A Video Response to my Old Phantom Menace Review

While writing my post on the prequels a last month I read through my old reviews for Episodes I and III. As I now completely disagree with them, I decided to make a video rebuttal about them. Earlier this month I did a video on Revenge of the Sith. Today, after some delay, I've finished my video response to my Phantom Menace Review:

A Video Response to my Old Revenge of the Sith Review

Update: Disney has released their claim on my video!

EDIT: Disney made a copyright claim on my video. I filed a dispute under Fair Use laws, but we'll see what happens.

In the Meantime you can watch it only dailymotion:
https://www.dailymotion.com/video/x7u8qur


While writing my post on the prequels a few weeks ago, I read through my old reviews for Episodes I and III. As I now completely disagree with them, I decided to make a video rebuttal about them. The first of these (on ROTS) is up now:

Expect a similar video on my Phantom Menace review in the coming weeks...

Star Wars: The Rise of Skywalker Review (SPOILERS)

     Well it's finally over. Disney's misguided attempt to continue George Lucas' saga has come to a close. I didn't see this movie in theaters (hence my late review) but my younger siblings finally convinced me to check it out. I was fully expecting this to be the worst Star Wars movie, but nothing could have prepared me for how baffling bad this was. The amount of incomprehensibly bad decisions that went into the writing filming and editing of this movies staggers the imagination.

     The plot, if it can even be called that, is the stuff of juvenile fan fiction and, at times, borders on parody. The Emperor has returned from the dead (with no explanation whatsoever) and takes over the First Order (which he renames the Final Order) seemingly without any resistance from their current leadership. He has somehow amassed a fleet of star destroyers so vast that the frame cannot contain them all. One might think that our intrepid heroes would be hard pressed to counter this threat, but no, they're own powers have been inexplicably expanded to a degree heretofore unimagined.

     The force projection introduced in the previous installment can now be used by any force user at any time, and physical objects can be exchanged through this medium. What's more, Rey, who is now strong enough in the force to bring down an escaping starship, has discovered how to heal wounds using the force, a skill that Kylo Ren learns almost instantly. We also learn that the two former enemies are a dyad in the Force (whatever that means). Finally it is now definitively confirmed that force ghosts can interact with the physical world, though when and why they choose to do this seems rather random.

     As for the giant fleet, the star destroyers rely on a navigation tower to guide them because "they can't tell which way is up". Taking out his tower proves more difficult then anticipated but, not to worry, Lando Calrisian arrives in the nick of time with a fleet of patriots from throughout the galaxy, one of similarly comic proportions. Since ships can now be tracked through lightspeed, the film also features a chase scene where the Falcon is chased through hyperspace by two tie-fighters (how short range fighters now have light-speed is not explained).

      As for the characters, this film sees them going through the motions once again. Rey longs to discover her true lineage, only to find (again) that it's not her ancestry that determines who she is. Kylo Ren continues to be conflicted, only to turn back to the light on a whim in the third act. Finn is wasted on a side plot and gets no real character development. We also learn that Poe Dameron was a spice runner and we meet his old flame, Zorii Bliss. The original characters show up for their pay check and are regulated to glorified cameos. At this point, with two of the characters and one of the actors dead, it is too late for any meaningful reunion to take place.

     It doesn't help that, oftentimes, the film is edited more like a trailer then a piece of cinema. It opens with a slow-motion action scenes and moves along at a frantic, erratic pace that I, at least, could barely keep up with. The film rarely spends more then five minutes on one location before shuttling our heroes off to the next set piece. Even John Williams score seems lost amid all the frenetic action. It's a mind-numbing experience.

     The original movies and the prequels both have their die-hard fans, most of whom saw the films as young kids and who grew up with each respective trilogy. It's difficult to imagine what it would be like for a young child to grow up with this "trilogy" without having seen the earlier films. Would they be able to follow the plot at all? I find it rather strange that, while Lucasfilm has forged ahead with the intention of focusing on the new characters, these films have relied so heavily on the audience connection the the older movies. At the same time there is almost no reverence for, or meaningful connection to, Lucas' movies.

     When he made Star Wars, the young filmmaker wanted to give young kids a magical experience, like the one he had when watching Flash Gordon as a boy, but also to give his audience something to think about. He hoped, by evoking age old myths and synthesizing various religious and philosophical ideas, to encourage people to reconnect with their spiritual side in an increasingly secular age. 40 years later his legacy is now overseen by a faceless corporation that doesn't care a wit about any of these things and a divided fan base that is more interested in squabbling about canon and coming up with elaborate fan theories then in trying to look for any deeper meaning within the films. Is it really such a mystery that that the movies themselves have become so insipid?

