Western Wednesdays: The Far Country (1954)

     The Far Country was released in 1954. Directed by Anthony Mann it stars James Stewart, Walter Brennan, Ruth Roman, and Corinne Clavet. In it Jeff Webster (Stewart) and his companion Ben Tatum (Brennan) seek their fortune during the Klondike gold rush in the small town of Dawson, Alaska. They are continually thwarted by Ganon (John McIntire) the ruthless boss of a corrupt town across the border.

     The Far Country is the fourth film in what's now known as the Mann/Stewart cycle, a series of five western films directed by Anthony Mann and starring James Stewart. These films were distinguished by their psychologically driven and, at times, dark storylines and for Mann's use of harsh western scenery to drive the story and, especially, the action scenes. In The Far Country Stewart's Jeff Webster is a somewhat amoral man, one who's really only interested in his own gain. Told by Corinne Clavet's Renee, "You've got to help people when they need help" he responds, "Why?" On the other hand, he's not without his own personal code. He won't hurt other people unless he feels threatened by them and he does display a deep loyalty to his one friend, Walter Brennan's Ben Tatum. It's interesting to contrast Webster with the film's central antagonist, Ganon. Like Jeff, Ganon is ought for his own self gain and cares not for the problems of others. What makes Ganon the villain is that, unlike Jeff, he takes what he wants form others, instead of working for it himself, and he is willing to do whatever is necessary to get it, even if it means killing them for it.

     It's inevitable, perhaps, that the two men come into conflict, and this happens almost immediately. Arriving in the town of Skagway with his cattle, Webster interrupts a hanging overseen by Ganon when he storms through the town with his cows. Trying Webster for disorderly conduct, Ganon lets him go but confiscates his cattle as "property of the state." Undeterred, Jeff steals the herd back and flees beyond Ganon's jurisdiction. Jeff isn't interested in confronting the corrupt official as long as he doesn't get in his way and throughout the film he simply avoids Ganon, hoping to make his fortune and then get out while the getting is good. When Ganon comes to Dawson and begins cheating the people of the town out of their gold claims Jeff, once again, stands by. He witnesses his friend Rube (Jay C. Flippen), the town's appointed marshal, try to stand up to Gannon and he intervenes telling Rube, "there isn't any reason for a man to get himself killed if he doesn't have to." This causes Rube to back down, ashamed of his inability to stop Ganon. Jeff cares enough about Rube to try and prevent his murder, but he won't stand with him.

     When Jeff and Ben attempt to leave the territory with their gold, they are attacked by Ganon's men, who kill Ben and take the gold. Jeff survives this encounter and is now faced with a choice: confront Ganon and avenge his friend or stand down and run away. Throughout the film the two women who love Jeff, Renee Vallon and Ronda Castle (Ruth Roman) represent the two paths he is ultimately torn between. Ronda, like Jeff himself, is out for herself and is generally distrustful of others. She offers to go with Jeff if he will agree to run away from Dawson and from Ganon. Renee, on the other hand, is a self-less and compassionate soul, who always seems to see the best in people. By the film's climax she has almost given up on Jeff. She helps to nurse his wounds only to see Jeff, seemingly, choose Ronda over her. Ultimately, Jeff cannot turn his back on what Ganon did. He does what Ben would've wanted him to do and takes up his gun, sending Ganon a message that he's coming for him.

     The West, in film, is a land of opportunity. For some, like Rube and Renee, it's an opportunity to settle down and start a new life, to build a community and lay the foundation for civilization. For others, like Ronda and Ganon, it's an opportunity for exploitation. Jeff, at first, is with them. He doesn't believe in civilization or in other people. He's only out for himself. It's only when he loses his only friend as a result of his own indifference, and of Ganon's greed, that he sees the error of his ways and stands with the people of Dawson against Ganon. Ronda, who has fallen in love with Jeff, dies to protect him from Ganon and the people of Dawson, who resented Jeff for his apathy, come to his aid and run the remainder of Ganon's men out of town once Jeff has killed him.

     As with all the film's in this cycle Mann make great use of the scenery here. Shots of men on horseback dwarfed by the Canadian Mountains (the film was shot in Canada despite taking place in Alaska) add a sense of isolation and of the seemingly insurmountable nature of the wilderness. One scene, where an avalanche nearly buries Ronda Castle and her party, who take the mountain pass despite Jeff's warning, is classic Mann. Cinematographer William H. Daniels, who also shot Winchester 73' for Mann, really captures the austere beauty of Alberta. Interestingly, the climatic gunfight in this film take place within the confines of Dawson, rather then out on the frontier as in many of Mann's other films. This results in a comparatively limp climax, though it has some superb build up and Mann still make full use of the (limited) environment to frame to action.

    The performances are all around excellent, particularly from Stewart, who plays a much more jaded individual then usual here, and from Brennan, who's his usual crotchety, lovable self. Ruth Roman is great as the strong willed, world wise Ronda Castle as is Corinne Clavet as the naïve, but equally strong willed Renee. John McIntire is absolutely despicable as the self-assured but utterly corrupt Ganon and Jay C. Flippen is just wonderful as the good natured but weak-willed Rube. The film's supporting cast is filled with familiar faces (for people familiar with westerns at least) from Harry Morgan to Jack Elam to Robert Wilke.

     The Far Country isn't the best film the Mann/Stewart cycle but, like all of them, it is a superb western nonetheless. Featuring strong performances, assured direction, and a thematically rich script this film is sure to please western fans or anyone who just enjoys a good movie.

Score: 9/10

Geoff John's New 52 Justice League Retrospective: In Summary

     Looking back on the Geoff John's Justice League run as a whole, it was definitely a mixed bag. Early on, it really struggled to provide a confident direction for the New 52. The first two story arcs, in general, are pretty mediocre with surface level characterization, one note villains and, at times, incoherent storytelling. It's not until Throne of Atlantis that the book really begins to hit it's stride, beginning to flesh out the characters more and to tell more compelling and well written stories. From there it goes back and forth in quality with Forever Evil being the high point and Trinity War a relative low point.

     Visually it's almost always worth a look, with Jason Fabok's art being the standout. His facial work is really strong and he also delivers some really epic full page spreads. Throughout the run John's provided plenty of epic moments for comic book fans and all of the various artists really knew how to deliver. Even the most terribly written stories feature some dynamic artwork. With that said, the art could be inconsistent at times. The rapid pace that monthly comic book publishing demands means that, oftentimes, multiple artists would have to work on a given issue, so the art style could change in the middle of a story. In addition to this, the main pencilers, like Fabok and Reis, didn't always have time to finish their work and some issues feature art that has (rather obviously) been completed by a back up artist.

