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Film is, inherently, trickery. We're watching a bunch of rapid flashing still images or pixels and fooling ourselves into thinking it's three-dimensional motion. So whether it's computer generated or otherwise (I could rant about the misleading nature of the term 'practical' effects, but that's for another time) there's always a bit of sleight-of-hand.

For example, this final scene in the throne room, where our heroes are rewarded and celebrated. Lucas needed to evoke a large crowd of soldiers. He didn't have enough actual people to work with, so some of the crowd are actually cardboard cutouts. The fake ones and real people are blended together so well that it works.

Also notable about this moment is how there's no dialogue. We see the scene unfold wordlessly, so that anyone, from little children to non-English speakers, can tell exactly what's happening. Our heroes enter, they march down the hall to the stage, the princess gives them their medals, and everyone cheers for them. Simple, but very effective, particularly with the triumphant processional music by John Williams. Like Pomp and Circumstance for a galaxy far, far away. And this scene set the precedent for Star Wars to always finish with a dialogue-free scene, something with sweeping music and purely cinematic storytelling.

So that's Episode IV! Next time, we start V...
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How do you portray a power that's unseen, almost entirely internal? Well, when you have a wild space battle going on, you take careful moments to pause, slow down, and focus on the effect it has. To me, it's what makes the Death Star run more than just a great action sequence. It shows that there is something greater than lasers and starships and even a machine capable of destroying planets. There is the Force.

As Luke prepares to make the final run and release his torpedos, he has at last understood Ben's quiet promptings, the need to let go of external senses. He shuts off his computer. Mission control back on Yavin IV is slightly concerned. But Luke moves forward with confidence. Even Darth Vader senses it. It's not enough to be a great pilot. There must be a higher power.

And of course we can't forget Han showing up in the nick of time, which I also credit to Luke's earnest persuasion and, dare I say it, a little nudge of the Force? Han's timing can't be mere coincidence. Ben's words say it best: there's no such thing a luck.

And Luke fires the torpedoes, and his gasp afterward says something of how instinctive it was, as well as his prayer-like visage once the Death Star has been destroyed. Who knew that starfighting could be a religious experience? Infusing an action sequence with spirituality -- there's nothing else that does it like Star Wars.

Next time, the grand finale...
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The Death Star run is a technical marvel in movie-making. Space battle sequences would never be the same. The modeling after fighter pilot footage, the quick cuts between cockpits and exterior shots, the impending doom of the destruction of the Rebel Base -- it all comes together. And if you've heard any of those nonsense claims that Lucas's version of the sequence was a boring mess than needed to be saved by actual competent editors, let's put all of those to rest. Editing has always been where Lucas does the real work of cinema. He's routinely expressed how he loves taking the various pieces and stitching them together into a narrative. The first rough cut of the film was, duh, rough, and he had fully expected that. He then collaborated with a competent team to refine it into a polished finished product (and nothing wrong with wanting to keep polishing it either; as a writer I empathize with this impulse quite fervently).

Anyway, let's look at some specific striking shots. The initial approach. X-foils in attack formation. Entering the trench.

Notice the little tricks of perspective, how we get different angles of cockpits to help us envision which direction the ships are moving.

And the occasional cut to the Rebel base or the Death Star, to remind us of the stakes, the ticking clock. No shot lasts for very long, because we need a sense of movement and urgency.

It's incredible. I've seen a lot (a lot) of old cheap space movies, lots of chintzy effects. By the 70s the technology had improved enough to produce impressive visuals like in 2001: A Space Odyssey, but that was mostly slow, ponderous stuff. Nothing like this. Star Wars changed everything.

Next time, victory!
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In Episode IV, Luke really wears his heart on his sleeve. In later films he grows better at regulating his emotions, though the feelings still run just as deep. One of my favorite aspects of his character, both as a callow kid and as a more mature man, is that he expects the best of people and is devastated when they don't live up to it. Just watch him here with Han as he tries to convince him to stay.

He's so impassioned about the cause and the peril they're facing. And so disappointed when Han refuses. Luke emotes with his whole body. He storms off in a huff, and when Leia meets him later, his entire demeanor is just droopy.

We might also add this moment from the deleted-and-later restored scene with Biggs, where Luke is simply brimming with joy at seeing his old friend. He never does anything by halves. He'll need to learn how to curb his over-intensity, because of the inherent dangers in getting carried away by emotion, but the essence of character will always be defined by how much he cares

Is this basically a Mark Hamill appreciation post? Yes. Yes, it is.

