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Just watch the wordless journey written on Luke's face as the Emperor exults in his violence and encourages him to finish the job.

His anger dissipates. He looks at what he's done, at his vanquished foe. And he sees not a fallen enemy to destroy, but a portent of his own fate. He's finally learned the lesson from the cave on Dagobah. It's such a simple moment. Luke lifts his artificial hand and stares at it, followed by a cut to Vader's dismembered limb, also mechanical. It's not, of course, that Luke literally fears having all his appendages replaced with prosthetics and needing to spend the rest of his life in a wearable breathing apparatus. That's not what makes Vader Vader. It's the symbolism of it. Like father, like son. The realization is stark upon his face.

So he steps back from that path. Fully, completely, physically repudiates the ways of the Dark Side. Deactivates his weapon and tosses it away. Notice how he looks directly at the Emperor as he does this. It's not delusional bravado. He knows this will lead to his death. He was already prepared for death when he surrendered to Vader. He faces it unafraid, with veritable joy in his expression, as he restates his conviction in the Jedi way and the father who once followed it.

Okay, this is my all-time favorite moment in the entire saga. (This, and also how Vader responds to it shortly thereafter.) Here we have all the great themes and morals of the films coming together in a grand culmination. The triumph of goodness and the peaceful soul. Whatever happens next, Luke has already won. Don't give me that nonsense about how he should have kept his weapon so he could defend himself. This isn't about his mortal life. If his weapon was too much of a temptation to violence, then let it be discarded, as far away as possible. Let the Emperor's arrogant assumptions be thrown asunder. The Dark Side is not inevitable. Anger and despair are not stronger than hope and love. They may prevail for a time, but they will never carry the ultimate victory.

So yeah, I love this scene and I love Luke forever and forever. Next time, the consequences of Luke's decision...

It's a comical bit, having Chewie and a couple of Ewoks swing on a vine while he lets out a Tarzan yell, but it does mark the first significant victory for the forest battle -- the acquisition of some major Imperial hardware. Note that they succeed because the enemy continually underestimates their foe. They figure the Ewok in the window is just a pest who can be easily swatted away, and with their guard thus lowered, Chewie and his compatriots are able to take over the walker. Even the alarming incident of Leia getting injured (up till this moment, our heroes seem to have plot armor when it comes to stormtrooper blasts) doesn't prevent her from luring the enemy into complacency while she secretly readies her weapon. No wonder Han chooses that moment to express his love, to which Leia smoothly offers her own I know.

And when Chewie reveals himself as the pilot of the walker, we get this striking image of Han, still raising his arms as if in surrender, as well as bearing a few bloodstains from Leia's wound, yet with dawning hope and excitement spreading across his face. As long as the Rebels still have the will to fight, there's still a chance for victory.

Luke's battle is a very different one. Externally he's fighting Vader, but internally he's fighting his own inclination toward violence and hate. He has only to hear the Emperor's exultant cackle to pause and resist the urge to keep attacking. Multiple times he deactivates his saber and stands unarmed. And he generously extends the battle not just for his soul, but for his father's as well. We might think he's more delusional than Palpatine. As the Sith Lord urges Luke to give in to his anger, Luke urges Vader to let go of it and allow the good within him to prevail. He allows Vader to get quite close to him, watching intently for signs of reluctance to harm his own son.

Alas, the attacks still come. Yet Luke remains primarily on the defensive rather than the offensive, backing off to the high ground to plead with his father. What a shift from their first lightsaber duel, when Luke was the brash young kid eager to prove his skills and get vengeance upon the presumed killer of his father. Vader, with far superior skills, toyed with him expertly. He did a lot of talking then, poking and prodding and taunting. Now Luke is a far more capable fighter, but more significantly, he is the one in command of the conversation. Vader denies his claims, but mostly he lashes out like a child afraid to hear the truth.

Next time, we focus in on the very highest stakes...

So with the Emperor's revelation of the peril awaiting our heroes, we return to Endor's moon to watch it play out. Everything seems to be proceeding nicely at first. The Rebels have infiltrated the bunker...but wait, there's more Imperials than they thought. Then, to Threepio's alarm -- way more Imperials than anyone thought.