     Standout moments in the run include Wonder Woman and Superman kissing (though its memorable for all the wrong reasons), Aquaman accepting his birthright in Throne of Atlantis, Lex Luthor killing Alexander Luthor in Forever Evil, the death of Darkseid, the death of Owlman, and Batman taking Green Lantern's ring and overcoming the Mobius chair in The Darkseid War. Johns made some major contributions to the DC Canon in this run, introducing some memorable new characters, most notably Jessica Cruz, and reintegrating some old favorites, including Billy Batson. He also made Lex Luthor into something of an antihero. I would never have thought that having Luthor join the Justice League was a good narrative choice, but Johns made it work. The run was definitely held back by DC's editorial machine. Trinity War comes across more as a company mandate then as a story Johns wanted to pursue. It's strange having Forever Evil come right after another major (and arguably bigger) crossover event. Of course the company's decisions regarding the core characters in the New 52 reboot also had a major impact on Johns' storytelling, especially early on. Since Johns was already the company's chief creative officer when the New 52 was launched, its impossible to know how much of this was his idea.

     Of all the regular core Justice League members Johns probably does the best job with Batman and Wonder Woman. Aquaman is really only focused on during Throne of Atlantis and Hal Jordan is absent for a good chunk of the run. Superman and Flash, on the other hand, never really get much to do at all. Kal is at his best when interacting with Luthor while Barry gets to shine as Jessica Cruz's mentor. Speaking of Jessica, she, and many of other the new members inducted into the league over the course of the run, are generally more fleshed out. Adding Cyborg to the League was a little bit controversial, as he's usually a Teen Titan and many felt that the character worked better in a more teen focused book. While I tend to agree I do like what John's does with the character. Victor Stone is the one character who's their from the beginning who really grows and changes over the course of the run, becoming a more confident and fully rounded individual by the end. Lex Luthor, who joins the League after the events of Forever Evil, was also a welcome addition and his more ambiguous morals provided a nice contrast to the League's selfless heroism. We continually see Lex try and, oftentimes, fail to be a hero and this is something that has continued to be explored in the Rebirth era by Peter Tomasi and Dan Jurgens in Superman and Action Comics respectively.

     The villains featured throughout the run are also a little hit-or-miss. Darkseid fails to make much of an impression in the opening arc. This is remedied a little during The Darkseid War but, ironically, he is killed half way through that story. Grail is the real villain of The Darkseid War and is a pretty good one with a nature vs. nurture style backstory. Other new villains include the lackluster David Graves; Grid, the supervirus who takes over Victor Stone during Trinity War; and patient zero, who turns into Amazo. Of these three Grid is definitely the most interesting being a sort of mirror for Victor Stone, showing what he could be if he lost his humanity and forcing him to confront his deepest fears. In general, it's the Crime Syndicate who stand head and shoulders above every other villain in the run. The ever tense power dynamic between Ultraman, Owlman and Superwoman really makes for some compelling reading. Both Ultraman and Olwman get fleshed out backstories, mirroring Superman and Batman, and the same goes for Grid, Johnny Quick and Atomica, and Power Ring. Superwoman's origin is left unexplained, in order to hide her relationship with Alexander Luthor until the big reveal, but this is mitigated somewhat in The Darkseid War, where she easily has the biggest role to play out of the surviving members.

     For anyone wanting to check this run out I'd recommend starting with Throne of Atlantis (especially if you like Aquaman stories) and then slogging through Trinity War, which you kind of need to read before Forever Evil. If your not hooked by then this run probably isn't for you.

To read my detailed thoughts on all of the trades collecting this run see the links below:

Justice League Volume 1: Origin

Justice League Volume 2: The Villain's Journey

Justice League Volume 3: Throne of Atlantis

Trinity War

Forever Evil 

Justice League Volume 6: Injustice League

Justice League: The Darkseid War

Wonder Woman (2017) Review

     Wonder Woman is directed by Patty Jenkins. It tells the origin story of its titular character. When American army pilot Steve Trevor (Chris Pine) crashes on her Themyscira, the island refuge of the ancient Amazons, he meets Diana, the princess of the Amazons (Gal Gadot), who decides to travel with him to man's world to put an end to the terrors of the First World War.

     Superheroes are meant to inspire people to be their better selves. Early entries in the genre (Richard Donner's Superman, Sam Raimi's Spider-Man) took for granted that people are worth fighting for. Increasingly this notion has been questioned, particularly in DC films. Last year's Batman v Superman saw Superman, the archetypal superhero declaring that, "No one stays good in this world." Even the generally more upbeat Marvel movies have taken an increasingly deconstructionist approach to heroism. In the climax of Captain America: Civil War Tony Stark tells Steve Rogers, "You don't deserve that shield." Wonder Woman is the only film in recent memory to ask if humanity is worth saving and to respond with a resounding yes.

     What I find really interesting is that this movie more hopeful and inspiring than many recent films in the genre despite it taking place in WWI. The First World War is one of the darkest chapters of the modern era. This was a period that produced T.S. Eliot's The Wasteland and the nihilistic horror stories of H.P. Lovecraft and one that informed the darker aspects of J.R.R. Tolkien's Lord of the Rings. Unlike in WWII, when the Wonder Woman comic was originally published, there were no clear good guys and bad guys in the Great War. Begun as a result of the assassination of Austrian Archduke Franz Ferdinand, an event which then escalated into a worldwide conflict thanks to a series of complicated alliances, the war was largely pointless (I apologize for the sweeping generalizations). It devastated Europe and it's population to such an extent that the people who grew up in that period are known as the lost generation.

     When I first heard that the film was going to place place during this conflict I was concerned. Would this film double down on the darkness and pessimism of Man of Steel and Batman v Superman? Fortunately, seeing Wonder Woman allayed these fears completely. Far from falling into the same dour cynicism of its predecessors, this film addresses the hopelessness of those movies head on. Hope in the midst of great darkness is, in many ways, this movie's thesis. Having Wonder Woman rise from the horrors of World War I with real hope for humanity is a really inspired choice on the filmmakers part.

     At the start of the film, Diana takes it as a given that humanity is worth saving. The evil men do, she believes, is because of the influence of Ares, the Greek God of War. Ares is reimagined in this film as a rather satanic figure. A fallen angel who is envious of Zeus' favor toward humankind. Diana holds on to her naive beliefs through most of the film, despite seeing all kinds of evidence to the contrary. It's only when she kills General Lunendorff, who she mistakenly believes is Ares, and sees that the conflict has continued, that she realizes that man has an inborn capacity for evil. It is then revealed that a certain unassuming character is actually Ares and that he has been subtlety toying with humanity throughout the centuries, in the belief that they will eventually destroy themselves and with the aim of hastening that outcome. He asks Diana to join with him and she refuses and tries to kill him once again using the "Godkiller" sword that he mother told her was meant to destroy Ares. Ares destroys the sword, revealing that Diana herself is the Godkiller. When she still refuses to join with him he tries to kill her.