Next time, brilliant editing makes for a gripping battle...
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Back in 1977, we were only on the cusp of the era of computer-aided effects. So the images of the virtual Death Star run might not seem very exciting to our jaded, 21st century eyes. It was cutting-edge for its time, a very exciting new use of computers to generate moving images that appeared three-dimensional.

I think it's charming. Even if come across as low-tech for us nowadays, it fits pretty well with the notion that the Rebellion is barely scraping by, having to rely on cheap scavenged equipment and tech. Look at the adorable blippy explosion. We can appreciate all the more the contrast between this bare bones rendition and the actual battle, where real explosions will cause mortal peril for real people.

Next time, emotions run high...
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Star Wars was not by any stretch the first film to combine miniature "exterior" shots with interior shots to create effective illusions, but it certainly used that technique to tremendous effect. Consider how we see Han and Chewie in the cockpit of the Falcon, then switch to a view of the ship, and immediately accept that they're inside piloting it. It's a simple enough concept, yet it truly requires editing sleight-of-hand.

In the scene after they've escaped the Death Star, we get to see Han and Luke taking position in the gun turrets to fend off pursuing TIE fighters. With alternating shots of the heroes, the viewport, the enemy ships and the Millennium Falcon from a TIE fighter's perspective, we're granted a very convincing battle sequence. But just imagine how absurd it must have felt to film it. Sitting in a strange little set on a soundstage, shouting out victoriously as you aim and fire at nothing -- this is where the actors would have needed to use the full arsenal of their imaginations. And then the effects crew would need to create an equally convincing performance with the miniatures, and the editors would have to stitch it all together. A job very well done, all around.

Next time, some amazing futuristic computer-y stuff...or not...
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As our heroes approach their ship, the moment of truth comes for Obi-Wan. He meets Luke's startled gaze unflinchingly. Ben seemed at least somewhat aware of his fate before, when telling Luke that their destinies lay among different paths. Now he is prepared to make the ultimate sacrifice for the greater good.

His expression is calm and wise. He's been dueling one of the most feared beings in the entire galaxy, but his demeanor is completely peaceful. And as he prepares to deactivate his saber, he seems for all the world like someone about to fall asleep.

It's a simple but highly effective visual in this shot, making it look like Vader cuts through Obi-Wan's robe only for the clothing to collapse, entirely empty. This eerie not-death is our first intimation that Obi-Wan really wasn't bluffing when he intoned More powerful than you can possibly imagine. But it is still shocking, and Luke is the avatar for all of us as he cries out in horror.

No dialogue except Luke's anguished "No!" A quiet rendition of the Force theme, sweeping up into almost melodramatic tragedy. And then we spring into an action scene, a daring escape...but still we ponder the mystery of Obi-Wan's transformation. His voice echoes, apparently in Luke's mind. What has he become?

Next time, high-flying heroics...
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In decided contrast to the clamor and racket our young heroes are making, Obi-Wan has been flitting silently from one part of the station to another without any notice. We see how the Jedi has many skills of stealth at his disposal, both ordinary and supernatural.

Then, after he's successfully deactivated the tractor beam, he pauses and retrieves his lightsaber. This simple wordless action tells us something different is striking his senses. It's so subtle, just his facial expression and a single gesture. We can almost guess what's about to happen from Obi-Wan's face alone before it's revealed what he is seeing.

Darth Vader. This confrontation has been looming ever since the Falcon was first tractored into the hanger, ever since Vader sensed the presence of his old master. It was inevitable. The tension is so powerful. Even before we had the prequels, even before we knew Vader's true identity, this moment was always fraught with history and tragedy. Obi-Wan's former apprentice, turned to darkness, betrayer of all he was taught. Confident now that he will prevail. His boasting alongside Obi-Wan's calm serenity, red blade against blue. We saw just a glimpse of Ben's saber prowess in the cantina, but this is our first look at a true lightsaber duel.

It might seem rather tame compared to the adrenaline-packed battles from the prequels, but the emotional weight is heavier than all of that. And then there's astonishing notion that this mountain of a man, a figure of pure violence and power, seems to be equally matched by an old man who looks like he would get winded climbing the stairs. You can't win, Darth, he claims. How is that possible?

We'll explore the answer to that question next time...
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Someday Thursday came and went without a post, but here we are just a day late.

