STAR WARS: THE EMPIRE STRIKES BACK (1980)

Three years after George Lucas wrote and directed the most influential space opera work of fiction of all time, the beloved cinematic universe of Star Wars was met with a mixed critical reception upon the release of its second instalment. It’s difficult to believe that this could be the case given The Empire Strikes Back’s warm appraisal nowadays, where it is generally viewed as the greatest entry in the Star Wars canon. But while the film garnered some positive reviews, a host of critiques were applied to this sequel. The darker, more mature storylines, Princess Leia’s (Carrie Fisher) love interest being Han Solo (Harrison Ford) instead of Luke Skywalker (Mark Hamill), the acting of the core ensemble, and director Irvin Kershner’s supposedly indistinct presence were all singled out as low points from this movie’s many detractors.

Thankfully, these opinions have shifted. It’s true that it doesn’t take long to recognise that this film takes a much more mature, grounded approach to these characters and their overarching battle to defeat the evil, tyrannical forces of the Galactic Empire, but this is a necessary escalation of the stakes. After all, we’re following a young farmhand whose only surviving family members (that he knows of) were brutally murdered, before he’s recruited to take on a malevolent government entity that has control over virtually the entire galaxy. Even his adopted uncle (after the biological one is burned to a crisp) ends up dying by the end of the first film. This epic tale isn’t consequence-free, so it’s only right that the consequences of this grand journey should escalate.

One is aware of the tonal shift between this sequel and its precursor almost immediately. As a kid who adored the first Star Wars trilogy, few memories of that viewing experience have filtered through to the present day, but I can distinctly remember feeling disheartened and a little frightened when Han Solo cuts open the stomach of the tauntaun mount he was riding so that a freezing Luke Skywalker can lie in its stomach to stay alive. While the threat of the rebels being crushed —and the jubilant thought that these underdogs could overtake their enemy—starts to take form throughout this middle entry in the trilogy, this film doesn’t forget about its smaller adventures along the way. For the overall narrative, there’s nothing essential about immediately pitting our heroic protagonist in harm’s way, especially when he is almost killed by a fantastical creature that has no connection to the enemies persecuting him.

And yet, without such hijinks, it wouldn’t feel like Star Wars. Some of the goofiness of the original film is toned down in this outing, but the thrill and chaos of adventure is never lost. Why not let Luke Skywalker risk dying of hypothermia in an ice-cold, barren wasteland, after almost being torn apart and devoured by a wampa (imagine the creature from John Carpenter’s The Thing (1982) half-protruding out of a polar bear)? These films would be no fun if it felt like the rebels were stuck on autopilot in their never-ending mission to put an end to the Galactic Order. Operations for launching an assault on this malevolent force are conducted in the rebel base not far from where Luke is freezing to death, with workers flitting back and forth for supplies and equipment checks as Han makes light work of Leia’s emotional boundaries, effortlessly getting under her skin as he insists that she will miss his presence.

The wise-cracking bounty hunter is abandoning the rebels for good (or so he claims). But to do that without getting a rise out of the woman he can’t help but chase, who only makes her attraction for him more obvious through her adamant denial of it, is too tempting an offer to pass up. The chemistry between the pair is palpable, with Fisher and Ford effortlessly conveying the longing underpinning fiery interactions between two people who can’t bear to give up their façades. The only downside is how early this relationship is insisted upon by Han, letting you know that it’s not going to take a third film for this pair to fall for one another, but he’s got enough cheek, while Leia has more than enough stubbornness, to pull this off. In fact, Leia is so adamant that she isn’t interested in Han that she kisses Luke on a whim, one of the odder moments in a trilogy centred on a brother-sister relationship, especially given her admission in Return of the Jedi (1983) that she’s always known—spiritually, at least —that her and Luke are brother and sister.