     This is where the film falters a little for me. Thematically it works. At this point the real conflict is a psychological one, as Diana must decide whether to join with Ares or to stand with humanity. Diana's faith in humanity may have been shattered but she will not be a party to the proliferation of war and destruction, yet she feels tempted to strike out at those who carry it out. It's only when she witnesses Steve Trevor's sacrifice that she realizes humanity's capacity for greater good and decides to fight for peace and love she believes in. She, like the humans and like Ares is faced with a choice between hate and love and she chooses love. The problem is that the battle between Wonder Woman and Ares is not very involving.

     The real stakes in this scene involve the poisonous gas that Steve Trevor decides to sacrifice himself to destroy rather then let it fall into the wrong hands. The reasons he does this, rather then letting Diana, who could easily destroy the gas and still survive, are pretty contrived. Trevor's death is a dramatic necessity, he needs to sacrifice himself in order for Diana to complete her arc. It seems the writers simply couldn't find a way to make this happen that made sense in the context of the story. This is not uncommon for superhero origin stories. Even some of best ones (Iron Man, Superman, Batman Begins) falter a little in the third act. Perhaps this is a poor excuse but there it is.

     Of course Wonder Woman also feels culturally significant because it's the first really decent film to feature an inspiring female superhero. Hollywood execs may be patting themselves on the back for this but, honestly, it's long overdue. A debate has arisen over the way Wonder Woman is portrayed physically, with many expressing concerns that her clothing is too revealing and that the film feels exploitative as a result, something which undermines the film message of female empowerment. While I think this controversy is a little overblown, some of it does concern me. Many have pointed out, in the film's defense, that there is a double standard when people complain about Wonder Woman's lack of pants and feminine physique, but look past all male action stars who are so often seen shirtless and with unrealistically toned upper bodies. For me though, this is exactly the problem. Hollywood, in general, promotes unrealistic standards for body image that can be damaging for adolescent men and women who may not have the ability to look like a supermodel or a bodybuilder. As a result, many end up with anxiety about their body image that can lead to more serious problems, like anorexia or steroid use. So, while Hollywood executive's criticizing of the film's casting of a supermodel may be a little hypocritical, this choice is endemic of a larger problem. It may not represent, as James Cameron suggests, a step backwards for feminism in Hollywood, but it is certainly not a step forward for promoting positive body image.

     I really like Gal Gadot as Wonder Woman. She is able to completely encapsulate the character's sense of compassion and also convey her somewhat naive worldview. Not since Christopher Reeve has an actor so perfectly embodied a superhero. Chris Pine is also great as Captain Steve Trevor. He is able to make the character feel flawed while still maintaining his dignity and sense of heroism. He is supposed to represent humanity's potential for goodness and Pine conveys this beautifully. Lucy Davis lends the film a great sense of humor as Etta Candy, Trevor's secretary. Trevor's band of mercenaries, played by Saïd Taghmaoui, Ewen Bremner, and Eugene Brave Rock are perhaps less successful in this department, and come across as a little two dimensional. At least, though, they have more defined characters then Captain America's Howling Commandos, whose personalities began and ended with their ethnicity. David Thewlis, I'm sad to say, feels a bit miscast as Ares. He's right at home as the unassuming Sir Patrick Morgan, but as soon as it's revealed that he's actually the God of War, he's a bit hard to take seriously. Danny Huston and Elena Anaya also feel a little out of place as General Ludendorff and Doctor Poison, their over-the-top antics contrasting with the film's otherwise sobering portrayal of WWI. Rounding out the cast are Connie Nielson as Diana's mother Queen Hippolyta, Robin Wright as Hippolyta's sister and general Antiope, and Lily Aspell as young Diana. All three do an excellent job and provide Gadot with a strong foundation for her character.

     Matthew Jensen's cinematography is quite striking, creating a contrast between the idolized beauty of Themyscira and the bleak war-torn European countryside. Rupert Gregson-Williams (The Prince of Egypt) provides a stirring score, adding weight to some of the film's more emotional moments. Patty Jenkins directs the film with real heart and emotion. The action scenes in particular, though not perfect (some of the cutting is a little quick and the climax feels like a relic of the early 2000's) work because of our emotional connection to the characters. The battles in the movie have real stakes and the characters make choices and reveal there inner heroism within these scenes. The film's central set piece, where Wonder Woman rises from the trenches to drive away the German troops from an innocent village, is probably my favorite scene in any comic book film since the train fight between Spider-Man and Doc Ock in Spider-Man 2. Inspiring and emotionally resonant, this scene could be seen as emblematic of my hopes female superheros on screen, the DC Extended Universe moving forward, and the future of the superhero genre in general.

     Wonder Woman is by no means a perfect movie but it's a movie that, I think, overcomes its flaws because of its heart, its thematic resonance, and its cultural significance. To paraphrase a line from The Dark Knight it's the film the character deserves but, more importantly, a film we need right now. At least, its one that I needed.

Score: 9/10

Geoff John's New 52 Justice League Retrospective Part 7 (Sunday Evening Cartoons)

Perhaps I should just give up on posting these on time...

     The Darkseid War was published in two volumes (volumes 7 and 8 of the series proper). It is the final arc from Geoff John's run on the Justice League.

     The Darkseid War starts out with a flashback showing an Amazon named Myrina giving birth to Grail, the Daughter of Darkseid, on Themyscira on the same day that Diana was born. Menalippe, who witnesses this birth, foresees a war between Darkseid and the Anti-Monitor that the child will bring about so she and Penelope try to kill the child. Myrina, however, refuses to let them do this and kills them both, fleeing Themyscira.
   
    Meanwhile Metron relates persuading Darkseid and the Highfather of New Genesis to exchange sons in order to prevent further wars between the two planets. He also recaps the emergence of the original Anti-Monitor and his defeat in Crisis on Infinite Earths along with other major DC crossover's including Flashpoint, the results of which, according to Metron, have not yet solidified. This Anti-Monitor, we learn was the named Mobius was the first to sit in the Mobius Chair. Metron approaches Mobius and offers to undo his curse. He warns him of Darkseid's ambitions but Mobius wants a war with Darkseid so he can destroy him and break his curse, ending the age of the New Gods once again. It is then revealed that Grail is aiding Mobius and she attacks Metron, causing him to flee so he can try to prevent the coming war.

     Back on earth Darkseid's servants, Kanto and Lashina, search for Myrina, finding and murdering anyone who bears her name, Terminator style. Mister Miracle relates his escape from Apokolips. We learn that the exchange of sons did nothing to prevent war with Apokolips and Highfather's son began to search for a means of escape. Eventually breaking out of Darkseid's prison he met Himon, a rebel who inspired him to fight against Darkseid. Darkseid, we learn, is now amassing power to attack earth again and Mister Miracle decides to go to the League for help. He faces Darkseid who thoroughly beats him and is forced to flee.