This is a bit ironic coming from someone who obsessively analyzes these movies, but I believe that Star Wars offers up continual reminders not to take anything too seriously. That's part of why I love it. Great Big Important Cinema that serves up Deep Themes and Serious Messages -- that's okay in small doses, I guess, but if I'm going to return to a movie over and over again, it's got to have FUN amid all the meaningful stuff.

So we have Han charging blaster-first into a room full of stormtroopers -- and just as quickly running away when he realizes he's in way over his head. We hear the frantic command "Close the blast doors! Close the blast doors!" hastily switched to "Open the blast doors! Open the blast doors!" as Han just barely escapes through the closing door. And we have a swooping, over-the-top moment with Luke and Leia worthy of any classic Errol Flynn movie: swinging over a chasm to safety.

Is it realistic? Nah. Is it integral to the plot or deeper themes? Eh, not really. Is it delightful? Absolutely. It's a nod to the over-the-top heroics of the aforementioned Flynn movies and of the old serials, and of fairy tales and of every kind of wildly fantastic, imaginative story that humans have told from time immemorial. We love this stuff. It's fun, plain and simple.

Next, old friends...
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The sequence in the garbage compactor is fine-tuned to create ever-heightening tension, right to the moment we fear our heroes will be crushed to death, and then their sudden rescue.

It starts fairly tamely, with another shouting match and Han's sarcastic commentary. Then the eerie introduction of Something beneath the water, almost like in a horror movie. We never get a full view of it, but it's definitely creepy and lurky. Whoops! Suddenly Luke is yanked under. There's no music yet, which allows us to sit in an unsettling silence occasionally broken by strange sounds. By the time Luke is freed from the Something, its inexplicable departure is almost as chilling as its abrupt appearance.

Because the walls are closing in. Now the mood shifts from unseen horror to a perilous race against death. The soundtrack returns with a relentless, frantic piece, abetted by the grinding motors of the compactor. Luke's hope of getting help from Threepio is countered by a simple but expressive shot of the abandoned commlink.

So we switch back and forth from the droids' trouble with stormtroopers and the increasingly narrowing walls enclosing our heroes. The bits with the droids become longer; the compactor moments are frightening brief. We feel the excruciating silence that follows Luke's calls to Threepio. Time is running out. Even when Threepio is finally reminded to use the commlink, his endless chatter makes us want to shriek with frustration. Luke wastes no time shutting him up to get his message through. They're mere feet away from being crushed when the compactor falls silent and still. It's a palpable relief. We even get further catharsis with a bit of humor from Threepio mistaking their giddy shouts for agony.

Next time, swashbuckling adventure...
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Much of the fun content in the prison break sequence is the dialogue, snappy quips between Leia and Han that were doubtless influenced by Carrie Fisher's gift for polishing up screenplays. But there's some great use of camera work as well, to convey the sheer chaos and mayhem as the princess takes command of a very clumsy escape attempt.

Here's the trio caught in a tight space, with Leia and Han sniping at each in between literal snipes from laser blasts. We get a reverse shot of the enemy with plenty of smoke and eerie red light to emphasize the danger, but also the comedy of Leia and Han's argument that continues even while they're fighting for their lives. By the time Han moves to the other side of the hallway and Leia lifts a blaster, you're almost wondering if she's about to shoot him. Han is certainly alarmed enough. But of course, Leia has something more resourceful in mind. One by one our heroes, even the reluctant Han, drop into the garbage compactor.

Next time, peril in alternating shots...
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Luke and Han spend a good portion of their time on the Death Star dressed in stormtrooper uniforms. Yet we're never left with much doubt as to their identities. First off, they take off their helmets whenever they can. Lucas was well aware that covering someone's face is quick way to strip them of humanity and personality, particularly if they're all wearing the same mask.

Secondly, even when their faces are covered, Han and Luke just don't move around like stormtroopers. Contrast these marching drones with the unique behaviors of our heroes. They're unused to the stiff uniforms, Luke is constantly craning his head to try to see better through the helmet, and of course as Leia points out, Luke is too short for a stormtrooper. I particularly enjoy his final pose before taking off the helmet for good, an almost childlike tilting of the head as he sees the princess in person for the first time. No wonder Leia wasn't fooled for a second.

