matril

The first Star Wars sequel was, to make a massive understatement, a big deal. There had certainly been sequels to movies before; in fact the concept of a sequel is pretty much inevitable when lots of people love a story and want more of it. But what made The Empire Strikes Back so special is that it was an expansion of the story rather than just a re-hashing, a natural continuation of the first film. Because Lucas had wanted to tell a bigger story all along, and now he had the enthusiastic support he needed to do it.

People usually cite Empire as the best Star Wars film, but I don't think it's as simple as that. I think it's the best second act of a story told in movies. It's a fine film on its own, but much stronger when considered in the larger context of the trilogy or the saga as a whole. We care about these characters because we already know them from Episode IV, and the unresolved issues at the end would be infuriating if there weren't more to come.

I love the way the beginning of the film offers a subtle look at the development each main character has undergone, assuming that some amount of time has passed since the Battle of Yavin. (It occurs to me that I've never written fan fic for the gap between Episode IV and V, and I'm not sure why - it's rife with opportunity, particularly with regards to the history of Han and Leia's relationship. Hmm.) Luke and Han are both captains in the Rebellion. Luke has developed some serious skills with the Force, including our first look at a Jedi's telekinesis. Han is mostly his usual sardonic self and plans on leaving the Rebels, but it's clear he's conflicted about it. And then there's the whole bit with Leia. Something must have happened between them, but both are too stubborn to admit their feelings. That exchange has quite a few good lines, including the marvelous, "I'd just as soon kiss a Wookiee."

I've talked about Han and Leia's bantering before, and I acknowledge that Han's aggressiveness could be considered inappropriate, but context is important. Signs seem to indicate that she's responded favorably before, then pushed him away. This fits with her character as someone who's learned to grow a tough exterior and not form too many attachments. Leading the life of a outlaw freedom fighter whose entire planet was massacred can do that to you. Han has that sort of exterior too, and I'd like to think that his pursuit of Leia is his way of trying to open himself up and not be such a cynic anymore. In any case, I love their romance and I can recite most of their exchanges from memory. (My husband and I even acted out a modified version of the first kiss scene for a talent show in college, heh.)

Another striking feature of Episode V is the cutting back and forth between two story-lines. This was already done to a certain extent in Star Wars, but it's pretty much the major shape of the narrative in Empire. While Han and Leia lead the Imperial fleet through a terrifying game of hide-and-seek, Luke trains with Yoda. The concept of the Force is fleshed-out and expanded upon quite powerfully. First we see Obi-Wan actually appearing in vision, no longer just a disembodied voice. Then we meet Yoda. It's great to introduce him as an impish little swamp-dweller and watch Luke fail to recognize him. It's his first test, and he's failing miserably. I love the moment when he learns who Yoda actually is and tries to convince him he's ready, smacking his head in the course of his impatience. It's a great symbol of how very unready he is.

Lots of credit to Mark Hamill here for acting pretty much all by himself, next to a puppet and a metal box. Frank Oz's performance can't be over-praised, but it's also Luke's interactions with Yoda that make him so believable we forget he's talking to a glorified Muppet. Besides R2-D2 and a brief bit with Obi-Wan, no other characters ever interact with Yoda in the original trilogy. But we totally accept him as a real being.

And what awesome lessons he teaches us. Don't judge anything by its appearance, size, or apparent abilities. Violence begets violence, peace begets peace. If you don't believe you can do something, you've failed before you've ever tried it. The scene wherein he lifts the X-Wing from the swamp is a perfect combination of music, cinematography, dialogue and acting, building up to an inspiring climax.

I just love the settings. The ice world, the asteroids, the swamp planet, the city in the clouds. I love the symbolism of Bespin - a beautiful city hiding a dark, sinister underbelly. From the moment the Falcon arrives at the planet we're given hints that something bad is coming. Then Vader shows up and it's just one horrifying reversal after another. Lando is a traitor. Vader yanks the blaster right out of Han's hand. Han is brutally tortured, but they're not trying to get information. Vader wants Luke. And we already know it's working, because Luke had the vision of their pain and suffering. Then they decide to freeze Han, just to test the machine in anticipation of Luke's arrival.

The carbon freeze sequence is another example of visuals, words, acting and music all coming together. If you ever have the chance to read up on the making of the movie, you'll see that this scene was a huge headache to film. Getting the steam just right, making sure no one fell backwards off the platform, working out the dialogue - and you'll find several varying accounts of just how they arrived at that famous "I love you" "I know" exchange. But it worked. It gives me chills to watch Leia let down her guard and confess her feelings just as Han is ripped away from her, to see him descend into the pit while the music swells tortuously from their love theme into the Imperial march. Genius.

Luke and Vader's confrontation. Just, so powerful. I wrote an essay about Vader as an abusive father, the figure that Luke despises and yet longs to prove himself to. And somewhere within Vader's cruelty is the twisted notion that attacking him, insulting him, offering only the faintest of praise, is the best way to teach him and help him achieve his potential. Yikes. Then the heartbreaking revelation, the massive spoiler that everyone knows nowadays even if they know little else about the films. Vader is Luke's father.

It's open-ended, but I think it's pretty clear that Vader is telling the truth. Luke as much as acknowledges it when he responds to Vader's telepathic call with "Father?" But there's another intriguing connection he has with Leia, who can sense him calling for help. I honestly never really got huge romantic vibes between the two of them. Luke seems to kind of have a crush on her in the first film, but I think it's largely stemming from awe at meeting the mysterious princess who pulled him into his hero's journey in the first place. They don't have any of the charged interplay that Leia has with Han. And that kiss on Hoth that everyone goes crazy about? It was entirely to make Han jealous. Even Threepio knows it, looking at Han afterwards. Pretty much the least romantic kiss ever.

But I love the friendship of the trio. The fact that Han will charge out into the deadly cold of a Hoth night on the slightest chance of finding and saving Luke. That Leia screams that it's a trap as soon as she spots Luke on Bespin, and that he ignores the warning entirely, partly because he's a headstrong kid who wants to confront Vader, but also because he'd never abandon his friends. That Leia just about verges into Dark Side territory, encouraging Chewie to strangle Lando because she's so furious about what happened to Han. And then the lesson of the dangers of succumbing to anger - hurting Lando delays their chance to rescue Han, and they're too late.

Yet they don't lose hope. Before Episode III came out, this was the darkest ending of a Star Wars film. All we have is the relief that Luke isn't currently in Vader's clutches and the hope that the friends might be able to rescue Han from Jabba. But it's still up in the air. It's a movie with no real ending, a second act that promises the resolution of a third.