      The League, meanwhile, is investigating the boom tube opening created by Lashina and Kanto. As they search the scene of Myrina's murder, Grail emerges from inside Flash and takes him out. A fight breaks out between her and the League and she tells Wonder Woman who she is. She then takes Jessica Cruz's power ring and summons Anti-Monitor and an army of shadows. With the rest of the League incapacitated, Wonder Wonder is forced to fight Grail and Mobius on her own. Then Metron arrives and uses his chair to transport the League away.

     While searching for the man responsible for trying to kill Lex Luthor, he and Superman travel to his lab at LexCorp. There, Lex shows Superman his new Kryptonite powered suit, angering him. Superman threatens to kick Lex off of the League but their confrontation is interrupted when Lena shoots Lex and, declaring her loyalty to Darkseid, sends both men to Apokolips using a Boom Tube. Arriving their, Superman revives Lex and cauterizes his wound, informing him of his sister's treachery.
 

     Arriving on Earth, Mister Miracle finds another woman named Myrina murdered and Lashina and Kanto, who are still on the scene, fight him. He teleports away from the fight and encounters the real Myrina. He warns her about Kanto and Lashina and she informs him off her plan to destroy Darkseid by having Grail manipulate a war between him and Mobius. Shocked by this revelation, he refuses to cooperate with her plans and uses his Boom Tube to escape when she tries to kill him.

     On Apokolips, Steppenwolf informs Darkseid that Superman has arrived and pledges to kill him. But Darkseid wants his to destroy his spirit as well as his body. He orders his slaves to kill Superman, offering them their freedom if they so. This will show Superman that Apokolips is a world without hope. He also sends Steppenwolf and Kalibak to capture Grail and Myrina. Superman and Luthor are attacked by hundreds of beings from the slave camps and Superman finds that his powers are fading because of the lack of sunlight on the planet. Luthor flies him away from the oncoming slaves and they are attacked by parademons. Desperate for help Luthor drops Clark into the Fire Pits of Apokolips in order to charge him with solar energy.

      Metron takes the league to the Shazam's hideout, the Rock of Eternity. He tells them to flee earth and save themselves. They, of course, refuse to do this. Wonder Woman uses her lasso to get information about Mobius from Metron. He tells her that he himself knows nothing and she must take the chair in order to obtain this information. She removes him from it and, before it can transport itself away, Batman sits in and is immediately overwhelmed with information. He is still unable to get any information about the Anti-Monitor however. He discovers the origin of Grail and informs the League who are concerned that the chair will permanently alter him. Mister Miracle then teleports in and asks the League to help him persuade Mobius to leave earth. Batman and Green Lantern go to find answers in the multiverse while the rest of the League go with Mister Miracle. The League then confront Grail and Mobius and tell them to leave when Darkseid and his army arrive, summoned by Grail.

     Batman and Hal Jordan visit Earth 3 to see what Mobius did to that world. Jordan wants to return to earth and help Diana and the others but Bruce insists on continuing the search, saying the knowledge is important. They then travel to Mobius' birthplace of Qward and discover that he built the Mobius Chair. He came to see the Anti-Life Equation and was cursed because of it

     Back on earth the war has begun. Kalibak fights with Grail while Mobius fights Darkseid. Darkseid then summons the Black Racer and together they start to beat Mobius down. The Anti-Monitor then uses the Anti-Life Equation, which he reveals to be inside him, to take control of the Black Racer who then bonds with the Flash. With this combined power, the Racer kills Darkseid.

     On Apokolips the Fire Pits have transformed Superman into a dark god and he now wants to kill Luthor. He rips Luthor's suit in half and leaves him to rot on Apokolips. Ardora and the Forgotten People then find Luthor and tell him of a prophecy which said that a human would walk through the ashes if Apokolips after Darkseid's death. This prophecy refers to Superman but Lex claims that he is that man. As a result, Ardora attemps to contain the Omega effect inside Lex to see if he's worthy to claim it's power. He survives the process and becomes the new god of Apokolips.

     Meanwhile, Mobius has reverted to his original form, separating from the Anti-Life Equation which Grail takes. The New Gods call Shazam who also attains Godlike powers. At this point in the story Batman, Superman, Flash, Lex Luthor and Shazam have all essentially become the New Gods. All of them have been altered by this experience, and refuse to give up their new power. Green Lantern, failing to convince Batman to leave the Mobius chair, returns to Oa to fight the a parademon invasion.

     The members of the League still fighting on earth decide to regroup in the face of Darkseid's death. Volthoom attempts to take over Jessica Cruz again but she resists him. Kanto tries to kill Scott Free but is stopped by Barda's arrival from Apokolips. Scott Free then reveals that they're married. Wonder Woman decides to question the Syndicate about Mobius but Steve Trevor informs her they are Level Zero inmates at A.R.G.U.S., so they'll have to break into Belle Reve to question them. Jessica, Barda, Scott and Cyborg teleport away to do this while Diana and Steve go to locate the other Leaguers. Before they can leave, Superman shows up and attacks Steve. Wonder Woman intervenes, using her Lasso to calm Superman down, and he accepts his identity as Clark Kent, restoring him to his normal mental state. Batman then returns to earth and tells Superman that his mental state has only been restored temporarily and that the solar energy from Apokolips is breaking down his cellular structure and will eventually kill him. He then detects that Mobius is returning.

     In the meantime, Jessica, Barda, Scott and Cyborg have broken into Belle Reve and questioned Ultraman, who tells them that Mobius has come to destroy everyone. When they break into Superwoman's cell, Volthoom takes control of Jessica, something which, it turns out, the two former Crime Syndicate members had planned ahead of time. Cyborg tries to hack into the ring and restore Jessica's power but Volthoom reactivates Grid who takes over Cyborg's body yet again. Owlman then arrives, and suggests that the League and the Syndicate work together to stop Mobius.

     The Syndicate claim that they know how to find and defeat Mobius. They want Luthor to give his kryptonite to Ultraman, to restore his powers. The League agree to this under the condition that Grid release Cyborg after Mobius is beaten. Jessica, according to the Syndicate, can't be helped. Grid locates Mobius in Gotham and the League and the Syndicate teleport there to face him. They find the city under attack by an army of shadow soldiers. As the battle begins Hal Jordan and the Green Lantern Corps show up to aid the League. Many of them perish in the ensuing fight.

     Grail then teleports in and takes Steve Trevor while Wonder Woman is occupied helping Superwoman to fight Mobius. Both woman are beaten by the Anti-God and Ultraman and Superman then attack him. Ultraman punches Kal El away, attacking Mobius himself. He is killed by Mobius and then Lex Luthor teleports in, leading an army of parademons.

     Meanwhile Jessica Cruz, trapped within the Volthoom ring, hears a voice telling her to locate the rings central battery. Power Ring, who soul is still trapped in the ring, tries to dissuade her as Volthoom will return and torment him if she leaves. But Jessica takes courage and sets off breaking into the ring's central battery where she finds Vic who downloaded his consciousness into the ring.

