Luke, or Sheriff Woody in Toy story. And we can tell that Jon Favreau really had fun summoning his childhood memories…
Allusions to westerns à la John Ford or Sergio Leone
This very bright episode (the two suns of the planet have something to do with it) located on Tatooine sets up a mythology directly referring to cinematographic westerns, from The Prisoner of the Desert from John Ford to Sergio Leone’s spaghetti westerns. This ninth installment is no exception to the rule, with a duel in a saloon worthy of the legend. Without forgetting the way in which Favreau stages two communities (the colony of miners and the Tuskens) which unite their forces against a common enemy. All this obviously reminds The Convoy of the Brave (1950), a humanist western by John Ford where ordinary heroism and loyalty demonstrate that the strength of a group tending towards the same goal can overturn prejudices and fight successfully against the worst threats.