rather than deprive the show of momentum,
the pacing serves to ground us in the lawless,
frontier mentality of the world in which
Mando exists. It also allows us to get to know
the show’s laconic star. Like Boba Fett, he’s
striking in his distinctive armour, but unlike
the cipher of Lucas’ original films (a character
whose popularity stems entirely from a badass
aesthetic), the substance of Mando’s character
is gradually pieced together by his actions,
as well as shadows of the past that return to
haunt him.
All we know early on is that he never
removes his helmet, dislikes droids, and has
a reputation that precedes him — like an
intergalactic John Wick, clad in Beskar steel.
Mando is a man of action and, despite
remaining encased in armour, Pascal gifts the
character a distinctive physicality that more
than compensates for the scarcity of dialogue.
Fittingly, given its Western roots, the
show’s supporting characters are similar
variations on broad archetypes, from Carl
Weathers’ grizzled bounty hunter boss to
Gina Carano’s veteran Rebel shocktrooper.
Precious few are even introduced by name,
but each has a distinct flavour, Nick Nolte’s
gruff Ugnaught dropping pearls of wisdom
(“I have spoken”) and Taika Waititi’s homicidal
droid bringing light comic relief. It’s Herzog ’s
glorious turn as The Client that proves the
standout early on, though, theGrizzly Man
director chewing up scenery like a Death Star
trash compactor.
And then there’s Baby Yoda — or The
Child, to give him his official title — the first
episode’s big reveal and arguably the secret
to the show’s success. As Mando’s ward,
The Child not only provides the show with
an iconic mascot and figurehead, but lends an
urgency and emotional core to the storytelling,
offsetting the pervasive nihilism and morally
dubious protagonist to giveThe Mandalorian
real heart. That and being almost unbearably
cute. The mystery of The Child’s origins and
the quest to keep him safe establish themselves
as the backbone of the series, and it’s this
masterstroke by Favreau that has ensured the
show a life well beyond theStar Warsdiehards.
With its more personal, low-key feel,
The Mandalorianmay not have the epic scope
of its cinematic counterparts, but this is
a sumptuously produced, painstakingly crafted
show that successfully demonstratesStar Wars’
potential beyond the silver screen. As Lucasfilm
reassesses the franchise’s future postEpisode IX,
they’d do well to stop, listen and learn whatThe
Mandalorianhas to teach. This is the way.
JAMES DYERON SCREEN
VERDICT A tough-talking, gun-slinging,
varmint-blasting space Western, this is
a grubby and more intimate saga than the
movies and brings a welcome sense of fun
back to the Star Wars universe.For the bulk of the show’s eight-episode run,
the Western formula sets The Mandalorian’s
agenda: bounties are served, heists staged and
battles fought, allowing for beautifully crafted
single episodes (ranging from 30 to 50 minutes
each), from the defence of a village from bandits,
to a standout, almost dialogue-free instalment
in which Mando has to deal with a gaggle of
troublesome Jawas. The main arc simmers in
the background, only coming to the fore as the
season draws towards its eventual close, but
Far left: Phantom menace: Baby Yoda effortlessly
steals Mando’s thunder. Left: The Iron Man convention
was in full swing.
Mando (Pedro Pascal)
and Kuiil (Nick Nolte):
stars of next season’s
The Masked Singer.