Entries tagged with star wars

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A Thousand Stars: Episode V, Part 7

Not much dialogue needed as the search goes on for Luke. There's an interlude inside the base where it becomes clear our heroes won't be making it back before nightfall, but even then there is so much more spoken with Leia's face than any words.

And look at the vast, relentless white of Hoth. So many shots of small lonely figures against an endless white backdrop. It becomes all the more evocative when Luke glimpses an image of Obi-Wan only for it to dissolve into a figure of a tauntaun. From Luke's perspective, it might all be hallucinations from a mind descending into the delirium of hypothermia. But it also nicely joins up the imagery of his physical rescuer with his spiritual rescuer. Once his life is saved, he will begin the work of training his soul.

Next time, a startling sense of scale...

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A Thousand Stars: Episode V, Part 6

So enough of this Han/Leia stuff, whatever happened to Luke??

We find him hanging upside-down in a forbidding cavern. It's the first of several times in this film that Luke shows up in this striking position, a visual representation of how his worldview is about to get thoroughly upended.

But meanwhile, we have a tantalizing glimpse of Luke's emerging powers. In the first film we saw that the Force helped old Ben moved with amazing speed and dexterity, as well as providing a kind of inner vision past the ordinary senses. But we didn't quite witness an example of full telekinesis (unless you count Vader's Force choking, I guess). Now we get to see the lightsaber, fully out of Luke's physical reach, fly into his outstretched hand.

First, though, there's an important moment of quiet. It's vital that we recognize the need for inward peace and serenity in order to draw upon the Force, because Luke is really going to struggle with that later on. At least for now he's able to get his weapon in the nick of time, free his frozen feet and escape the monster.

(Did you know that Mark Hamill disliked the idea of Luke maiming the creature? He felt that a Jedi would never harm a life form unnecessarily, who was after all only following its instincts. Better if he had just scared the wampa enough to get away. An interesting perspective.)

Anyway, his powers are exciting, but not quite enough to survive a frozen night on Hoth. Next time, the lonely imagery of an ice planet...

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A Thousand Stars: Episode V, Part 5

For exterior shots on Hoth, production went to an actual frozen, snow-laden location in Norway. But for the indoor shots, they needed to transform a soundstage into a giant ice cave hanger.

It looks quite convincing. The jagged icy stalactites and stalagmites, the freezing look of the floor, and the stark white color palette that includes even the pipes along the walls. Lastly, there's the blend of technology and organic, droids and tauntauns, that has always given Star Wars a distinctive flavor. It's just so visually interesting.

Next time, some emerging Jedi skills...

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A Thousand Stars: Episode V, Part 4

A conversation between two people is not inherently compelling, visually speaking. If they're just standing or sitting there, it can feel a bit boring and static even if the dialogue is sparkling. So it's important to use imaginative staging and blocking. When Han and Leia have their first argument of the movie (there are many more to come), there's a very deliberate framing of the scene that creates a dynamic sense even when the characters are standing still.

First Leia is confronting him, authoritative in spite of the height difference. (She might have a little help from the platform she's standing on.) Switching to a closer shot gives us a sense of intimacy, but also escalation. Note how the camera is slightly lower, looking up at their faces. Again it reduces the sense of difference in their heights.

But Leia's 'high ground' in the argument doesn't last. Just when we might be getting tired of this same location, Han storms off so she has to follow him and resume their argument in a new configuration. Now Han is obviously much taller, bending over just to meet her eyes. When Leia struggles to deny her feelings, Han straightens in veritable triumph. (We also have the humor of an anonymous Rebel walking straight through their confrontation, too busy to apologize to the couple that, by now, must be famous for their emotionally-charged bickering. Just kiss and get it over with, he's probably thinking, so the rest of us can actually get some work done around here.

Finally Han storms off for a second time, but not before shouting You could use a good kiss for the entire hallway to hear him. We get a lingering shot of Leia's reaction, angry and flustered, even turning around as if to check whether that guy in the doorway just heard the whole conversation. If this is a competition, Han definitely won this round.