     Myrina has remained on earth because of the Anti-Life Equation, which is capable of controlling the will of everyone in existence. Grail tells her it cannot be destroyed and so she hopes to control it herself. Grail then relates how her mother fled Themyscira and was pursued by Zeus's storms. After arriving in man's world, her mother taught Grail to keep her inner darkness at bay but one night she tried to kill Myrina only to break down in tears. One day the two woman located a blind witch possessing the eye of seeing. Grail killed her and, using the eye saw the Anti-Monitor who she hoped to use to defeat Darksied. Grail knew that Mobius was a killer before he became the Anti-Monitor and that he would pose a great threat to mankind even after being separated form the Anti-Life Equation, but she hid this from her mother. She now wants the power of the Equation to kill Mobius and exact revenge on Zeus and the Amazons. The oracle said that the first man to touch the soil of Themyscira would save the world or destroy it and Grail wants to use him to hurt Diana. She bonds him to the Anti-Life Equation.

     Back on Earth, Lex uses his newfound power to fight Mobius. Superwoman is about to give birth and Diana wants to take her away from the battlefield but Owlman won't let her. Batman reveals that the child is the weapon the Syndicate wants to use to kill Mobius. Lex gains a temporary advantage when he sends the parademons to attack Mobius but he is quickly overwhelmed by attacking shadow soldiers and Barda and Mister Miracle come to his rescue. Barda wants to return to Apokolips and lead a rebellion in Darkseid's absence but Scott Free insists on staying and aiding the League. As Mobius begins to converge on Batman to take his chair back Superman releases a Solar Flare, gaining energy and hurting Mobius. Mobius then tries to kill Luthor when Grail and her mother arrive with Steve. As Superwoman's baby is born Grail forces Steve to kill Mobius.

     Grail then commands Steve to kill Diana and the the rest of the League. Steve asks Diana to stop him but he can't control himself. Luthor tries to kill him but Superman intervenes. Mister Miracle chains Grail and the Green Lanterns try to imprison her but she breaks free. Superwoman channels Luthor's power into her child by saying "Mazahs", only to be killed by Grail. Then Steve tries to kill Diana but Barry resists the control of the Black Racer and pushes her out of the way. Grail tries to steal his power but she is unable to as the Black Racer is a sentient being. The Racer separates from Flash and tries to kill him. Grail takes Shazam's powers instead.

     Cyborg attempts to tap into the Volthoom ring's supernatural technology. He finds that's there's a third quantity other then ones and zeroes: Fear. Jessica controls her fear helping Vic to bypass it. She tries to save Barry from the Black Racer and is killed in the process. The League, depowered, face Grail and the baby. Scott Free asks Batman how to stop her. He tells him that Steve wasn't the first man on Themyscira and that Grail made a mistake by choosing him. Overhearing this, Grail takes the Anti-Life Equation back from Steve and gives it to Superwoman's son instead. The child is reborn as Darkseid, but he must now do Grail's bidding.
 

     The Mobius chair starts to overwhelm Bruce and Hal gives him his ring so he'll have the willpower to get off of it. Barda arrives from Apokolips and leads the Furies and Kalibak to attack the newly reborn Darkseid. Batman, having left the Mobius chair, still remembers that Grail and Darkseid are connected. Owlman then takes the chair and Grid downloads himself to it, releasing Vic. Myrina, meanwhile, begins to regret starting the war. Batman tells Diana that Darkseid must be separated from the Antil-Life Equation and that only Grail can do this. Wonder Woman lassos Grail to calm her down. Myrina asks Grail to kill her as a sacrifice, erasing her rage. Grail unleashes the Equation through Myrina, killing her and depowering Darkseid. Grail and Darkseid then vanish and Myrina dies.

     It is then revealed that Jessica survived the Black Racer's attack as the Racer only killed Volthoom. She is then chosen by a Green Lantern Ring which made it's way to earth. It is also revealed that Barda made a pact with the Furies in order to save Mister Miracle. She promised to join with them again in exchange for their help. Grail decides to raise Superwoman's child as her mother raised her. Lex returns to Apokolips to lead the revolution against Darkseid's forces. Superman is dying because of his contact with th solar power on Apokolips and Batman must investigate the Mobius' Chair's revelation that there are three different Jokers. With her dying breath, Myrina told Diana she had a brother named Jason and that there are lies about Themiscrya .Owlman asks the chair for the secrets of the universe when he is mysteriously killed, presumably by Dr. Manhattan.

     This story is really dense. So much plot and backstory are packed into a mere 12 issues that the book can barely handle the strain. The book must establish the backstory of both Grail and Mobius as well as recap much of Jack Kirby's New Gods for readers who are unfamiliar with that material. It must also tell the main story which involves the battle between Mobius and Drakseid, Mister Miracle and Barda's resistance against Darkseid on Apokolips, the Crime Syndicate's attempted return to power and their quest for revenge against Mobius and, finally, Myrina's and Grail's plot to destroy Darksied once and for all. With all of this the book's main charterers end up feeling oddly sidelined. With the exception of Batman, all of the League members who gain godlike powers have them thrust upon them unwillingly and then they lose them without any effort on their own part. Batman is the exception, as he takes the Mobius chair in a moment of urgency and is able to give it up with help from Green Lantern, which is one of the standout moments of the run.

     The relationship between Hal and Bruce, in general, is really solid. Other character relationships are also given focus. Early on, there's a lot of interaction between Superman and Lex, as the two must learn to trust each other better. This doesn't really go anywhere but it's nice while it lasts. Diana and Steve have some time to bond again, as we find out that they still have feelings for each other. Jessica Cruz probably gets the most character development as we see her finally overcome Volthoom's influence when she breaks free from the ring. Her friendship with Flash is stronger then the fear that has held her back for so long. It may be a plot contrivance that she is chosen by the Green Lantern ring, as there's already a Green Lantern for earth, but it does feel that she has earned it.

     This arc is influenced both by Jack Kirby's New Gods and by Greek mythology. It presents itself as an epic battle where old guys die and new one's are reborn. In the end, plain old heroism wins the day. There's a general theme running through the story of using violence to end violence. Myrina, trained as an assassin, can only see a violent path to defeat Darkseid but, as Diana later says, "You don't start a war to end a war. Violence begets violence, unless someone breaks the cycle." Ultimately, her actions only lead to the creation of a younger, stronger Darkseid. It's by giving her own life, not by taking life, that Myrina ends the war. There's also a lot of undermining of the current status quo. Between Superman's impending death, Wonder Woman's discovery that the Truth about her heritage has been covered up, and the tease of Dr. Manhatten at the end of the story, it feels like the writing was already on the wall for the New 52.

     It's interesting, two years later, how much this story is influencing current DC storyarcs in other books. The current Wonder Woman arc deals with her meeting Jason for the first time as well as Grail's quest to restore Darkseid's power. Superman and Lex Luthor return to Apokolips to fulfill the Forgotten People's prophecy in Imperius Lex (the current Superman arc). This story even teases Dr. Manhattan, leading to the The Doomsday Clock, the first issue of which came out last month.

