There’s One Reason The Mandalorian And Grogu Is Worth Watching
And it’s not what you expect.
If The Mandalorian was beloved for any reason, it might have been the vibes. The live-action Star Wars series was always, admittedly, light on substance, leaning on the inherent coolness of its titular bounty hunter (Pedro Pascal) and the irresistible cuteness of his adopted son, Grogu, to guide the way. But the atmosphere that made the show so compelling was also delivered in part by Ludwig Göransson, the Oscar-winning composer behind films like Oppenheimer and Sinners.
Göransson’s soundscape for The Mandalorian went a long way in setting the tone, even keeping stakes high when the standards otherwise slipped. Though he took a step back for Season 3, he’s back for Mando and Grogu’s foray onto the big screen. And it’s a good thing, too: Göransson was already one of the most inventive composers of his generation, but he finds a way to bring his sonic game to new heights with The Mandalorian and Grogu. While his work was once the secret weapon of The Mandalorian, it absolutely carries its big-screen follow-up — it’s without a doubt the best part of the film altogether.
Görranson takes home an Oscar for his Oppenheimer score.
Göransson’s score isn’t the only thing The Mandalorian and Grogu has going for it, but it’s by far the film’s most successful element. It’s been a long time since this corner of the Star Wars galaxy has felt as novel as it did in its first season: director Jon Favreau gives Mando plenty of cool moments, and Grogu just as many opportunities to remind us how cute he is, but the emotional core of this story is still lacking. These unlikely heroes feel more like stock characters than ever, and neither gets the chance to grow... despite the onslaught of harrowing experiences they face in the film. The stakes are bafflingly low across the board. That leaves the Mando/Grogu score to pick up the slack — but it’s a task that Göransson is well equipped to tackle.
The central motifs of The Mandalorian remain more or less undisturbed in Mando/Grogu, like the otherworldly, flute-like stylings of Mando’s traditional theme. But Göransson also finds subtle ways to add more sophistication to the tunes we know so well: a stand-out track from the new score, “Shakari,” layers Mando’s theme over a trap beat, adding a much-needed edge to the brand-new Star Wars locale. Where Mando/Grogu lacks a sense of place, the music provides both mood and tone. It distracts from the choices that could be eyeroll-worthy — like Mando’s reunion with the Razor Crest, scored to the whimsical “Next Mission” — or anticlimactic.
It is, admittedly, a bit disappointing that Mando/Grogu doesn’t pack a more emotional punch as a whole. Star Wars needs a strong comeback more than ever, and it’s hard to justify returning to the theaters to watch what feels like three Mando episodes stitched together. But if there’s any reason to catch the film (apart from its IMAX footage, which looks pretty damn awesome), it’s the music. Göransson’s work is a fine consolation prize for the substance that this story lacks: it can’t completely disguise The Mandalorian and Grogu’s hollow core, but it almost singlehandedly gives this adventure the immersion it needs to hold our attention.
