Short-lived sci-fi show back on the big screen
While it’s not utterly essential to view “Firefly” (Joss Whedon’s 14-episode prelude to his sprawling sci-fi western) before seeing “Serenity,” movie-goers will find a far more rewarding experience if they climb aboard the gritty, space-aged cult phenomenon early. However, to say that watching the short-lived series was merely recommended before viewing the film would be a bit of an understatement. Becoming familiar with Captain Malcom ‘Mal’ Reynolds and his rag-tag ensemble of intergalactic frontiersman is an enthralling experience and it grants the series’ cinematic counterpart greater emotional resonance and character-centric depth .
Whedon has a veritable gift for taking abstract premises and granting them tangible merit by crafting amiable, compelling characters in environments rich with layered metaphors and genre-bending ingenuity. “Firefly” is no different than previous Whedon outings (the critically acclaimed “Buffy the Vampire Slayer, and its television spinoff, “Angel,”) in this respect and is filled with the same witty dialogue and cheeky, self-aware humor that Whedon’s fans have come to expect.
An intriguing combination of science fiction staples, Far Eastern imagery, traditional western nuances and Old Testament-inspired motifs, “Firefly” follows the exploits of nine diverse passengers onboard a rickety transport ship known as Serenity. If many of these combined genre elements sound familiar, they should. The ‘space cowboy’ archetype has become a fully realized science fiction cliché ever since a smart-talking, pistol-toting smuggler named Han Solo first flew his iconic ‘bucket ‘o bolts’ across a galaxy far, far away (1977).
Whedon’s creation brings something new to the mix, however, a set of endearing characters that serve as the focal point of the story as opposed to Jedi business and pseudo-incest love triangles. While television shows like “24” rely on suspense to fuel a substantial viewer base, “Firefly” places the lofty position of the narrative hook on the shoulders of an immensely capable cast.
From the exuberant dough-eyed mechanic, Kaylee, to the aggressive but dim mercenary, Jayne, the diverse assembly of Serenity crew members each brings something unique and worthwhile to the screen. “Firefly’s” most appealing individual is undeniably the unsteady ship’s captain, Malcom. A veteran of a galaxy-spanning war that he was on the losing side of, Mal serves as the profound patriarchal connection between Serenity’s crewmembers and becomes Whedon’s primary outlet for well-placed bouts of cunning comedic discourse.
Although it was canceled midseason, the Fox network clearly never gave the ill-fated show a chance. Airing episodes out of chronological order and placing the show in the Friday night ‘death-slot,’ “Firefly” still managed to develop a devoted fan base whose efforts have lead to the storyline’s cinema-based rebirth. While the film expounds on elements initiated by the series, “Serenity” also introduces new characters like the smarmy Mr. Universe and the composedly frightening Operative. Additionally, the film makes the crew of Serenity responsible for a recording that demands urgent viewing by the rest of the galaxy’s populace. Similarly, “Serenity” and the show it’s based on, contain a story that Whedon and his fans have been trying to get out for a long time. The result of those efforts is a film that will captivate standard filmgoers and “Firefly” fans alike.
Mack Perry is a film critic for the Utah Statesman. Comments can be sent to him at mackp@cc.usu.edu.