The Prequels Reconsidered

     In my most recent watch through of the Star Wars movies I had a decidedly positive experience with the prequels, films I've treated with disdain on this blog in the past. As Disney Star Wars films have become increasingly terrible I have come to recognize that a big part of this failure lay in the way the movies present themselves as an answer to the negative reaction to the prequels. People complained about the CGI so Disney emphasized their use of practical effects in the advertising for their new films. People complained about the "boring" politics in the prequels so the new films are almost completely free of politics. Many have pointed out that the prequels seem to lack the fun and energy of the originals, so everything in the sequel trilogy is filled with canned humor and characters who are constantly hyperventilating.

     While the new films have been coming out, a lot of people online have been coming around on the prequel trilogy and defending it quite eloquently. For my own part, in doing research for my reviews of Episodes V and VI, I began to gain a greater appreciation for George Lucas as a storyteller. As I considered all of this I came to the realization that all of these complaints about the prequels were really surface level. There was not a lot of substantive criticism, even alas, in my own reviews.

     Story wise, all three prequels work really well, at least on paper. Each one tells its own story while contributing to and building on, the series as a whole. But were they well executed? For a long time I have thought not. My criticisms here largely echoed those of the RedLetterMedia reviews and other prominent critics of the prequels online. What really changed my viewpoint was watching a video by YouTuber and indie comic book writer Rick Worley, which I can't recommend highly enough. In it he dives deep into the many cinematic inspirations for Star Wars and the way Lucas drew on these sources to create his own unique visual short hand.

     I've always known that there were many ways to approach visual storytelling. When I first started to read about film as an artform, I remember reading how John Ford used camera movement very sparingly, so that it would have a greater impact when he did. Similarly, rapid editing can ruin a good action scene, but if it is used intentionally to communicate the chaotic nature of a fight or chase then it works. What's important is how a filmmaker uses the various tools at his command to tell his story and, looking at the prequels with fresh eyes, I can see how well Lucas does this.

     When you really break it down the prequels are really brilliant on a visually storytelling level. In the RedLetterMedia review for Revenge of the Sith, Mike Stoklasa accuses Lucas of laziness, particularly in the way he stages dialogue. But this isn't true at all. Lucas shoots these kinds of scenes using a variety of methods. Scenes like Anakin's conversation with Padme on the balcony are shot in a traditional straightforward style, shot reverse shot. But look at a more dramatic scene, the one where Palpatine reveals himself for example. Here Lucas moves the camera around the actors as they circle each other, heightening the sense of manipulation on Sidious' part.

     In the latest episode of The Gallery: The Mandolorian, producer Dave Filoni (creator of The Clone Wars) talks about the climatic lightsaber duel in The Phantom Menace. He explains what the real stakes are in this scene, and how it is critically important for the series as a whole. "What's at stake is really how Anakin is going to turn out. Because Qui-Gon is different than the rest of the Jedi, and you get that in the movie." When Qui-Gon dies Anakin essentially loses his father figure (Obi-Wan is more like an older brother) and it's only by becoming a father himself, when he saves Luke, that he is finally redeemed. "So the son saves the father and the father saves the son and it works out perfectly. And I draw that line all the way from Phantom Menace to Return of the Jedi. That's the story of Star Wars." This really brought home something I recognized when I watched through the six movies, that there is this cohesive thematic thread, the sense that the six episodes are all a part of what is, essentially, one long movie. This, more then anything, has helped me to appreciate not just the prequels but the saga as a whole in a better light.

     If you grew up liking the prequels and were soured on them because of no-it-all internet critics like me I would like to take this opportunity to apologize. In any case, whether you always hated these films are have grown to dislike them, I would urge you to watch them again and try to put aside whatever preconceptions you may have had about their quality. Try to approach the series like you would The Lord of the Rings, as one epic story divided into smaller chapters. For my part, it was a rewarding, and enlightening, experience.

My Favorite Films: Star Wars: Episode VI - Return of the Jedi (1983)

     My first real encounter with the Star Wars movies was a conversation with my father. He did not allow my siblings and I to watch the films as he thought it would be too intense for us. Since we were nonetheless curious about them, he one day went over the central plot with us, focusing mainly on Return of the Jedi, as it contains the most important plot points. I remember being stirred by the story he told: of Luke's attempt to redeem his wicked father, his seeming defeat at the hands of the Emperor and Vader's saving him at the cost of his own life. Even at that young age, having had very little exposure to works of fantasy, I could sense that this was the stuff of myth.

