Disney/Lucasfilm
Chapter 3 of The Mandalorian was the best episode of the season thus far; it was an exciting half hour of television that propelled the narrative into fascinating uncertainty. Thankfully, the Bryce Dallas Howard-helmed Chapter 4, ‘Sanctuary’, follows suit to deliver another superb episode.
We’re four episodes in now with the story finally taking some propulsive action; we last left Mando and the Child as they escaped (barely) the bounty hunters after them and set off into space seeking refuge and protection. In their pursuit, they come across fellow-hunter Cara (Gina Carano); when they join forces for a job saving a cosy little community from a group of raiders, they begin training its peaceful residents to fight alongside them. In doing so, Mando and the Child get a taste of what life could be like should they choose to settle down in the tranquil village. The children take a liking to the kid, and one particular mother starts taking a liking to Mando too.
The Mandalorian wears its influences on its sleeve; already, we’ve felt hints of Akira Kurosawa and Sergio Leone through the flavours of the Western and Samurai genres the past episodes have evoked. But Dallas Howard, behind the lens for this episode, goes full ‘Seven Samurai’ with her directorial effort – spinning the story of Kurosawa’s epic into a space-opera version tailored for the Star Wars world. Naturally, it doesn’t have as much time to work with so it takes a minimalistic approach to the material but the episode offers a great perspective on the character we haven’t seen yet through this approach. The first half of the 40-minute runtime feels a lot quieter and more low-key for the series; we get some subliminal characterisation through the lens of thoughtful dialogue and genuine, heartfelt conversations. The dynamic between Cara and Mando, especially, is one of the highlights as these two lone rangers find a respite amongst each other’s company (after a quick fight, that is); as well as this, we get to learn more about the Mandalorian culture and his backstory too which adds a great emotional backbone to the proceedings.
The action is also helmed well; most of it occurs in the dark and the sequences can suffer from being a little unfocused and restricted at times. We can’t always see who is shooting who and what’s going on; unlike most of the other chapters thus far, ‘Sanctuary’ is at its best when it’s not focused on the fighting. The combat is, however, done well for the most part and, as mentioned, evokes ‘Seven Samurai’ especially; an early fight scene between Cara and Mando is expertly executed and the finale feels like a contained war-film at times. Dallas Howard’s direction is slick and she superbly structures it so that the final few minutes hit with maximum emotional impact. Carano’s addition to the cast is a welcome one too; hopefully, she’ll be a strong presence in the episodes to come. Pascal also does a great job as always. Naturally, though, this is Baby Yoda’s show and there are some truly adorable moments involving his character sprinkled throughout this episode. Just like ‘The Sin’, ‘Sanctuary’ is yet another exceptional episode of The Mandalorian that is well-written, well-performed and handsomely crafted. It continues to prove just why this is Disney+’s best series and it’s a must-see for any Star Wars fan out there.
The Mandalorian is now streaming.