Next time, the iconic trio in action...
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It's worth noting how much of the original film involves our heroes blundering through a series of plans gone wrong. They never intended to breach the Death Star and rescue Leia; they were supposed to get to Alderaan and deliver the secret plans and connect with the Rebellion. It was only Tarkin's heavy-handed attempts at coercion and ruthless disdain for the sanctity of life, that brought the Falcon and the Death Star together.

But going by Obi-Wan's wisdom that "there's no such thing as luck," this was ultimately the best scenario. (Even if it did involve bringing R2 and the precious plans directly back into enemy territory.) Because Leia is quick-thinking enough to formulate a new strategy, once she's freed, and hence lures the Empire into chasing them to their hidden base, the only sure way to keep the Death Star in-system long enough for the Rebels to have a chance at destroying it.

And yet people think these movies are simplistic. Huh.

Anyway, this unexpected detour on the Death Star leads to one of the most poignant moments of the film, Obi-Wan and Vader's reunion. Their connection is established with rather subtle shots such as this. Even without a visible expression, Vader's introspected sense is clearly established. His underlings probably wonder if he's a little unbalanced, what with his sudden pauses and oddly trailing-off sentences, hah. But as the audience we are intrigued.

Obi-Wan has his own premonitions, and though he does not mention Vader to Luke, I suspect he's well-aware of him from the moment they arrive at the Death Star. His heartfelt goodbye to his would-be apprentice is full of meaning that Luke might not now understand. But someday he will.

Next, varying levels of competence...
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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...
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Carrie Fisher has often related how she had to act devastated when the destruction of Leia's home planet was represented by a guy saying 'Bang!' Movies with lots of special effects have always required a little extra imagination from their actors, long before the digital age. This scene pulls it off, however. Carrie might have had to imagine the planet, but we get every image we need for the emotional punch.

First Leia is defiant and contemptuous of Tarkin. Then he declares his intentions toward Alderaan, and we cut immediately to a planet that happens to look a lot like Earth. Ooof. We're already on Leia's side, but this hits hard as we see her pleading.

We can hardly blame her for confessing the hidden base (though we find out later it's only a partial truth), and then even more brutally, Tarkin orders to destroy Alderaan anyway. Here the precise editing moves swiftly, inexorably toward the awful moment. Leia's shock, Tarkin's sneering response, a shot of a faceless solider and cold mechanical workings, the massive laser striking toward the planet, one last shot of Leia's helpless horror, and the explosion.

All of these had to be filmed separately, with little surrounding context, on soundstages or with miniatures, all the different pieces coming together to make a surprisingly coherent moment. The impact is further strengthened by the following scene, which we will cover next time, but it's already a masterful example of how to lead an audience's imagination to something that feels very real.
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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...
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Star Wars draws its influence from a broad range of sources, everything from fairy tales to samurai legends, 1940s serials and westerns. And what's more characteristic of the classic western than a shoot-out between two bravos? So we get the Han-Greedo confrontation. I frankly don't care who "shot first;" it's really about who's the fastest draw. Clearly, that's Han.

But he's not standing alertly, hand poised obviously at his weapon. He's slouched in a corner, cleverly luring Greedo into dropping his guard. The audience gets to see Han's finger inching toward the trigger while the bounty hunter remains arrogantly ignorant. Until it's too late.

Then we get another indicator of the seediness of this locale, no dialogue necessary: the patrons briefly note the shoot-out, then return to business as usual. Dead bodies, whatever. Casual scum and villainy.

Next time, more weirdness in a city full of weirdos...
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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...
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Happy New Year! We're over halfway through this series. How many more years do you suppose it will take to finish?

So how do you portray a place populated by utterly alien beings, a seedy location where a callow human boy will be fully out of his depth? Well, first you film a lot of actors in funny rubber masks, then look at the footage and get very disappointed by the underwhelming effect. So you arrange for a second shoot, get even more weird masks and prosthetics and and costumes and create lots more footage, then cleverly edit it all together so that the scene looks seamless.

From the first shot of an alien, accompanied by the other-worldly jazz courtesy of John Williams's genius, we know this is a long way from the quiet moisture farm where Luke was raised. Myriads of strange creatures, intercut with stunned reaction shots of Luke. It's all dimly-lit and grimy as well, and the bartender is surly and unpleasant. We also get a bit of bizarre humor with the notion that amid this wide panoply of races, droids are absolutely not wanted.

Can you tell which bits came from principle photography and which came later? I can't. That's part of the magic of filmmaking.

Next time, a non-hero slouches into the story...
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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...

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