I’ve given up reading Star Wars novels, because they are terrible. With just a few exceptions (mostly by Alexander Freed), over the past five years Disney has yet to figure out how to do something worthwhile with the world Lucas imagined. In fact, most of what Disney has done with Star Wars, across all media, has been a disappointment. It’s been hard to accept that I am no longer a Star Wars fan; I’m just a guy who loves four Star Wars movies and one TV series. But the more movies and series are made, the smaller the percentage of SW content I enjoy.
However—I do still enjoy reading about Star Wars, which was a brilliant creation despite what it’s become currently. Books like Chris Taylor’s How Star Wars Conquered the Universe, Mateusz Machaj’s The Rise and Fall of the First Galactic Empire, and Cass Sunstein’s The World According to Star Wars demonstrate how much there is to ponder in SW, as a film, a mythology, and a cultural phenomenon. And the “Art of” books about the making of the films are fascinating, even for the films I don’t particularly like.
Into that mix comes Edward Gross and Mark Altman’s 550-page oral history of Star Wars, from its origins through about 2020. Any book like this would be advised not to promise as much as this book’s subtitle does: The Complete, Uncensored, Unauthorized Oral History of Star Wars. “Complete” is obviously untrue, because many more than 550 pages have already been written about this. “Uncensored” is an odd choice, as there’s little in this book that hasn’t been officially published elsewhere, and I can’t imagine Disney or Lucas would be offended by what’s presented here. “Unauthorized” makes me wonder how reliable the information is. And “Oral History” is an intriguing idea, but this is a print book, and nowhere do the authors cite where any of this content comes from. Most of it seems to be from places I’ve already read, but was any of it collected by the authors themselves, especially for this book? Who knows.
Whatever the case, there are no “Secrets” here; every story in this book has been told numerous times before. People want new trivia about the making of the original Star Wars trilogy, but there’s not an endless fount of information. The only thing that could potentially add more to the story is if Marcia Lucas ever chooses to tell her perspective on her years with George; but I respect her for not getting involved.
So the book is just a repackaging of the “Creation of Star Wars” mythology—which is always interesting, even if it’s not new. It’s a quick, entertaining read. The story proceeds chronologically, and each chapter is constructed of bits of interviews and other commentary from people who (mostly) were involved in the making of each era of Star Wars. The narrative tends to be dominated by two voices. One is George Lucas (whose presence brings a very “authorized” sense, and sometimes hinders the story, because we’ve all already heard what he has to say about his creation). The other is Ray Morton, who is identified as the senior editor of Script magazine. I found his constant presence confusing. He had nothing to do with creating Star Wars; he’s a person who comments on stories. His commentary is mostly interesting, but why is he here? A lot of people have opinions about Star Wars, but a book like this should foreground the people who made it. Enough with these opinions from “pop culture commentators.” It feels like padding, in a book that already feels like a retread of other material.
The authors/compilers make no apology for privileging the original trilogy over everything else. Details about the making of the original Star Wars cover the first 134 pages (with more pages covering the distribution and merchandising, and even a chapter about the Holiday Special). Because The Phantom Menace was the restart of theatrical Star Wars after some years away, its chapter is 67 pages. By the end of the book, it’s obvious that the authors would rather do anything other than talk about the sequel trilogy—and who can blame them? No one is ever going to care about those movies—and so The Rise of Skywalker is covered in a 24-page chapter, most of which is a discussion of how Colin Trevorrow’s Duel of the Fates script would have been a superior movie. The final chapter in the book is about the recent Star Wars TV series. It’s quick and perfunctory—and again, it’s not like anyone is very interested in all that stuff anyway. The main interest will always be the original trilogy, and all of that material is already available, and has been for years.
Secrets of the Force is not a bad way to relive the history of Star Wars, but if you’ve ever read anything at all about the making of the films, and especially the first film, then there won’t be anything new here.