     The original trilogy was always about the heroes journey so naturally Luke's story is at the center of this film. The first act, at Jabba's palace, establishes just how far he's come as a Jedi since we left him at the end of The Empire Strikes Back. He wields the force with an almost frightening proficiency, fighting off Jabba's thugs and rescuing his friends with relative ease. He has also learned his lesson, he should have heeded Yoda's advice and not gone after Vader. He was not prepared for the battle physically or, more importantly, mentally. But he's not a Jedi yet. Having discovered that Darth Vader is his father, his faith in the Jedi has been shaken and he must now come to terms with this.

     Throughout the first three films Luke's wardrobe has gotten darker, from white in A New Hope to grey in Empire and now black. His character draws, almost imperceptibly, closer and closer to the dark side. This is, of course, mirrored by Anakin's costumes in the prequel trilogy. Like Anakin, Luke is caught up in a grand scheme he does not understand, one orchestrated by Palpatine. When he accompanies Han and Leia on their mission to Endor he finds himself, like Obi Wan in the first film, drawn inescapably toward his destiny. He must go and confront Darth Vader so as not to endanger them. But Luke embraces this and, unlike Obi Wan who believes Vader to be beyond redemption, he hopes to save his father.

     When Vader brings Luke before the Emperor he is confronted with a no-win scenario: either he can give in to his hate and rage and defeat Vader, giving himself to the dark side and becoming a slave to the Emperor in the process, or he can allow himself to die at their hands, ending the last hope of the seemingly doomed rebellion. He holds out until it appears that all hope is truly lost, when killing Palpatine seems to offer the only chance of victory. This, of course, is exactly what the Emperor wants. In order to kill him Luke must kill his father first and Palpatine will have gained a new, more powerful apprentice.

     He almost succumbs. When Vader threatens to put Leia to the same test, Luke strikes out in angry desperation to prevent this. Yet when he has Vader at his mercy he hesitates. In a beautiful moment of visual poetry Luke looks at his robotic hand and sees in himself the same darkness that lead his father down the path to evil. In the end he chooses to die rather then turn down this path. It's this choice of sacrificial surrender that finally moves Anakin to turn against the Emperor in order to save his son.

     If Empire was about respecting your elders Jedi is about reaching maturity and choosing your own path. By the end of the film we come to realize that Luke was, in a sense, Obi Wan and Yoda's tool. Though motivated by a just cause, they essentially ask Luke to kill his own father in order to restore peace to the galaxy. By rejecting them Luke finds a higher path, and the prophecy of the one to bring balance to the force is finally fulfilled in the reconciliation between father and son. The mythology of the series takes on a peculiarly Christian tone here. It only was in an act of self-surrender that evil can be vanquished once and for all.

     Hamill's acting is at its strongest here, especially in the climax, when his character must rise to the occasion and become the Jedi that he was always meant to be, though in the most unexpected of ways. James Earl Jones betrays a surprising amount of depth and vulnerability this time around, imbuing Anakin Skywalker with a layer of humanity that was only hinted at in Empire. This Darth Vader is a broken man, seemingly powerless to defy his master and save his son and Jones gives easily his best performance as the character. Ian McDiarmid is a revelation as the Emperor. Dripping with seductive menace he provides the film with a lot of dramatic weight and mythic power. As portrayed by McDiarmid, the Emperor is the personification of evil.

     Of course the other characters get their due as well. The love triangle between Han, Luke and Leia is resolved about as definitively as one can be. Harrison Ford may not have been too enthusiastic about returning to the role that made him famous, and he is, generally, a little aloof here but this works, to a certain extent, in the movies favor. This is a Han Solo who has suffered a pretty severe humiliation and escaped only through his friends' efforts. He's been humbled and it's this humility, wonderfully realized in the scene where he confesses his love to Leia (a reversal of the exchange in Empire), that brings his character full circle. Despite being saddled with some unfortunate wardrobe choices early in the film, Carrie Fisher is also able to shine here. Leia shows a more vulnerable side in this film, struggling to reconcile her feelings for both Han and Luke and having to accept that she too is gifted with a sensitivity to the Force.