     The influence of Jack Kirby's New Gods on this story this extends to the artwork. Pencillers Jason Fabok and Francis Manapul both channel the legendary artist's penchant for dynamic action and they do their best to replicate the burly, muscular look he always drew characters with when drawing the characters from New Gods. Despite this, both artists have dramatically different styles with Manupul's pencils being much more expressionistic then Fabok's more realistic renderings. Despite this discrepancy, The Darkseid War is an awesome looking book filled, with epic splash panels and striking imagery. Oscar Jimenez did the artwork for The Darkseid War Special, which goes over the Grail's childhood with Myrina and it's a little more rough around the edges but this fits the darker, murkier storyline and, as it is essentially a diversion from the main story, its not overly distracting.

     Overall, The Darkseid War is a little overly ambitious. Attempting to simultaneously wrap up all the loose ends from the run and to lay the groundwork for Rebirth it ends up feeling a little rushed and the main characters are somewhat sidelined. Nevertheless it's a pretty good event comic, filled with epic moments and telling a grandiose story spanning many years and echoing the history of the DC Universe going all the way back to 1986's Crisis on Infinite Earths. Definitely worth a read.

Score: 8/10

My Favorite Films: Star Wars: Episode V - The Empire Strikes Back (1980)

     What is there to say about The Empire Strikes Back? It's the film that made me a fan of Star Wars. As I mentioned in my review for the first film, I was somewhat underwhelmed when I first saw it. But Empire was different. Right from the start I knew this was something special and I think it made me like the first film more retroactively. It was darker, more character driven and it really expanded on the world and the mythology that the first film established. Going in, I already knew the big revelation that Vader was Luke's father, yet that scene still held incredible emotional power with all of its mythic aspirations.

     Empire is often thought of as the darkest entry in the original trilogy which, in a way, is odd as it easily has the sharpest humor of the any film in the series. This is largely thanks to writer Lawrence Kasden (Raiders of the Lost Ark), who was brought in to complete the final draft of George Lucas' screenplay a mere six weeks before shooting after the original writer, Leigh Brackett, passed away from cancer. While the dialogue in the first film was fairly blunt and comic book like, here it's more nuanced. The humor also has a darker edge with Darth Vader's frequent dispatching of his underlings serving as a source of black humor throughout the film. This particular running gag is payed off in the scene during the climax, where he leaves Admiral Piett alive despite his failure to stop Luke from escaping. This humor actually informs his character, showing how ruthless Vader is and, in the last scene, how preoccupied he is with turning Luke to his side.

     With that said, this film is definitely more dark and mature then it's predecessor. I think there are two reasons for this. For one thing, it's largely a movie about failure. The rebels continually fail to elude the Empire, Luke fails to follow his masters teachings, and Han and Leia fail to pursue their feelings for each other until it's too late. It also a movie that constantly subverts our expectations. The great Jedi warrior Yoda turns out to be a small impish alien creature. Bespin, the heavenly city in the clouds, hides a malignant secret inside.  And, of course, the seemingly inhuman Darth Vader turns out to be our hero's father. Nothing is as it seems in The Empire Strikes Back

     The movie begins forbiddingly, with a star destroyer sending a lone probe to the icy, desolate planet of Hoth. The film then slowly builds to its big action set piece, the imperial assault on the rebel base. Unlike the first film, this set piece takes place in the first act, and the climax of this film is much smaller and more personal as a result. While the first film introduced the characters and their world, this film is concerned with exploring their relationships and their personal problems. It ends without a satisfying resolution, with the hero's retreating in defeat instead of celebrating in victory. The rebellion is on the run from the empire, Han Solo has been frozen in carbonite and captured by Jabba the Hutt, and Luke's faith in himself and the Jedi have been brought into question due to his discovery that Darth Vader is his father. This revelation is the one thing that really elevates the film from a good sequel to a great one, as it changes the way we perceive the first film. Now, when we hear Obi Wan tell Luke that Darth Vader betrayed and murdered his father, the scene has a completely different subtext.

     At the beginning of the film Luke has already matured from the wide eyed boy he was on Tatoonie, looking for adventure, to a general in the rebel army. We see him advance in the ways of the Force, using it to telekinetically summon his lightsaber and seeing a vision of Ben, who tells him to seek out Yoda. Yet he is unsure of himself. Journeying to Dagobah on his own, without the support of his friends, Luke begins to wonder if he really saw Obi Wan or is he's just going crazy. When he meets Yoda he doesn't know, at first, that this is the Jedi Master he is searching for. Like so many things in the film, Yoda subverts our expectations. He appears, at first, not to be a wise old sage but rather a senile little rascal. It's not until Luke follows him to his hut and he begins to commune with Obi Wan that we, like Luke, really understand who he is.

     Having been initiated into the ways of the Force by Obi Wan, Luke must now learn patience and self confidence from Yoda. Like Ben, Yoda encourages Luke to leave behind his preconceptions and learn to act on instinct, to trust his feelings. His first big test comes when he enters the cave. By refusing to leave his weapons behind, Luke clings to his reliance on physical tools and, consequently, he is unable to let go of his fear and hatred of Vader. When he sees his own face beneath Vader's mask we realize that it's not Vader but his own fear and self- doubt that Luke must overcome. He is tested yet again in the scene where he attempts to lift his X-Wing out of the swamp. Again he fails, declaring it to be impossible. But Yoda does it effortlessly. Luke realizes that it's not skill he lacks but faith, belief. "That, is why you fail" Yoda tells him.

     Luke's patience is put to the test when he receives a vision of his friends in peril on Bespin. He feels that he has to go and save them, even if it puts his training, and the greater destiny of the galaxy, in jeopardy. From one perspective he's doing the right thing, refusing to abandon his friends in service of the greater good. But, on the other hand, he is also being reckless and trying to face Vader before he's really ready. He may be making a grave mistake, but it is a supremely human mistake.

     His confrontation with Vader is a literal and figurative decent into hell, as Luke is lead lower and lower into Bespin until he falls and hangs for his life beneath it. Luke is on a precipice here, his worldview has been shattered and his faith in himself shaken. Not only was he woefully unprepared to face Vader, he also learns that everything he's believed up to now has been a lie. Darth Vader, the man who he believed killed his father, who, according to Obi Wan, abandoned his teachings and betrayed him, actually is his father. Realizing that he's made a terrible mistake in trying to face Vader, Luke is still able to resist his father's offer to join him, choosing to give up his life rather then be turned to the dark side.

