Fans are praising “Andor” as one of the best “Star Wars” content pieces yet, due to Tony Gilroy’s prequel TV series delving deep into thought-provoking themes, perspectives, and emotions. Over two seasons, “Andor” has breathed new life into a character from “Rogue One: A Star Wars Story”, who was previously underdeveloped (and arguably uninteresting), transforming him into one of the franchise’s most iconic heroic figures. It’s remarkable how Gilroy successfully created an extended prequel narrative for a film that was already a prequel, while adding depth to characters we were already familiar with – and even a lead character whose death comes soon after we first meet him.
Many enthusiasts of “Star Wars” are wrapping up the final episodes of “Andor” and promptly diving back into re-watching “Rogue One: A Star Wars Story” on Disney+. I followed suit, and although it was delightful to revisit one of my most cherished (if not the most cherished) “Star Wars” films with a fresh perspective, the grittier, more somber, and mature tone of “Andor” left me pondering – now I can’t help but yearn for the original cut of “Rogue One.
Rogue One: The Edwards Cut
It’s common knowledge that the production of Rogue One was marked by disagreements between Disney and Lucasfilm executives and the film’s directors, led by Gareth Edwards (known for Godzilla and Jurassic World Rebirth). Ultimately, control over the final cut of Rogue One was taken from Edwards and given to Tony Gilroy, the showrunner for Andor, who carried out additional reshoots and script revisions to an extent that has not been fully disclosed publicly. Furthermore, seasoned screenwriters like Christopher McQuarrie (Mission: Impossible – The Final Reckoning), Scott Z. Burns (No Time to Die), and Michael Arndt (The Force Awakens) each contributed their unique perspectives to the story of Rogue One at various stages.
As a film critic, I’ve had the chance to revisit “Rogue One” over the years, and one aspect that has always stood out is the evolution of the climactic “Battle of Scarif.” Originally, the Imperial facility was split into two distinct locations: a data vault and a separate transmit tower. This necessitated an extensive beach battle, as depicted in the now-legendary deleted scenes and trailer footage. These scenes, shot in Gareth Edwards’ signature guerrilla style, gave the feeling of being a combat journalist embedded within a military unit.
Similarly, the sequence showing the Death Star plans being transmitted to the Rebel fleet above Scarif was initially more dramatic. Fans will recall the deleted scene where a bruised and weary Jyn Erso struggled to reach the top of the transmitter array, only to be caught off guard by an ambush from a waiting TIE Fighter.
The opening Battle of Scarif scene mirrors the more somber and rugged tone that director Edwards intended for Rogue One, as it was meant to be a hard-hitting war film. As he explained at Star Wars Celebration 2015, “It’s about the harshness of war. The lines between good and evil blur. It’s complex, multilayered; an intricate backdrop for a movie.
Many Star Wars enthusiasts still recall the initial concept art of Rogue One, presented at that event – an exciting depiction of Rebel troops in tactical gear, descending into mud during a stormy night battle. This image hinted at an experience that didn’t fully materialize until Andor offered its heart-racing espionage action and suspenseful thrills years later. Although I appreciate the current version of Rogue One, I often ponder if Gilroy’s concept for Andor might have aligned more closely with Edwards’ original vision for Rogue One.
Director’s Cuts Aren’t Always A Fix
It’s incorrect to assume that changes in “Rogue One” were unwarranted, and I understand why you feel that way. In fact, alterations such as Jyn and Cassian not initially surviving the mission on Scarif would have undermined the film’s themes of ultimate sacrifice and trust in an uncertain future, which are crucial to its emotional impact.
The revisions made to Saw Gerrera’s role in “Rogue One” served to create a poignant swan song for his character, a sentiment that has been reinforced by the continuation of his story in “Andor”. The multiple script revisions and reshoots were necessary to establish well-rounded introductions for characters like Cassian and Jyn (among others), including the scene where Cassian executes Tivik, an act that solidified his antihero status within the Star Wars universe.
I’m thrilled with the epic three-part saga consisting of Star Wars series like Andor, Rogue One, and A New Hope. Although I think it would have been amazing if Disney had the courage to bring Gilroy’s big-screen project to life as he later did on television, I realize that we’ve all learned a valuable lesson about the risks of obsessing over an altered version of a beloved movie. Let’s try to avoid repeating that experience.
Andor, Rogue One, and Star Wars: A New Hope are all streaming on Disney+.
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2025-05-15 02:40