     Peter Mayhew's Chewbacca, whose hair has grown more and more frizzy with each successive installment, gets more to do here then in any other Star Wars film, essentially turning the tide in the Battle of Endor when he captures an imperial walker. Kenny Baker and Anthony Daniel's continue their role as the series most consistent source of comic relief as R2-D2 and C-3PO. Alec Guinness is as good as ever as Obi Wan Kenobi, who here is revealed to be less irreproachable then we once thought. Frank Oz, in his final scene as Yoda, gives the character a truly moving and dignified death, giving Luke a few last words of sage advice before passing into the force. Billy Dee William's Lando, who was a welcome edition in the last film, is less interesting here but is at least given the biggest part to play in the space battle, where he shows himself a keen strategist. Finally, newcomer Warwick Davis is charming in his scenes with Carrie Fisher.

     The Battle of Endor is easily the best space battle in the series, surpassing Episode IV's assault on the Death Star in it's scope, complexity and visual spectacle. The entire climax could practically be a study in how to do overlapping action scenes. At the center you have the assault on the second Death Star by the Rebel fleet, an assault which depends on Han Solo's strike team taking out the shield generator in order to succeed. This battle has a psychological effect on Luke, who enters his confrontation with his father confident that the rebels will succeed. The revelation that the Emperor knew of the assault before hand, and that Han and Leia are walking into a trap, heightens the stakes: the fleet enters a desperate battle for the very existence of the rebellion while Han and Leia come within an inch of failure in their attempt to blow up the shield.

     Then the battle reaches it's lowest point as the Emperor reveals yet another surprise: the seemingly unfinished battle station in operational and begins firing on the Rebel Fleet. It's only with the help of the seemingly harmless Ewoks that the Rebels are given a fighting chance. While the stakes for the rebels are enormous, it's the personal stakes for Luke and Vader that are the most compelling. By the end their confrontation has become detached from the rest of the action and it's the fate of the characters, and of their souls, that is at stake. Meanwhile, the battle proceeds, its participants seemingly oblivious to the fateful clash going on aboard the Death Star.

     The special effects are some of the series best, with the space battle being a big highlight. The sheer amount of world-building in this installment is really impressive. Ben Burtt's sound design is astounding as usual and the animatronics, puppetry, set design, stop motion and optical effects all combine to create a world that feels fully realized. The set design for Jabba the Hutt's palace in particular is outstanding. The seedy underworld it portrays is very much in the tradition of Mos Eisley from the first film but on a much grander scale. Jabba himself is an absolute wonder of movie puppetry. Designed by Stuart Freeborn and Phil Tippet and inspired by the evil sultan characters that were such a staple of old Hollywood, Jabba is a familiar yet strikingly original creation.

     Each of the six Star Wars films has a unique tone and atmosphere. Return of the Jedi is filled with contrasts (something Lucas loves to do). There's the dingy, seedy underworld of Jabba's palace, the wholesome, naturalistic world of Endor, and then there's the Emperor's throne room on the Death Star. Tonally, theirs nothing in the series quite like the battle of wills that takes place here. Though this series is filled with metaphorical descents into hell, this is the ultimate visual and emotional representation of this idea. Luke must plunge into this hellish atmosphere in order to redeem his father, who has sold his soul and is now trapped in a hell of his own making. It's fantastic stuff.

     William's score is his most thematically and stylistically ambitious of the saga up to this point. The composer combines the returning thematic material from the two previous films with brilliant new melodies to create a complex tapestry which he will continue to expand on in the prequel trilogy. The Emperor's theme, a low register choral piece, is incredibly ominous and even unsettling, suggestive of an ancient evil. It provides a subtle contrast to the driving, unrelenting Imperial March that serves as Vader's theme and each melody fits it's respective character perfectly. A new theme is also introduced for Luke and Leia, as it is revealed that they are siblings here. There is also a new theme for the Ewoks, which is both playful and heroic. All of these motifs are used to great effect and are worked into the film with subtle brilliance.

     The legacy of the series may have been compromised in the years since its release, but Star Wars: Episode VI - Return of the Jedi remains an endlessly entertaining and creative film and a fitting conclusion to the Star Wars saga. 

In Defense of Ewoks

 

The Rise of Skywalker, a film I have little interest in seeing is hitting theaters this week. As I won't be reviewing it any time soon I figured I'd tried to put up some different Star Wars content.

To start off, here's a video I made about the Ewoks in Return of the Jedi. Enjoy!

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.