A review that wasn’t asked for, about a film that everybody knows. What is there to say that hasn’t already been said? If ever there was a film made for the cinema, it was The Empire Strikes Back. What a spectacle! A film that has been on my “to watch on the big screen” list for over a decade now, made for an exhilarating cinematic experience with a sprinkle of nostalgia that left me covered in goose bumps and grinning like a child on Christmas Day morning. From the 20th Century Fox logo and fanfare at the very beginning, to the asteroid field, to the not-so-much-a-surprise-anymore ending (although if you have somehow avoided Star Wars and pop culture for the past forty years, I won’t spoil it for you), Empire hit all the right notes at the right time.
To get the technical nitty-gritty mumbo jumbo out of the way, this is not the original 1980 theatrical release. I think it is the 2004 or 2006 edit (there’s been that many edits but that’s another paragraph), nevertheless Empire is the least altered (ruined) of the original trilogy, and I think that is very much a testament to the film’s merits. It’s fine really; as much as I would have loved to have seen the Wampa puppeteer’s arm, the original chimp-eyed, rubber-mask-lady-faced-Clive Revill-voiced Emperor, and for Boba Fett to sound like a 50 year old man from New Yawk, I still had a blast. And hey!, at least our perspective isn’t marred by CGI rocks...
Need I really explain the plot? Following on from the first film (Star Wars, or Star Wars Episode IV: A New Hope) we return to find the Rebel Alliance on the back foot and our gang of heroes evading the ever extending reach of the evil Galactic Empire. You know the rest.
People who know me know that I often go against the grain with my opinions on films, however I am very much in ‘Camp Empire’ when it comes to which Star Wars film is the best and a diehard proponent for it being one the best sequels and films ever made. I have a deep relationship with the film. During my second year of studies at University, The Empire Strikes Back to me was what Mignon: Je Suis Titania was to Clive Candy (well done to the two people who got that reference). A flatmate of mine had procured, through totally legitimate, absolutely one-hundred-percent legal, without a doubt above board copy of the original 1980 theatrical release. That USB stick was the best companion a man could have during the exam season, and one could be mistaken that after all those months of watching it near-day after day, that the sight of the film would make me run away screaming ripping my hair out, however I welcomed it with open arms.
The sheer scale of the film is unimaginable. Everything from the special effects to the music is improved upon ten-fold. Maybe it is because cinema today is so heavily reliant on CGI and digital cameras that something like The Empire Strikes Back does seem impossible to fathom; from that first screenplay and storyboards, the countless hours that went into the matte paintings and model work, the game changing blue screen effects, the location scouting and filming, all this and much more that when combined created this final product? To me at least, it is mind blowing. Even though the film is timeless, it is a generational film and a fantastic example of practical effects and old school filmmaking.
To then have all that hard work and talent dashed to bits by re-edits and CGI visual “improvements”? This is especially the case for Star Wars (A New Hope) and Return Of The Jedi. As much as the production aspects of Empire seem incomprehensible to me, so does Lucas’s insistance on keeping re-editing these classic films. Of course, Blade Runner and Apocalypse Now come to mind when discussing re-edited versions, but their changes seem so minimal when compared to what has been done to the original trilogy. Lucas created a perfect fresco, and then decided to paint all over it and ended up with Ecce Homo that has led to ridicule and condemnation. I find the whole thing outrageous.
Anyway, back to the experience. This had been planned to be shown in 4k but ended up being downgraded to 2K for whatever reason, again it is no real issue. Everything still shines through on the big screen. John Williams’s score was fantastic to hear on the surround sound, as were all the little sound effects that otherwise may have gone unnoticed when watched on the television. The AT-AT walkers seem so imposing when projected on a large screen; Phil Tippet’s go motion looks really great up there. A film such as Empire really benefits from the enhancement of a cinema screen, and you can walk in, whether it be the first time or fiftieth, and you’ll be invested in the characters and story and enjoy the whole thing from beginning to end. This was evident in the other cinemagoers which ranged from teenagers to a middle-aged couple, this screening will stay with me for a long, long time.
On a quick sidenote, the experience in relation to COVID was fine. The lobby had ample sanitation stations, everything was clean, they’re showing less adverts and trailers (perfect) before a film as to make time for cleaning after a screening. Everyone wore their masks and if ever there was a more suitable advocate for wearing a mask, it’s Darth Vader. This particular cinema has never been a massively busy one, and this was no exception, but in the COVID perspective, it was perfectly fine.
When cinemas do reopen properly, as long as you’re feeling safe to do so, go and watch The Empire Strikes Back; I’m sure it will evoke different emotions in each person that goes to see it, but everyone is bound to enjoy it. Irvin Kershner showed Lucas how you make a Star Wars film, and the analogies of flying too close to the sun... or the candle that burns twice as bright... come to mind. Whereas A New Hope is a ripping yarn adventure that establishes and focuses on our characters, Empire set its foot down in maturing our characters and establishing the saga ultimately shaping the series and cinema.
And so with another film struck off the list, I’ll see you in 2022 for The Godfather 50th Anniversary.
Reviewer - Daryl Griffin
on - 10/8/20
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