“If anything happens to her, anything at all… I swear to you, I will get very choked up. Honestly, there could be tears.”
The world of
Firefly has always been potentially very dark, but this darkness has been somewhat leavened by that Joss Whedon wit and the fact that the regulars have to survive the episode. Now, all bets are off. This film doesn’t have to worry about the next episode and the fact that cinema needs to be “bigger” pretty much guarantees that things are going to get very, very dark. And they do. And yet it’s all still leavened by that same old Joss Whedon wit.
Whedon has really pulled it out of the bag with this film. Yes, it’s a crying shame that the series was cut short and so many plot threads would not be allowed to develop, but this is a perfect end to the story against all odds. Whedon gives us a brilliant scripts and directs it with a real; sense of cinematic style- early on we get a long tracking shot through Serenity, showing us those familiar sets from a new and more cinematic perspective. We also get to see the ship do some cool stuff it’s never done before. I love the scene where the ship gracefully lands on its legs!
It’s hard to judge how accessible this would have been to people who hadn’t just watched Firefly, but the backstory seems to have been conveyed very well indeed, with the early scenes giving us much more detail on the history of Earth-That-Was and the settlement of this star system than we’ve seen before. “Dozens” of planets and “hundreds” of moons, it seems, were terraformed. Does the fact that Earth is spoken of as part of an inaccessible past imply that faster-than-light travel is not possible, and the journey was made over millennia?
The early scenes also introduce the whole River / Simon story for new viewers, and show us very clearly that the Alliance is not very nice. We’re introduced to Chiwetel Ejiofor’s Nameless Baddie, too, who is coolness incarnate, by means of a nicely metatextual 3-D recording of the necessary flashback. It seems that River was intended to become a kind of psychic weapon, but that the reason she’s being so relentlessly hunted is because of things she knows.
Everyone gets put through the wringer here, but no more than Mal, whose burden of responsibility has never seemed heavier. Nathan Fillion is extraordinary in showing us the sheer stress he’s under. Time has passed; Inara left the ship long ago, while Shepherd Book seems to have been living on a planet called Haven for a long, long time. Times are not good, and Mal is desperate for any job he can get, having to put up with clients who unilaterally change the terms of the deal after he and his friends have just risked their lives. As Zoe points out early on, his desperation is causing him to cut ethical corners that he wouldn’t have before: neither she nor we are pleased to see Mal abandon a local boy to the Reavers. Things are starting to fall apart, and the main symptom of this is the final falling-out between Mal and Simon.
The film is the classic mix of sparkling dialogue, great characterisation and non-stop action, from the initial bank robbery to the final battle. The pace is extraordinarily fast, but we get times for the characterisation to breathe and some very nice world-building stuff. But at the heart of all this is River, and the secret of Miranda. What they find on that world is horrible, a world of thirty million people who were subjected to a gas intended to pacify them (shades of Blake’s 7 series four?) which overshot and made them so apathetic that they let themselves die. Worse, 10% were affected the opposite way, and became Reavers. This is proof, if any, that the universe is a chaotic and unpredictable place and totalitarian acts never have the intended effects. Things fall apart, entropy increases, and the future is more Mad Max than 1984.
Our heroes, after much adversity and a cool fight between Mal and Nameless Baddie, finally succeed in broadcasting the truth, but at a cost: Book and Wash are both killed, and everyone is brought to a point where death seems inevitable until River’s superpowers save the day. Gina Torres is incredible in portraying Zoe’s anguish while she’s also keeping everyone alive through her military skill. The brief exchange between her and Mal towards the end (“Think she’ll hold together?”) is one of those little moments of Joss Whedon genius that I love so much. There’s also a happy ending, as Kaylee and Simon finally get to do something about all that sexual tension they’ve built up. I bet it was a bit of an anti-climax.
A fitting ending to the whole Firefly story, then, in spite of everything. Joss Whedon is God. The Buffy and Angel marathon starts, I think, on Tuesday…