This segues alarmingly into the Rebel fleet's arrival at the Death Star, where the shield is most decidedly still operational. The progression of their realization is the perfect unwinding of suspense and high adrenaline. (Listening to the musical scoring of this scene is like starting on a slow, gentle descent that becomes increasingly steep until you're hurtling downward at full, exhilarating speed. I love it.) First all the ships move into position just like the moments before the battle of the first Death Star, and everything seems to be proceeding as planned. But Lando's confusion at the lack of a signal about the shield quickly turns to alarm as he puts the pieces together. The Empire's forces are deliberately jamming their transmissions because they knew they were coming. And here comes the entire Imperial fleet.

It's a trap! Sometimes you just need to say the obvious thing out loud. Combined with the frantic pacing of the cuts, the chaos of the flying ships and the music at its highest feverish pitch, it captures the pure emotions of shock and betrayal.

Which brings us back to Luke in the throne room. Yes, all of this awful violence, loss of life and destruction has been arranged for the purpose of bringing Luke to his knees. The Emperor really doesn't care what damage is done as long as the son of Skywalker turns to the Dark Side. Sure, it's also useful to have the Rebel Alliance destroyed and all, but for Palpatine, the entire panoply is like a game with thousands of expendable pawns, as minuscule and insignificant as they appear from the throne room viewscreen.

Next time, somehow things get even worse....

The day of battle arrives, and our heroes survey their formidable target. (Can I just briefly complain about the weird current obsession with 'practical effects,' whatever that's supposed to mean. As if physical objects make a movie's illusions inherently more valid or something. Bad effects can show up in any format, as well as excellent effects, and it's not like the advent of CGI was the first time that actors were ever required to use their imagination on set. Right here, in this composite shot, Carrie and Harrison are probably looking at a blank screen or a bunch of trees or whatever, and expected to pretend that it's something impressive. It's not practical versus computer-generated. It's whatever works to let us play along with the illusion.)

Anyway, with Threepio's translation indicating there might be another way in, we cut rapidly to the Rebel fleet about to deploy into hyperspace. This fast-paced sequence, switching rapidly between shots of ships and their occupants, reminds us of the urgency of getting that shield down. The window of opportunity is closing fast.

The Ewok alliance is already proving fruitful in that regard. Han notes appreciatively the 'back door' approach they wouldn't have known about otherwise. And even when a reckless Paploo decides to try out one of the speeder bikes, it works to their advantage by luring away most of the troopers standing guard. The little thief's wild ride ends with him safely escaping by vine -- reminding us not to underestimate the value of the natives' forest survival skills.

Things are moving along nicely. Han and his crew are positioned to take down the shield just in time for the Rebel fleet's arrival at the Death Star. But for a compelling story, timing is everything. We're encourage to let our guard down just as we arrive at Luke's fateful confrontation with the Emperor, where everything will be turned on its head...

It's significant that we cut directly from Luke stepping outside to Leia noticing his departure. From the end of Episode V we've come to understand that there is a mystic connection between these two. With Obi-Wan's revelation, we can see it as the bond between Force-sensitive twins. Note also the slight tension Leia feels between going to join Luke and pausing to look back at Han. More on that later.

So now we have a dialogue-heavy scene with lots of information to convey. Lucas has frequently stated that he finds these sort of moments some of the hardest to write and create, because it's hard to keep them from keeping boring and dragged-out. But I've always found this scene intensely compelling. I admit it's partly because I'm so invested in these characters. However, let's not underestimate the earnest performances, the quiet but powerful music, and the evocative misty background of the setting.

There are subtle staging choices like how Luke sits against the fence to ask Leia about her mother, bringing himself eye level with her, and then Leia in turn settles down as she slips into her memories. Closeups give us a good look at the shifting emotions; Luke gathering the resolve to reveal the full truth of their shared parentage, Leia at first denying and then trying to grasp this enormous truth.

