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The planet-sized explosion cuts directly to this. Kind of an abrupt shift, until you see Ben reacting to something with almost physical pain. Luke notices and hurries to check on him, upon which we hear the old Jedi describe the awful sense of "millions of voices" being suddenly silenced.

This imagery and dialogue serves several purposes. First of all, we learn that a Jedi can be so in tune with the Force that tremendous tragedies like the destruction of Alderaan can be sensed even light years away. And second, we get a moment to process the weighty enormity of what just happened, through the emotional response of Obi-Wan and Luke. We could have just witnessed Leia's reaction, but this broadens the tragedy. This is a horror not just for those from Alderaan, but for everyone. If you have any sense of the sanctity of life, you would grieve just like Ben does.

Next time, more long-distance emoting...

While our heroes prepare to leave Tatooine, we get a glimpse of an ominous figure watching them, who seems to be in communication with an unseen collaborator. Who is this snout-nosed spy? Dunno. I'm sure expanded materials have given a name, backstory and elaborate discourses on the Snouty race.

It doesn't matter. We don't even need to understand the Snouty language spoken into the communicator. All we need is another shot of the spy with a stormtrooper, pointing obviously toward the hanger where our heroes can be found. It's a simple but effective bit of storytelling, no over-explaining or unnecessary scenes or dialogue. Just a spooky alien acting as an Imperial informant. So much for getting away from the planet unnoticed.

Next time, how to destroy a planet through editing...

Han Solo, and Harrison Ford with him, rocketed to such meteoric leading-man action-hero status in the decade following this first film that it's important to remember -- Han is neither the main character of Episode IV, nor even a full-fledged hero. He's a compelling character, no question, thanks in part to Ford's charismatic performance, but he's introduced as a braggadocio mercenary who drives a hard bargain. Just another example of the seedy, shady types who frequent the cantina.

Much of the entertainment we get from Han comes from the contrast with our heroes. The reaction shots of Obi-Wan and Luke are so delightful. The seasoned Jedi knows an overblown boast when he sees it. Luke, meanwhile, is disgusted with Han's greed (to be fair, a farmboy wouldn't know the going rates for chartering a flight, so maybe Han is being reasonable?) and filled with suspicion. It'll be a fun ride to watch the mercenary transform to something more promising, while his relationship with do-gooders like Luke changes dramatically. But this first look at Han shows us nothing but a profit-driven smuggler.

Next, the seediness continues...

Luke returns from the wreckage of his home, his slow somber movements a direct contrast to the rush of his departure. We don't see his face right away, just a shot from behind and then his lowered head as Obi-Wan consoles him.

When he does lift his face, it reveals a steely-eyed determination. He has nothing left here; he's going with Obi-Wan to become a Jedi like his father.

Like his father.

We all know Luke is going through the steps of the hero's journey, and after a reluctant beginning he is stepping over the threshold into adventure. The image of him standing at the brink is a perfect visual for that concept. But it's significant in terms of his larger journey that he takes this step because of grief, pain, and perhaps a bit of vengeance. If we only had this one film, it wouldn't have been an issue. Luke gets his heroic moment of triumph and a happy ending. Thanks its box office success we get Episode V and VI, where we explore the -- well, dark side of Luke's motives. How being driven by fear and anger can lead to a perilous path, the same path that claimed his father. And ultimately, how to let go of hate and become a greater hero than anyone imagined.

Next time, the wretched hive...

After Luke realizes the stormtroopers must have tracked droids to his aunt and uncle, we see him rush back to the homestead with an urgent rendition of the Force theme that builds to a crescendo as he arrives. Alas. The tragedy unfolds before his eyes, the billowing smoke and a painful pan to the remains of his family.

Luke's reaction is shown briefly but poignantly. We don't need a ten-minute sequence or lots of words or closeups of his face. Just this and this. A long shot of the tragic scene gives us a final image of devastation.

Next, more story through images alone...

With all the backstory we were given with the prequels, it can be easy to forget that this film gave us our first look at Obi-Wan Kenobi as an old hermit living in obscurity. Consider the work Alec Guinness would have needed to put in as an actor, to create a sense of Ben's history. And look at how fantastically he pulls it off.

