The original Star Wars movies are a mixed bag. You have the original, later retitled A New Hope, which is a fun, flashy adventure that stands well on its own. Star Wars: A New Hope is one of those defining moments that changed cinema and special effects after it. Then, there is Return of the Jedi, a conclusion that features an epic and deep struggle between the natures of light and dark within the persona of Luke and an emotionally charged tale of redemption in the throne room of the final Death Star. Too bad a herd of man-eating teddy bears and a burping sandpit throw off the tone.
Sandwiched between these two sci-fi/fantasy flicks is a brooding masterpiece called The Empire Strikes Back.
It’s bizarre to think that The Empire Strikes Back even belongs to the Star Wars saga. It’s vastly different from the others, and, in Lucas’ eyes, it’s the worst of the original trilogy. This comes as no surprise after seeing the prequels. Nothing comparable to The Empire Strikes Back exists in the second trilogy. Part of this is because George Lucas gave up much of the control over Empire to others.
Leigh Brackett and Lawrence Kasdan were the primary writers working off of George Lucas’ notes. Lucas relinquished the director’s chair to Irvin Kershner. It’s even reported that actors like Harrison Ford were allowed to deviate from the script, resulting is such memorable moments as the exchange between Han and Leia before Han is encased in carbonite. (“I love you.” “I know.”) The result is one of the most compelling narratives of the Star Wars saga with some of the most emotive and believable characters. (Take a moment one day and pay close attention to the Han Solo of Empire and Han Solo in Jedi. They are barely the same character.) Even more amazing is that these characters are so well-developed over roughly forty minutes of dialogue contained in a movie capping two-and-a-half hours.
The Empire Strikes Back isn’t just the best of the Star Wars films; it is a crowning achievement of the science fiction genre. Few science fiction films and even fewer franchise films capture the intensity and the intelligence of Empire. Protagonists have imperfections. Villains show vulnerability. (Who can forget that fist peek of Darth Vader sans helmet?) Characters’ motivations are complex as lines between good and evil grow increasingly blurred. Yes, there are some coherence issues and small problems with the script. (Seriously, the Millennium Falcon can detect Bespin a few parsecs away but can’t detect another ship right behind it?) The overall effect, however, is a masterful blend of high drama, action, and thoughtfulness.
Take Lando Calrissian, for example. He is a character that has a very complex relationship with Han Solo. The two are obviously friends, but some potentially bad blood between them makes their reunion initially uneasy. We also see Lando make immediate overtures to Leia (overtures Leia does not discourage) despite Han’s obvious interest in her. Through Lando, we also get a glimpse of galactic politics under the weight of the Empire. He betrays Han. Why? Rivalry over a woman? Bitterness over losing his ship to Han years ago? These may play small parts but the true motivation is a simple one: he wants the citizens of his world to be safe, and handing Han and companions over to Vader helps facilitate that. His character grows even more complex when he then double-crosses Vader in a fit of conscience…or perhaps he intended to betray the Empire all along.
I think the entire film can be summed up in the character of Yoda. In the prequels, George Lucas felt we needed to see Yoda fight to understand that he is, in fact, a powerful Jedi. By contrast, in Empire, we don’t ever need to see Yoda fight. He is calmly confident of his abilities and feels no need to prove himself. Much emphasis is placed on his assertion: “Do, or do not. There is no try,” but I think the larger context of that quote proves even more powerful.
Size matters not. Look at me. Judge me by my size, do you? And well you should not. For my ally is the Force, and a powerful ally it is. Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we, not this crude matter. You must feel the Force around you; here, between you, me, the tree, the rock, everywhere, yes. Even between the land and the ship.
It is the quintessential explanation of the Force – without any microorganisms called midi-chlorians or other such extraneous details. At this point, Yoda uses the Force to lift Luke’s X-Wing from the swamp in which it is mired. Luke simply states, “I don’t believe it,” and Yoda replies that is the exact reason he fails to realize his potential. He has no faith.
This is where Empire rises above its peers as well as many other science fiction films. The film gives you just enough for you to draw conclusions and demonstrates faith that you are intelligent enough to see where it is leading. Even revelations like Luke’s relationship to Vader (as well as Luke’s relationship to Leia) are subtly foreshadowed throughout the narrative. Also, like Yoda, it is quietly confident. For example, the Empire doesn’t have a Death Star in this one. It doesn’t need a Death Star any more than Yoda needs to whip out a light saber to prove his strength.
Metropolis, Planet of the Apes, 2001, Aliens, Star Trek II: The Wrath of Khan – these are films that somehow propelled the science fiction genre to new heights during their times. The Empire Strikes Back stands among them as a masterpiece of the genre. Where Star Wars: A New Hope progressed the genre visually (though I still think 2001 deserves as much credit), Empire progressed it in narrative and content as well matured the genre to an extent. It is not simply the best of the Star Wars films. It is one of the greatest science fiction films ever made.
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