Next, a little set design appreciation...

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A Thousand Stars: Episode V, Part 3

Han, unaware of his friend's dire situation, returns to the Rebel base. It's here that we are introduced to one of the primary conflicts of this film: will Han stay with the Rebellion or leave? There are compelling reasons on both sides. He's got a price on his head from Jabba, which not only endangers him but everyone he interacts with. On the other hand, after all his mercenary ways he's starting to develop a sense of loyalty to the Rebel cause, and as General Rieekan points out, his skills will be sorely missed.

And...one other thing.

Before Leia says a single word, we can see there's Something going on between her and Han. The entire time he's talking to Rieekan, we keep cutting back to the Princess. Han reveals that he's planning to leave, and Leia tries so very hard not to show any reaction. Han tries to be stoic too, but we get little glimpses like this, and we know there's a whole lot of feelings beneath the surface.

All of that, and they haven't even said anything to each other yet. Actually, their faces speak more truth than their subsequent conversation, in which they both dance around the incredibly vulnerable emotions they're both experiencing. Han wants Leia to admit her feelings before he does. Leia doesn't want to let her guard down when there's no guarantee that he'll stay for good. They're both stubborn people who have been burned in the past (you can make up whatever backstory you want for Han. Leia, we know, has lost an entire planet of family and loved ones) and they refuse to acknowledge anything verbally until the last possible moment. Maybe not even then.

But their faces can't lie.

Next time, some clever blocking....

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A Thousand Stars: Episode V, Part 2

Well, that's enough setup, right? Let's get to our heroes! Show them heroically going forth, doing heroic things!

No, it's not going to be that easy. Our first look at Luke is an obscure figure riding a strange beast. He's so bundled up we can't see his face, until he briefly uncovers it to talk to Han. At least that conversation gives us the familiar camaraderie we know from the first film.

But immediately thereafter, Luke is attacked out of nowhere by a terrifying monster. Many assume this sequence was only added to explain the massive damage done to Luke's face because Mark Hamill was in an awful car crash. It's odd that everyone thinks that, when you can easily compare before and after pictures and see...pretty much the same facial features. Just a few little scars. But whatever, this attack wasn't a hasty last-minute insert. It's integral to plot and character development. For one thing, it establishes immediately that things are about to go very hard for our heroes. All the trials they endured last time? That's nothing compared to what's coming.

Next, more troubles and tribulations....

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A Thousand Stars: Episode V, Part 1

A new Star Wars film. Lucas was determined that it would not be simply a rehash of the original, as so many sequels tended to be. And that included the visuals. So almost immediately, after we see the familiar image of a Star Destroyer, we are introduced to the very unfamiliar sight of Hoth. Episode IV had a desert world and a jungle world. This is an ice world.

In further contrast, this opening shows a crash landing of a probe droid. Unlike the escape pod landing on Tatooine, with friendly droids carrying vital plans for the Rebellion, this droid is insectoid, emotionless and hostile, seeking vital information about the Rebellion's location for the benefit of the Empire. Within these very few minutes, we already know we're in for something entirely different than the first film.

Next time, peril lurks around our heroes...

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A Thousand Stars: Episode IV, Part 35

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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A Thousand Stars: Episode IV, Part 34

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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A Thousand Stars: Episode IV, Part 33

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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A Thousand Stars: Episode IV, Part 32

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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A Thousand Stars: Episode IV, Part 31

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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A Thousand Stars: Episode IV, Part 30

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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A Thousand Stars: Episode IV, Part 29

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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A Thousand Stars: Episode IV, Part 28

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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A Thousand Stars: Episode IV, Part 27

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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A Thousand Stars: Episode IV, Part 26

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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A Thousand Stars: Episode IV, Part 25

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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A Thousand Stars: Episode IV, Part 24

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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A Thousand Stars: Episode IV, Part 23

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...