Star Wars - Episode VI: Return of the Jedi (1983)*

Director: Richard Marquand

Cast: Mark Hamill, Harrison Ford, Carrie Fisher**, Ian McDiarmid

Have I Seen It Before?: Any number of times, with any number of different celebration scenes at the end.

Did I like it?: It’s generally regarded as the weakest film in the original trilogy. I would tend to agree, but I am left wondering why.

The climactic (or semi-climactic, thanks to the films in the sequel trilogy) battle between Luke Skywalker (Hamill) and his father, Darth Vader (David Prowse in the suit, Sebastian Shaw once his helmet is removed, and James Earl Jones via voice in the suit) is among the greatest in the series. For years, the Ewoks felt like the most annoying thing that happened to the series, before the prequels made them look absolutely charming by comparison. Also, the series once again ret-conned large swaths of its mythos to shoehorn in the twist that Princess Leia (Fisher) and Luke Skywalker are actually twin siblings.

All of these can be forgiven, especially when considered in the larger context of the series, but I think the real flaw is that the emotional stakes, at least for me, were never fully established, or I never fully bought into them. 

Sure, the Rebellion is on the brink of collapse, and the thin possibility of the redemption of Vader hangs over everything, but for years I never believed that Luke was ever in any real danger of turning to the dark side. He had always been portrayed as so morally pure, and not until the last frantic moments of the duel with his father do I get a sense that he could be corrupted in the service of his friends.

That was, of course, until my viewings of it more recently. Of the three main protagonists through the course of the Skywalker saga (Anakin, Luke, and Rey), Luke seems as if he is the furthest on his journey to the dark side. 

Consider, he is dressed in a black outfit for the entirety of the film. Not exactly the light robes of a nascent Jedi Knight. Also, the sequence rescuing Han Solo (Ford) from Jabba the Hutt seems like an overlong effort to walk back the cliffhanger from The Empire Strikes Back (1980), but his band of rebels hesitates not one whit to destroy not only the admittedly vile gangster, but everyone else on board his pleasure skiff. Thieves, gangsters, and other odious ones for the most part, but are there not slaves on board worthy of resuce? Any smugglers? In another world where Han had made good on his deliveries to Jabba, would he have met his end there along with everyone else? It’s a minor act of mass murder for someone who killed several million Imperials on the first Death Star***, but Darth Farmboy is way farther along on his journey toward the Dark Side than I was initially led to believe.

That he is still able to pull out of this descent into evil only raises the film in my estimation. Maybe it is still the weakest of the trilogy it has the bad luck of closing, but if it continues to improve with age, it may one day exceed its predecessors.

*I watched the unaltered versions available on the 2006 “limited edition” DVDs. See my review for Star Wars – Episode IV: A New Hope (1977) for further thoughts on this.

**I keep wanting to give her higher billing, but I feel like I have to wait for the sequel trilogy for that, and I don’t thinkthat is my fault.

***Of which—despite any debate in Clerks (1994)—I have to believe at least some were trying to work their way out of the Empire’s clutches.

Star Wars - Episode III: Revenge of the Sith (2005)

Director: George Lucas

Cast: Ewan McGregor, Natalie Portman, Hayden Christensen, Ian McDiarmid

Have I Seen it Before: I mean, we came this far. Why wouldn’t we “finish” things?

Did I Like It: You know, it’s an odd thing…

I want to say that anyone who believes this film isn’t the best entry in the prequel trilogy is being disingenuous, at best. I also want to say that anyone who thinks this movie is better than any entry in the original trilogy, is also being disingenuous. And finally, anyone who puts The Last Jedi (2017)* above any of the prequel trilogy are turning what used to be fun movies about space wizards with laser swords into a real chore. Thanks, guys.

Sigh.

Criticism of the Star Wars saga can be thoroughly exhausting, and yet I continue…

In my reviews of the other entries of the prequel trilogy, I lamented that the one element that might have recommended the films previously—the largely computer-generated special effects—tragically age the film beyond anything that Lucas might have originally hoped for. In this final Lucas-directed film, matters have improved slightly. It may not be entirely that there was a quantum leap forward in the effects, but there are more instances of digital characters interacting with one another, and fewer occasions where such creations awkwardly share a frame with an actual human.

That is not to say that the film is without its flaws, but this film’s deepest flaws are with its inherent design, not necessarily its execution. The tendency of prequels to depict scenes that previously lived in the collective imagination of backstory makes those resultant scenes a little less special. Solo: A Star Wars Story (2018) had a similar problem. In my mind, the particulars of how Han Solo won the Millennium Falcon from Lando Calrissian was one of the greatest cons that ever transpired in this galaxy or the other. As depicted in the film, it’s just a well-played game of Sabacc. So, too, the duel on Mustafar between Vader (Christensen) and Obi-Wan (McGregor) always seemed sadder, and maybe a bit more minimalist as I imagined it. It wasn’t the huge, frenetic action sequence that Lucas ended up producing. It’s a minor nitpick, I suppose. Lucas was hell-bent on making the prequels one way or another; this was bound to happen.

Then there’s the real problem with Lucas’ contributions to cinema in the first few years of our new millennium. An advocate—nay, zealot—for shooting and projecting digitally, Lucas opened the century by insisting that if theater wanted to exhibit any of the new Star Wars movies he had coming off the line, that theater had to exhibit digitally. Most theaters acquiesced at least a little bit, and then realized digital projection was far cheaper across the board, and now here we are. Good luck finding a movie exhibited in 35mm. I can count on one hand the amount of movies I’ve actually seen on film in the last ten years. 

There’s a part of me that thinks the reel breaking during a screening of the special edition for The Empire Strikes Back (1980) in 1997 got back to Skywalker ranch, and that was the straw that broke the camel’s back, and now we can’t have nice things anymore.

Do you miss those cigarette holes at the end of each reel? Do you miss the quietly insistent fear that the movie unspooling in front of you might just completely tear itself apart at any moment? Miss seeing the art of cinema displayed on the canvas for which it was intended? I sure do.

We shouldn’t blame Lucas for some fun adventure movies with some rough patches. We should blame him for film not being film anymore.

*That review of Episode VIII is going to be doozy, fam…