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Tag Archives: Princess Leia
I had a phase as a teenager where my musical tastes veered toward covers: punk rock versions of old standards, acoustic covers of hard rock classics, and even orchestral arrangements of Top 40 hits. The blend of the foreign and familiar appealed to me at a time when my taste in music was just beginning to expand. When an artist takes another’s work and puts their own spin on it, transforming what a song means or how it works at an emotional level by filtering it through a different lens, the end result can be both compelling and approachable.
The Force Awakens is, essentially, J.J. Abrams’s cover of A New Hope. That’s not a knock. It’s a superb cover, that hits the right notes while still creating something new, and it stands as a genuine achievement that’s all the more notable in light of the franchise’s prior missteps.
The Empire Strikes Back has a reputation for being the darkest of the Star Wars films. In contrast to the triumphant mood at the end of A New Hope, Empire closes with our heroes having been thoroughly defeated and left scrambling. Han is frozen in carbonite, placed in the hands of a bounty hunter, and ferried to the crime boss he’s been trying to avoid for two films. Luke fails in his quest to neutralize Darth Vader and has his hand sliced off for the trouble. What’s more, he learns not only that the man he loathes most in this world is his father, but that the people he trusted–the ones who guided him on this journey–have misled him. And Leia, Lando, Chewbacca, C3PO, and R2-D2 are all lucky to escape with their lives after being imprisoned, strangled, torn apart, and dragged through the muck.
The title “The Empire Strikes Back” could easily have been a simple marketing ploy, something that looked good on movie posters and sounded cool enough to rev up Star Wars’s legions of fans. Instead, it became an animating principle for the film. Empire contrasts the unexpected blow struck by the Rebels in the first film, with the measured counterpunch delivered by The Empire in the second. The ending of Empire sent the message that this would not be the type of series of films where the good guys win every time just because they’re the good guys.
But there’s much more to the movie than that darkness. It’s easy to judge Empire based on where the characters are at the end of the movie, but the route the film takes to bring them to that point is not so much dark as it is meditative, not so much bleak as it is serious, and, if I’m being honest, a bit more uneven in the effort than its predecessor.
Of all the memorable visual flourishes in the original Star Wars, there are two images that stand out. The first is arguably the most iconic — Luke Skywalker, gazing off at the horizon, as the twin suns set on Tatooine. It represents the promise of adventure, the enormous world that waits beyond the garden gate, and serves as the prelude to his epic journey.
But the second is much simpler. It’s Luke, Leia, and Han, arm-in-arm and filled with joy, as they celebrate their victory over the Empire back at the rebel base. That moment underlines their unlikely friendship, borne out of shared struggles and triumphs, and shows the film’s heart, clearly felt even in the midst of this grand adventure. That contrast is what Star Wars, at least in its original form, comes down to, and what makes the film still so salient and impressive nearly forty years after its release.