Then, as Luke prepares to leave, we pull back to a poignant two-shot. If things go wrong, this could be the last time they are together. The separation is drawn out even more by pulling all the way back to a long shot that illustrates the vastness of Leia's loneliness.

And then along comes Han, after finally extricating himself from the friendly clutches of Ewoks. The notion of a love triangle has been toyed with here and there throughout the trilogy, though never in the straightforward sense of two suitors fighting over a single woman. (I hate traditional love triangles.) Instead, Episode IV showed us a rather callow Luke getting territorial over Leia because Han was, you know, a scoundrel. But Han wasn't actively pursuing her anyway. He seems mostly amused with the whole notion of rivalry. By Episode V, when he's acquired genuine feelings for Leia, Luke is the one laughing at Han's jealousy, after which he goes into the serious business of Jedi training and leaves Leia and Han to sort out a romance that's bumpy enough without any other rivals.

So by the time their sibling-hood is revealed, most observant viewers already know the romance is all between Leia and Han, and Luke plays a different role in Leia's life. But Han doesn't know that. A lot has changed while he was sleeping, and he's not quite as cocky and sure as he once was. When he comes outside and finds Leia distant and uncommunicative, he succumbs to jealousy. Leia's reaction is purely visceral; I love how her hair swings out because she turns so wildly. Han starts to leave, and the physical distance symbolizes the widening gap in their relationship. Not because someone like Luke actually threatens it, but because of distrust, envy and insecurity.

Then we have one of my favorite Han moments. He turns back around. He apologizes. He doesn't demand an immediate explanation, he just does what Leia asks and holds her. There is nothing that takes more strength of character than to swallow your pride and put someone else's wishes first when they really need it. Episode IV Han never could have done this. Hooray for character growth!

Next, a father and son reunion....

Yes, I wanted an Ewok treehouse when I was a kid. I'd still like one, in fact. A toy or the real thing, either one is good.

Our heroes are less than enthused in their current position. What's really hilarious is that Threepio might be the most distressed of the bunch while he's sitting in a makeshift throne. After all, it's against his programming to impersonate a deity. Han's reaction is typically hilarious. (Note, in contrast, his happy relief when Leia shows up.)

Luke remains strangely calm, however. Just imagine how Episode IV-era Luke would have responded here, with frantic energy and complaints. He's learned patience, wisdom, and resourcefulness. And he's far more confident with the Force than in Episode V. With just a bit of concentration, he levitates Threepio to convince even the most adorable of Ewoks of his powers. He doesn't even need to take credit, instead thanking a bewildered Threepio.

Everything about this scene is delightful, from the humor of an Ewok cheerfully singing as he prepares to roast Han, to Threepio's wails of terror, the swoony reunion of Leia and Han and Artoo zapping his former captor. It's fun, while also laying the foundation for the Endor ground battle and the themes of symbiosis and cooperation that are threaded throughout the saga.

Next, storytime!

Something is approaching Leia's unconscious form. Is this a genuine threat? Well, it's clear pretty quickly that this is not a large personage, but that spear isn't quite a toy.

On the other hand, this does look like a toy -- a teddy bear, to be precise. Leia certainly isn't intimidated once she wakes up. She seems more annoyed than scared. And good heavens are there a lot of viewers who get annoyed by the introduction of teddy bears into the Star Wars universe.

I don't care. I like them. Of course this is strongly influenced by the fact that I was two years old when this movie came out, so I was the ideal audience for Ewoks. (We never get their name in the actual film, by the way. It's only from peripheral material that we know what they're called.) But as I've grown up, I still love Ewoks because I love what they say about the thematic power of Star Wars. This is the ultimate underdog (underbear?) story. The little guy rises up against the big bully and wins because he has skills and advantages that are endlessly underestimated. We'll get to more of that later, but let's look at how Leia manages this first contact.

