Star Wars: Episode V - The Empire Strikes Back (1980) / Fantasy-Sci Fi
MPAA Rated: PG for sci-fi action violence
Running Time: 124 min.Cast: Mark Hamill, Harrison Ford, Carrie Fisher, Billie Dee Williams, Anthony Daniels
Director: Irvin Kershner
Screenplay: Leigh Brackett, Lawrence Kasdan
Review published February 4, 1997. Revised September 30, 2017.
The Empire Strikes Back continues the Star Wars saga in exciting fashion, with the Empire now having driven the Rebels from their secret base to another on an ice planet called Hoth. The Empire eventually locates this new base, forcing an evacuation, whereupon a more experienced Luke (Hamill, Corvette Summer) is told by the "spirit" (aka Force Ghost) of Obi-Wan Kenobi (Guinness, The Quiller Memorandum) to seek out a wise and powerful Jedi instructor named Yoda (voiced by Frank Oz, The Blues Brothers) for training. Meanwhile, romance is brewing between Han Solo (Ford, More American Graffiti) and Princess Leia (Fisher, Hannah and Her Sisters), but Han has problems of his own as he is plagued by bounty hunters and the Empire out to nab him. Excitement erupts as Luke and Vader meet face to face, and some startling revelations occur.
The Empire Strikes Back is not only a terrific sequel to Star Wars, it's one of the best sequels of all time, showing that sequels should build upon the predecessors rather than just rehash them. Some people even think it's better than the first of the series. I can understand this from a plot development aspect, as well as the production values, though I do feel that Star Wars on its own is still a great movie, while The Empire Strikes Back needs its predecessor for its initial momentum to work as well as it does. The special effects are better, the characters more three-dimensional, the artwork more beautiful, and the John Williams (1941, Superman) score even more amazing. It's certainly the most intriguing of the three entireis in the original trilogy, leaving more questions than answers, setting up the eventual sequel to tie up all the loose ends.
What opens up in Empire is more exploration into the spiritual side of things with the Force, as we watch Luke challenged to become a Jedi in a galaxy in which any remnants are dead, or still in hiding. It's also the most romantic of the Star Wars films, with words of love exchanged, from characters who seem to mean it, putting close bonds between them that ratchets up the intensity and interest once they take a turn for the worse. Interesting that George Lucas, who cultivated these characters and their universe from inception, would let one of his mentors in his days studying film at USC direct. It is a bold move, especially given Kershner's lack of name in Hollywood at the time, but it does fit in with the themes of the film regarding students respecting those who taught them. Lucas had an ease with Kershner that made for an easier collaboration, and knew he would bring more maturity and integrity to his story, taking things to the next level. It's hard to argue with the results of the gamble.
The pacing and plotting are fantastic, as it had been in Star Wars, with a number of interesting reveals, including one that truly shocked audiences at the time, though it's known by everyone familiar with the series today. It caps off one of the most intense battles in cinema to that date, the lightsaber duel between the powerful Darth Vader and a relatively experienced Luke Skywalker, and right when we're most worried about how things will resolved, a bombshell is dropped, and it changes our understanding of these characters from that point forward. It also plants the seed that Luke himself could be turned to become as evil as Darth Vader if he gives in to his anger and hatred -- something one might think impossible to avoid when facing anger and hatred itself. In terms of momentum, one could not imagine theater-goers more energized to get to the next installment of the series, only to have to wait three years to find out how things get resolved. It's the kind of movie, given the internet and all of its rampant speculation and ever-narrowing spoiler windows, that could not be made today.
That also speaks the the main asset of Empire over other entries in the series, the writing. Lawrence Kasdan and Leigh Brackett take over the scripting duties from George Lucas and the result is giving the plot more intricacy and the characters a more rounded feel than they had in Lucas' original work, which, admittedly, has always been a bit problematic. And yet, it does so in keeping with what we've known before, elevating the delivery without seeming like it is no longer connected; it's a seamless transition. Kasdan would become a star, proving to be very adept at plotting, intrigue and characterizations in some of his non-Lucasfilm works like Body Heat and The Big Chill. Despite being a fairly dark movie in tone, the moments of humor, romance and panache are still among the most enduring in the series.
Those who see the film likely associate that moment as the moments they remember the most, but there are some other great highlights. One is the introduction of Yoda, one of the franchise's most often imitated voices, brought to life by Jim Henson's group, voiced by Frank Oz. Also a highlight, the trip to Bespin's Cloud City, which further changes the color palette, set designs, costumes, and overall vibe of the film to a surprising and new dimension that makes us wish we could break off from the movie and explore the depths of the design of the place on our own for a while.
Sure, Empire may ultimately be just a set-up film, but what a setup! It's grand scale and top-notch entertainment of the highest order, and a must-see for anyone who saw Star Wars. Despite expanding upon Star Wars in just about every area, the taut pacing and editing of this film is nothing short of perfection; this is how to keep action tight and suspenseful. If only all sequels could be this ambitious.
-- Followed by Return of the Jedi
Qwipster's rating:
©1997 Vince Leo