At the first mention of his original name, we get this Look on his face. Yes, powerful enough to warrant the capital letter. Combined with the music cue, it's enough give us chills.

This evocation of long-ago history continues throughout Luke's visit to Ben's house, with more wonderful expressions. Not even Lucas had fully fleshed out the backstory at this early stage in the saga (how could he anticipate that he'd have the chance to expand his vision into six entire films!) yet these moments still work in retrospect, because Guinness imbues them with so much pathos and meaning and untold stories.

Next time, a glimpse at the banality of evil...

On paper, it's not much. Luke goes outside. The suns are setting. He looks at them. Then he turns around and leaves.

But those images. His lone figure against the stark landscape, the expression on his face, the combination of the familiar and the alien with a binary sunset, the simple motion of Luke bowing his head before looking up again....they all combine to make one of the most memorable, evocative scenes in the saga. Of course we must also acknowledge the power of John Williams's sweeping score, overlaying the images with wistfulness, yearning and dreams deferred.

Next time, deceiving appearances...

The garage where Luke grudgingly begins his droid-cleaning chores is grungy, dark and drab. It looks used and lived-in, one of the features of the film that differentiated it from the usual sterile, spotless look of most sci-fi cinema that preceded it. This look only further emphasizes the mundane life that Luke feels trapped in, the very opposite of the "bright center to the universe."

Then a sudden flash of brightness literally throws him backward in shock.

A brilliant image that, for Luke, represents all the wonders of the galaxy that he longs to behold. Mysterious, beautiful, speaking a cryptic message that's sure to heighten Luke's curiosity and sympathy. Artoo is very clever to use this little snippet to pique Luke's interest, ultimately convincing him to remove his restraining bolt. He seems to know exactly what will motivate this reckless farmboy.

This is one of those iconic images and phrases. A miniature blue-tinged Princess Leia, pleading for Obi-Wan's help as her only hope. It combines strange, futuristic technology with classic fairy tale tropes, putting something familiar in an entirely new context. And our callow hero's life is about to change forever.

Next time, facial expressions speak what words cannot...

We're all aware that one of the most peculiar and daring narrative choices in Episode IV is to follow a pair of lowly droids, rather than the human heroes, for a significant portion of the movie. Even more daring is that one of those droids doesn't speak a recognizable language at all. The excellent sound effects devised by Ben Burtt do give us a sense of emotion and personality from Artoo, but it's still essentially non-verbal.

When he separates from Threepio on Tatooine, we're treated to a sequence that has no dialogue whatsoever. Artoo chirps and beeps; the strange desert scavengers speak a harsh language with no subtitles. Yet we never need to worry about being lost, because the images tells us everything we need.

The lonely droid trundles along through a canyon. The stark, desolate landscape shows us how alone and vulnerable Artoo is. The camera angle, meanwhile, gives us a sense of someone spying on the droid, which is confirmed by this eerie shot. Nothing visible of the face except glowing eyes. The suspense heightens as Artoo warily proceeds, cutting between shots of the droid, the landscape, and the glowing eyes. We don't know what this being is or why it would prey on Artoo, but we know enough to be worried for him.

Then, pow! The creature leaps out and shoots Artoo, with what we recognize as the electronic version of the stun that took out Princess Leia. We watch the helpless droid being conveyed by a whole pack of the creatures, taken to a formidable vehicle, fitted with some kind of mechanism, and lifted away into the belly of the metal beast.

The poignant tale of a little droid's capture, all without a word of discernible dialogue. That's the genius of these films.

Next time, a hero emerges....

In case we had any doubts about the extent of Vader's brutal villainy, we get this shot of him. Not only vicious, but astonishingly powerful. Just in case we missed how imposing the Dark Lord's stature is, we even get a look at the height difference, right before Vader flings poor Captain Antilles into the wall. Yikes.

It's visually quite striking that we then switch back to Leia, whose slight, delicate frame in robes of white is set up as a perfect contrast to the bad guy. Yet she defies expectations by proving herself quite capable with a blaster -- still a decided contrast, using the power of grace and finesse rather than blunt force.

Unfortunately outnumbered as she is, she can't fend off her enemies forever. (This is, incidentally, the first and only time we see the effect of a stun.) Next time, more contrasts...