She notes that the Ewok is very jittery. Of course he is. Their home just got invaded by a bunch of armored giants with fire weapons and giant beasts that crush and destroy. Leia, ever the diplomat, finds ways to assure him that she's not like those other guys. She speaks to him gently, invites him to sit with her and share food. Young Warwick Davis, who stepped into this role when Kenny Davis was prevented by illness, does a fantastic job of embodying the physicality of an Ewok. He was inspired partly by his pet dog (and impressed Lucas so much that he promised him a starring vehicle when he was older).

This sequence is a beautiful rendition of two people with entirely different languages and cultures creating that first tentative bridge of commonality and understanding. It helps, of course, that they have a common foe. We also get a glimpse of the valuable skills the Ewoks can offer. He notices, long before Leia, that someone is coming. Together the two of them take down the troopers, which is a wonderful microcosm foreshadowing later events. This is the possibly the most crucial alliance of the entire war.

But next, there's a few wrinkles to work out before the alliance is finalized...

The stolen Imperial shuttle's approach to Endor is a quiet scene, consisting mostly of closeups of character's faces. Yet the tension is undeniable. Everyone in the shuttle knows the stakes. If they can't get past security, their hopes of taking down the Death Star are completely obliterated. Han tries to mask his fears with a bit of bravado, but we know what's simmering underneath.

The stakes heighten once Vader enters the scene. He says very little, only asking about the shuttle's destination and then standing there in silence while Admiral Piett grows more and more jittery. We know what Vader's doing, though -- sensing Luke's presence. Because Luke senses him in return.

It's a wordless exchange, all internal and painfully personal. Han tries to dismiss Luke's worries about Vader, but he's clearly shaken. We're all holding our breath, waiting for the axe to fall, until Vader tells the officer to let them through. With Han's relief we get a bit of humor, but the tension remains in Luke's expression. Why is Vader allowing them to land, knowing that it's a Rebel contingent? What is he thinking? Luke's connection with the dark lord is now a liability to their mission. This moment is not a straightforward victory. It will only grow more complicated from here.

Next time, hijinks on the forest moon...

We all remember the scene from Episode IV where General Dodonna debriefs the pilots on the Death Star plans and the slim but possible chance of destroying the superweapon. Now we have a similar sequence in Episode VI, but with key differences. First off, it's taking place closer to the middle of the film rather than the ending. This isn't going be a straightforward battle climax just yet. There are a lot more moving pieces to deal with, like the shield currently protecting the new Death Star.

But for me, what's most striking is the makeup of the Rebels. In the first film, we had a collection of pilots in the same orange jumpsuits. And they were all human. Take a look how that's changed, with a particular hurrah for one of my favorite minor characters, Nien Nunb.

I'm quite sure that this improved diversity had a lot to do with a better budget for this film, allowing for more elaborate costumes and bigger casting. Just look at how much the display technology has improved compared to the first film. Still, I think it bears out thematically as well. Because the Rebellion's strength comes from inclusion, from accepting anyone who's willing to fight, no matter their background or strengths. As we know, this will become absolutely crucial in the ground battle of Endor. Judge me by my size, my face, my skin color? That would be a grave error.

Next time, wistful faces...

How do you make a puppet look like it's ailing? Yoda is already wrinkled and hunched; what else can you do? Well, it's all about the performance. He moves slower, haltingly. He makes little noises of weariness. And Luke's response makes it quite clear, as observed by Yoda -- that face you make. Look I so old to young eyes?

Luke of course denies it, but there's no escaping it. With little time left, they'll need to get right to the heart of things. Luke's training lacks but one thing -- to confront Vader. Which brings up that burning question: is he really Luke's father? Even the wise, respected Yoda has a bit of (cowardly?) avoidance, but Luke insists until his master admits the truth.

This scene is so fraught with emotion and poignancy, close-ups of faces and wistful music...and it's really just one actor and a puppet. It's remarkable how real it feels to us, how expressive Yoda's face and body language appear. A lot of that is thanks to Frank Oz and the puppet crew, of course, but let's not discount Mark Hamill's compelling performance. Sorrow, regret, shock and affection, all from his subtle facial shifts. And so we watch a great Jedi Master fade away, leaving an uncertain hero to carry on without him.

Next time, Jedi Masters never quite go away completely...