     Vader himself begins to becomes much more then the intimidating presence he was in the first film. He now is revealed to be a man who has completely lost his humanity as symbolized by his suit and by the mediation cube he sits in, isolating him from those around him. This symbolism is later extended to Luke when he loses his hand. We even, briefly, see him putting his on helmet, allowing us a glimpse of his scarred visage, of the man beneath the mask, which is something the film does for his character in a figurative sense. In the first film Grand Moff Tarkin may have had Vader on a leash, but there was always the sense that Vader was simply tolerating this. He never seemed to fear Tarkin. But here we are introduced to the Emperor, a figure who clearly intimidates Vader. Of course the big revelation at the end of the film, that Vader is Luke's father, reveals more layers to his character. Not powerful enough to destroy his master on his own he hopes to use his son in order to attain more power. He's not just an evil strongman for the Empire but a man with deep seated ambitions and frustration. Conversely, the Jedi's moral authority, particularly Obi Wan's, has been subverted and put into question. Why did they lie to Luke? Are they, like Vader, simply manipulating him for their own ends? This will all be elaborated on in the next chapter of the saga.

     Han Solo is also greatly developed here. In the first film he was a mercenary who, by the end, decided to fight for a greater cause. At the beginning of Empire he seems to be at another crossroads. He feels compelled to stay with the rebellion and help his new friends but he also knows that he must pay his debt to Jabba the Hutt before it's too late. Complicating matters are his feelings toward Princess Leia. He loves her but is not sure whether or not she returns these feelings. Leia, meanwhile, is afraid to reveal her love for Han as she doesn't know if she can really trust him yet. Does he believe in the rebellion or has he only remained thus far out of loyalty to her and Luke?

     The romantic subplot between him and Leia is communicated very subtly. There are five key scenes which develop it. In the first one, after Luke is rescued by Han, he flirts with Leia so she kisses Luke to discourage him. Later, when they are hiding in the asteroid field, she falls into Han's arms and becomes indignant, immediately asking him to let go of her. But then, while they are repairing the ship, she finds herself alone with him again and they almost kiss only to be interrupted by C3PO. After this she seems to warm to him, giving him a kiss when he escapes from the imperials by hiding the Falcon among the debris field and they have a moment of mutual understating when she shuts off a whining C3PO. On Bespin they seem much closer, seeking comfort from each other when Vader shows up and begins torturing Han. Finally, as Han is about to be frozen in carbonite they finally admit there feelings for each other but, alas, it may be too late, as Han is taken away by Boba Fett and they may never see each other again.

     When we are introduced to Lando we are reminded how much Han has progressed since we first met him on Tatoonie. In many ways Lando represents what Han was at the beginning of the first film. Lando, when threatened by Vader, decides to betray his old friend and cooperate with the Empire. By contrast Han chooses not to resist when Vader freezes him in carbonite as it might endanger Chewbacca and Leia. Going even further he discourages Chewie when the wookie tries to start a fight with the imperials, telling him he has to take care of the princess. Lando is a foil for Han but also for Luke in a way. Luke's heart is in the right place in wanting to save his friends but his judgment is rash. Lando, in trying to protect his city from the Empire is being prudent, but his impulses, his conscience, all are wrong. Like Luke at the beginning of the first film he feels compelled by his occupational obligations to remain neutral in the conflict between the Empire and the rebellion but he eventually finds this to be impossible, as Vader's increasingly unreasonable demands force him to choose sides. Of course, he takes eventually mans up and helps Leia and Chewbacca to escape. When they're back is against the wall, Han, Luke and Lando all choose the higher path.

     While the first film was one man's struggle to bring his vision to life, the second was a much more collaborative effort. Director Irvin Kershner had mainly worked on television before this but he delivers what is easily the best directed Star Wars film. Kershner was largely an improvisational director and he came up with all kinds of ideas on set and also took ideas from the cast and crew. Many of the films most humorous moments were thought up by the director on the spot, including the scene where Han covers C3PO's mouth with his hand before he leaves the base on Hoth to look for Luke. Of Course the most infamous improvisational moment in the film occurs during the scene where Han is frozen in carbonite. Originally, when Leia tells Han she loves him he responds "I love you too." Kershner didn't like this phrase, feeling it left Han at a disadvantage. After trying various other lines, Harrison Ford eventually improvised with "I know" on the spot and Kershner decided to keep it. Kershner understood the rhythm of film and he strove to preserve this rhythm between the cuts. Consequently the film feels likes it's always moving forward. He also brilliantly blocks his shots. Observe, for example, how Kershner frames Han and Leia during the scenes where they are fleeing form the Empire on the Falcon. At first Fischer is always framed behind Ford, symbolizing their emotional distance. Later, as the two grow closer together, Leia moves forward, and is framed next to Han.

     Peter Suschitzky used softer, more diffused lighting in his cinematography for this film. He creates an otherworldly, almost hellish atmosphere in the carbon freezing chamber on Bespin filled with harsh red lighting and steam. Also contributing greatly to the films visual aesthetic are conceptual designer Ralph McQuarrie, set designer Joe Johnston, and matte artist Harrison Ellinshaw. Johnston designed the AT AT walkers and he, McQuarrie, and Lucas came up with the design for Yoda. McQuarrie, of course, is one of the key creative forces behind the Star Wars saga, designing the look of everything from ships to costumes to locales. Many of McQuarrie's designs were brought to life beautifully by Harrison Ellenshaw while the special effects team at Industrial Light and Magic realized many of his designs for the ships and creatures.

     The visual effects team, lead by Richard Edlund and Brian Johnson really outdid themselves for this film. From the spectacle of the battle of Hoth, to the chase through the asteroid field, to the visual splendor of Cloud City, The Empire Strikes Back further pushed the boundaries of what could be achieved with special effects. Particularly impressive is the stop motion work by Dennis Muren and Phil Tippet. They did the work on the imperial walkers and also on the tauntauns, both of which look magnificent. Also of note are the film's bluescreen effects which, going against popular practice at the time, were done on the white, snowy backgrounds of Hoth which made the compositing much more difficult. Despite this the effects all look seamless, a credit to the men and women who made of ILM who made them possible.

     The real star of the film is Yoda. The puppet, created by make-up artist Stuart Freeborn and based on his own likeness, was a unparalleled achievement in movie puppetry. While some credit must go to Freeborn and the people at Jim Hneson studios "the key to Yoda" according to George Lucas, "is that there's a hugely talented actor behind him." That actor was Frank Oz, who voiced Fozzy Bear and Miss Piggy for The Muppet Show. He, Lucas and Lawrence Kasden all helped to develop Yoda's syntax. Oz thought that the character should speak in a more formal, otherworldly way to express his great age. He clearly believed in the character and put a lot of work and passion into his performance even going so far as to write a short biography for Yoda, based on information in the script, to use as a guide for his acting. Oz wanted to emphasize that this character was from another age and had far more life experience than the ordinary person could imagine. Oz breathed life into Yoda, making him one of the most memorable characters in movie history. Lucas tried to get Oz nominated for an Academy Award, one that I feel would have been richly deserved, but the Academy refused, as they didn't consider puppetry to be acting.

