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The Empire Strikes Back (1980)

A review by Damian Cannon.
Copyright © Movie Reviews UK 1997
The richest and most ambiguous chapter in the Star Wars trilogy, The Empire Strikes Back achieves a perfect balance of action and drama. Set a little while after the morale-boosting destruction of the Death Star, the Rebel Alliance forces have relocated onto the previously uninhabited ice-planet Hoth. This is a time for recuperation and regrouping, out of sight of the Empire and, hopefully, out of mind. Unfortunately, Darth Vader (David Prowse and James Earl Jones) is more obsessed than ever with crushing the outlaws and capturing Luke Skywalker (Mark Hamill). Under his command, an immense armada of Imperial probe droids is released to scour the galaxy for clues. When one of these crash-lands on Hoth, Luke notices its descent and heads off to check out the "meteorite". He is, however, delayed by a messy encounter with an indigenous Wampa, which eats his Tauntaun and strings him up like a piece of meat.

As the deadly night draws in and there's still no sign of Luke, Han Solo (Harrison Ford) decides that it's up to him to rescue his friend or die trying. The thought of losing both Luke and Han fails to appeal to Princess Leia (Carrie Fisher) and Chewbacca (Peter Mayhew), but there's nothing else to do except watch the blast doors grind shut behind him. Out in deep space, Vader is alerted to the faint detection of life in the Hoth system, instantly and uncannily aware that this is the location of the rebel base. With a word, the fleet of gigantic star cruisers rumbles into formation for the light-speed trip. Unaware of the impending battle, Luke manages to struggle free, only to collapse senseless in the bitter cold and penetrating wind. As life trickles slowly from him, a vision of Ben Kenobi (Alec Guinness) appears, directing him to track down Jedi master Yoda (Frank Oz) in the Dagobah system. Just as this fades, the welcome figure of Han flickers into view.

Despite this little adventure, Han is about ready to depart in the Millennium Falcon. Jabba has placed a hefty price on his head and with bounty hunters like Boba Fett (Jeremy Bulloch) around, payment is recommended. Before he leaves, Han can't help flirting with Leia though, unmercifully teasing her for being attracted to his scoundrel ways. Before the time comes, however, the Imperial fleet arrives in great strength (with Vader summarily "dismissing" the Admiral for messing up on their approach). Soon Imperial Walkers stride across the frozen plain and rebel troops are fighting for their lives, forced into considering evacuation. With personnel carriers running a gauntlet of TIE fighters as they escape, the story splits in two. Luke disappears in search of Yoda while Han and Leia are left to deal with Vader.

The Empire Strikes Back is an audacious film for George Lucas to make because it dares to uncover the dark side of the force, twisting the winning formula of Star Wars into something far more unsettling. Not content with merely rehashing the earlier film's space-opera feel, the result is a script of transition and purging. Both Luke and Leia make it to adulthood after dealing with youthful demons, yet it's clear by the finale that this is a continuing process. In addition, the previously vague presence of the "Force" is given a solid Zen-like foundation by Yoda. By emphasising its non-aggressive roots and staking out every difference between and the good and bad sides, Luke's knife-edge struggle is placed in sharp relief. It would be all to easy to succumb to anger and rage, yet that is exactly what Yoda's young and impetuous trainee must avoid. No longer is the galaxy a place of black & white, but a sea of moral ambiguity laced with danger, making The Empire Strikes Back the finest entry in the Star Wars series.

Brought back together for this sequel, the cast members display maturity and a heightened understanding of exactly what they're involved in. Ford, as the only one to eventually become a star in his own right, shows a greater depth of feeling and commitment to his character, while still cracking snappy remarks when he gets the chance. Fisher is also more self-assured, with the romance which emerges between her and Ford swaying with very believable love-hate dynamics. As the third corner of this fraternal triangle, Hamill struggles manfully with the demands placed upon him, coming across as heroic if blunted. Then again, few can compare to the spectacle of absolute evil that Prowse and Jones represent, in cahoots with Clive Revill (the voice of Emperor). Their ruthless grasp of power remains impressive and just a little attractive. Thankfully the "witty" banter of R2-D2 (Kenny Baker) and C-3PO (Anthony Daniels) is kept to a minimum. They work so much better with human foils that their lengthy separation is a blessing in disguise. Finally, The Empire Strikes Back introduces the first non-white human character, Lando Calrissian (Billy Dee Williams), who seems to be just as mercenary as Han is.

While The Empire Strikes Back cuts down on the battle action, replacing it with character development, the special effects are still rather excellent. The entire Hoth planet and base is beautifully rendered, with the lumbering movements of the Imperial Walkers a crowning glory (such realism emerges from studying elephant motion). The film as a whole looks brilliant, a combination of futuristic ambition and the wear-and-tear of everyday life, with never a moment striking a false note. However, it's this complexity added to the personalities and unresolved themes which leave you yearning for more. In addition, there's a familiarity and a sense of ease about the Star Wars universe in this incarnation which gives it the edge over Star Wars, though the lack of alien beings (present in the earlier movie) is a shame. The human relationships on show, however, are so enthralling that these side-show elements are barely missed.

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