This brief incestuous moment aside, Han is a much better choice as Leia’s would-be lover, and not just for being a smooth talker. Luke’s quest to right this wayward galaxy sees him separated from his loved ones for long stretches, outlined even within this lengthy opening sequence in an ice-cold planet. Although he is lucky to be rescued by Han, this character must learn not just to be self-sufficient, but to be the most dependable force of an entire army. Only then can the rebels’ daring quest contain any possibility of success. His most extensive period away from the motley crew yet sees him looking for the Jedi Master Yoda (Frank Oz), a revered, solitary figure who was once a formidable force for the Jedi.

Luke wasn’t expecting a curious little gremlin happily rummaging through his belongings to be the Jedi Master; nor will any younger viewers used to the much more traditional hero that this character was presented as in the Prequel Trilogy. Here the comic elements of the original film have not left The Empire Strikes Back, with appropriate levels of cheesy antics to counterbalance the climactic showdown between Luke and Darth Vader. One of the most iconic scenes in cinematic history, it wouldn’t be nearly so interesting if Luke had simply risen through the Jedi mastery ranks with Yoda and departed for valour and glory only when he has accomplished all that he can. Instead, he leaves early, absconding his duties for arguably even nobler pursuits once he learns that Han, Leia, and the rest of the gang have been intercepted by Vader and his henchmen. 

Star Wars is a righteous, idealistic film series. In almost any other story of this kind that takes a mature bent, one would expect a crushing blow for this hero to become acquainted with, where he can’t possibly expect to wade into battle without the appropriate mastery of his craft. Nor would he be able to shun his major responsibilities to ensure that his friends are safe. But for all the maturity of this second outing in the iconic space opera trilogy, or some of the lingering cheesy elements that made the previous film so much fun to watch, the real heart of this universe is that its quest for victory is awe-inspiring. Even decades after its release, where its lore has influenced or been reinterpreted across so many different works of art, the Original Trilogy still invokes a sense of wonder at the seemingly limitless possibilities lying before these characters.

This film is more serious than its predecessor, yes, but it’s never dour. It doesn’t just raise its stakes compared to Star Wars; it raises its ambition, too, all while never losing sight of the majesty of this grand story. As for the technical elements, they hold up extremely well, with epic spaceships, ominous AT-AT walkers, and gorgeous establishing shots of different planets all still feeling pretty damn seamless over 40 years since this film was released. In fact, the prequel films show their age far more than this outing or the rest of the Original Trilogy. Craftsmen like Denis Villeneuve are busy chiselling out epic stories in recent years, but even with the technology advances in today’s day and age, or the proficiency of the French Canadian director, that wide-eyed, endlessly curious, consciously silly, and consistently heartfelt approach to storytelling makes Star Wars so much more endearing than his Dune (2021-24) film series. 

Granted, some of that is by design, but with Villeneuve’s work falling by the wayside with respect to character development and strong emotions, The Empire Strikes Back balances dark moments with a light touch, never compromising either tone. And who could discuss an epic film like this without referencing John Williams’ just-as-illustrious score? Williams’ contribution to this trilogy is not part of Star Wars, it is Star Wars, from the epic sense of scope to the momentum which insists that, whatever downtrodden notes lie ahead in this arduous journey, our valiant heroes will conquer evil and prevail. And with this intriguing core roster of characters to follow, from the cocky bounty hunter to the fledgling hero, or the cute, beeping droid to the helpful, wailing Wookiee, it is always a pleasure to sink back into this world, especially when The Empire Strikes Back represents this trilogy at its very finest.

USA | 1980 | 124 MINUTES • 127 MINUTES (SPECIAL EDITION) | 2.39:1 | COLOUR | ENGLISH

Cast & Crew

director: Irvin Kershner.
writers: Lawrence Kasdan & Leigh Brackett (story by George Lucas).
starring: Mark Hamill, Carrie Fisher, Harrison Ford, James Earl Jones (voice), Billy Dee Williams, Anthony Daniels, Peter Mayhew, Frank Oz (voice), David Prowse & Kenny Baker.