     With all that said, Yoda would not have worked if it wasn't for Mark Hamill's wonderful performance as Luke Skywalker. Hamill spent much of the film without any other flesh and blood actors on the set to interact with and much of the time he couldn't even hear Frank Oz's voice, as the actor had to operate the puppet beneath the set. Despite this he never breaks character and is able to convince the audience that Yoda is really there speaking to him. Hamill puts in what may be his best performance in The Empire Strikes Back channeling Luke's inner conflict and self doubt while still retaining some of that sense of innocence and wonder he had in the first film.

     The entire cast is at their best in this installment. Harrison Ford's performance is much more nuanced, as his character is a more layered and conflicted individual at this point. Carrie Fischer performance also feels much more assured in this film. She stills shows that spunky, snarky attitude that made us fall in love with her, but she also is able to display her ability as a leader, briefing the pilots on Hoth before the battle, and shows a more vulnerable human side, as she gradually falls in love with Han Solo, only to lose him. She and Ford have great chemistry and completely sell the budding romance between the two characters. James Earl Jones also has a more nuanced part to play as Darth Vader, who's voice betrays a hidden depth of emotion and desire in many scenes. David Prowse, the man in the costume, is also great, and his movements are more expressive this time around, especially during the the big reveal that Vader is Luke's father.

     Peter Mayhew is just a pleasure to watch as the gentle giant Chewbacca. Despite not having any discernible dialogue Mayhew brings Chewie to life through his facial expressions, his head movements, and the way he walks. Mayhew fainted from exhaustion during the filming of the escape from Bespin and Kershner tried to replace him with a stunt double to finish the scene but it simply didn't work. The stunt man couldn't replicate Mayhew's physical performance and the scene was completed with Mayhew back in the costume. Then there's Billy Dee Williams as Lando Calrissian. Despite being introduced late in the story, Lando makes a huge impression, becoming one of the most beloved characters in the series. Williams absolutely inhibits Lando and know one else could pull off that combination of suave charm, confidence and moral incertitude. Of course, Anthony Daniels shines as C3PO, a role he was beginning to identify with at this point. Daniels makes 3PO a perpetually nervous and uptight character, ready to fall into a panic at any moment. He also provides the film with some much needed levity. Kenny Baker, hidden away inside R2D2, brings his character to life as well. Finally, Alec Guiness is great as always in his brief appearances as Obi Wan Kenobi.

     John William's score, an essential element to the success of Star Wars, is more sophisticated this time around. Right from the start we here familiar motifs from the first film. Luke's theme is heard subtlety in the background when we first see him on Hoth and Princess Leai's is heard when Han sees her after returning to the base. Soon after, the new love them for the two characters is introduced
This theme is heard throughout the film as the two characters fall in love with each other, most memorably in the scene where Han is frozen in carbonite, reaching a crescendo as he is enveloped in steam. William's theme for the Empire, and for Vader, a march written in the minor key, is heard subtlety when we see the Probe droid and then much more forcefully as Vader surveys the fleet before the assault on Hoth. This kind of leitmotif helps to tell the story. When we first meet him, Yoda's theme is disguised and it's not until his true identity is revealed and we hear him conversing with Obi Wan that it's heard in full. The use of his theme in the scene where his lifts the X-Wing from the swamp is particularly effective, as the music builds and swells as the ship descends in front of Luke.

       Of course, Ben Burt's sound design contributes greatly to the films atmosphere and world-building. Burt utilized all kinds of creative combinations of real world sounds and electronic enhancements to create a collection of sounds that feel truly unique and new yet, at the same time, familiar. For instance, he used the sound of a vibrating telephone wire for the blasters. He also utilized sound effects from the library of Kenneth Strickfaden, who did the sound design for the Universal Frankenstein movies. The sound design in these movies is nearly as important as the music, adding another layer of emotion to many scenes and giving them a sense of scale that would not be there otherwise. Burt also provided the voices of both Chewbacca and R2D2, helping Peter Mayhew and Kenny Baker bring those characters to life.

     The Empire Strikes Back, like its predecessor, is filled with literary allusions. Luke's meeting with Yoda evokes the fairy tale of frog prince as Yoda is revealed, despite his impish appearance, to be a wise and powerful Jedi Master. Luke's battle with Vader is somewhat evocative of Dante's inferno, with Luke descending into a metaphorical and visual hell beneath the heaven of Cloud City. The scene where Luke fails to raise his X-Wing from the swamp recalls Peter's loss of faith on the Sea of Galilee in Mathew's Gospel. Similarly, Yoda's raising of the ship evokes the miracles of Christ, particularly his walking on water. Lucas worked hard to evoke really primal myths and values that could speak to a wide variety of peoples regardless of their religious affiliation and all of these movies have mythic undertones that you feel even if you're not explicitly aware of them.

     The movie is incredibly emotionally resonant. It's a coming of age story, where Luke Skywalker, in his journey to advance in the ways of the force, uncovers devastating truths about his past. It's also a love story, where Han Solo and Princess Leia come to grips with their feelings for each other. The moment when they finally give in to their feelings and kiss, all to late, may be the single most powerful moment in the series. Similarly, the scene where Leia watches as the door to the rebel base closes, potentially signalling doom for Han and Luke, never fails to stir my emotions. This is thanks, in part, to the fact that we have become invested in these characters since they were introduced in the first film but at the same time the writing, direction, acting and music in this film have endeared them to us all the more.

     It also features some of the best action in the series. The battle of Hoth is a masterwork of action film-making. A massive battle broken up into smaller, tense episodes, we are kept invested throughout this sequence because of our emotional investment in the characters. The end of the battle is really a foregone conclusion as the rebels are retreating, but it's those small victories within in the larger battle that provide catharsis. The lightsaber duel between Luke and Vader still stands as the best in the whole series. In a tense battle of cat and mouse we see Vader, who initially toys with Luke, become more and more aggressive as the battle goes on. Olympic fencing champion Bob Anderson stood in for David Prowse for this scene and Mark Hamill trained for eight months in kendo, fencing, and karate. The result is a lightsaber duel that is much more skillfully choreographed than the one in the first movie. But the real key to both of these scenes is the build-up. Watching the rebels and the Empire prepare for the attack on Hoth and watching Luke being lead into the freezing chamber on Bespin build up the tension before the action, making it much more satisfying when it begins. Finally, the chase through the asteroid field is one of the most breathtaking set pieces in movie history. The music, the sound design and the special effects all work perfectly in unison to create a thrilling and visually stunning sequence.


    Star Wars: Episode V: The Empire Strikes Back is my favorite Star Wars film. It does what every great sequel should do building on and even improving on the original but also subverting it, all while laying the groundwork for the final chapter. Featuring a nuanced, character driven story, strong performances, breathtaking special effects and sound design, and a beautiful musical score it's a nearly flawless piece of film-making. It's a rousing adventure, a heartbreaking romance, and a tragic coming-of-age tale set against the backdrop of an epic galactic conflict. It's the movie that made me fall in love with Star Wars.