Lucas’ Final Frontier…

In similar vein to a three-act structure of a story book, a filmic trilogy equally represents three parts to a story as a collective whole. When done properly and to the highest degree, a trilogy can very much enhance a story/franchise and give it more depth than just a standalone piece of filmic work. As much as it’s derived from a well-accepted comic-book universe, one palpable example of a trilogy that’s clear to have been thoroughly thought about is Christopher Nolan’s ‘Dark Knight’ trio of features.What makes Nolan’s said series of Batman films so engrossing to perceive and re-watchable over time is how each of the three features respectively have their own distinctive and appealing qualities that all add to the over-arching story-line of Bruce Wayne’s rise into becoming a vigilante, his comeuppance in failing as Batman and then rising again to save Gotham when the people need him the most. It’s written prowess alone marks it to be a trilogy that’s done properly and much of the same can be seen in George Lucas’ initial Star Wars trilogy and how neatly the last film of that specific series, The Return of the Jedi, concludes the struggle between good and evil in a universe which, by the films theatrical release, was marvelled by. It’s promise upon its cinematic release was understandably high, and being that it’s continuing the story from Empire Strikes Back, an entry to the series that looked at the darker side of the adhered universe, does Jedi live up-to the promises of not only the devotee’s, and also Lucas’ vision?…

As the evil Emperor Palpatine oversees the construction of the new Death Star by Darth Vader and the Galactic Empire, smuggler Han Solo is rescued from the clutches of the vile gangster Jabba the Hutt by his friends, Luke Skywalker, Princess Leia, Lando Calrissian, and Chewbacca. With Luke Skywalker Jedi leaving his friends to train with a waning Master Yoda, Solo returns to the Rebel fleet to prepare to complete his battle with the Empire. During the ensuing fighting, the newly returned Luke Skywalker is captured by Darth Vader which see’s the forces of good and evil collide in a final showdown; a showdown that decides the fate of the galaxy….

Through my most recent reviewing meandering in looking at the past Star Wars films of A New Hope and The Empire Strikes Back, and even trio of the infamous prequel trilogy which proved to be watchable by Revenge of the Sith, what’s always been palpable to perceive of this sort-after franchise is its ambitious yet rather fruitful and overwhelming aptitude in prides itself in by bestowing a spectacular grandeur through the practise special effects; both practical and CG. This rather came full-circle for Lucas, at the time of Jedi’s initial cinematic release, and director Richard Marquand since the ‘last’ film of the franchise would be an opportunistic moment to flurry these renowned special effects in accordance with a narrative that see’s these likeable characters bow-out in an futuristic swan song (or what seemed to be a conclusion at the time). This is first evident within the beginning of the film, when our gaze is more or less settled onto Jabba the Hut’s palace where we get a formatic mixture of practical effects merging with an attempt of CG; something which, at the time of the films release, was impressive yet alien (mind the pun) to those seeing it for the first time. Of course, upon re-watching the film very recently for this very review, it can’t be helped to say how much the implemented CG, noticeably seen on the alien singers of the said palace, appears to look like something from a very old Playstation 1 video-game. Thankfully, this impetus of using CG effects doesn’t become an over-reliance (unlike Lucas’ CG filled prequels later on) and doesn’t take away from the better formalities that Jedi carries on using from Episodes IV and V. Aside the obvious praise that I initially gave for Empire in terms of the darkness it bestowed onto a franchise that may have been seen as predictably light-hearted and good ol’ fashioned clash between the forces of good and evil for a few in A New Hope, what was also pleasing to of the said sequel was the introduction of a few new places that, in turn, enabled the central protagonists to change necessarily. Whereas the likes of Yoda and Obi-Wan have helped Luke become the Jedi he was always destined to become, there have also been characters such as Lando and even Bobba Fett that rather challenge the cool status quo that Han Solo effortlessly swaggers on screen. The introduction of Jabba the Hut is another great and sinister addition that appropriately provides a welcoming contrast to a world that has so far been depicted by the Empire’s dominance and the Rebellion’s struggle to rid of the Emperor’s tyranny. Amalgamating the looks of a toad and the Cheshire Cat, Jabba is quickly introduced to our audience as a slimy head of a casino that provides a different perspective to the world of Star Wars; a world where we not only have the central clash of good and evil, but also this conception of people and alien species living their lives as best as they see fit. The same can be said of the introduction of the Ewoks which can often leading you to think you’re watching the dream-like puppetry films of Neverending Story or The Dark Crystal. While many devotee’s have their arguable qualms of the said teddy-bear species, they again add another welcoming layer to the lore of this beloved franchise and it rather enriches the experience, considering where the central characters have been and gone on their adventures already. If there’s one discrepancy to mention of Jedi is its odd narrative pacing, especially near the beginning when it does feel like an age until the story can progress from Luke and friends saving Han from the slimy clutches of Jabba. While there’s nothing wrong with the entirety of this sequence whatsoever, it couldn’t be helped to reflect on my recent viewing how much I wanted the characters to swiftly move onto facing the malevolent Empire. Much can be compared to the imagination of the narrative as well, with the Rebels yet again trying to destroy another Death Star.

Where the film lacks in submissive imagination in providing a different threat to our beloved characters, Jedi succeeds and relishes in it’s grandiose spectacle; a visual feat that is endowed with clever implementations of special effects and masterful editing. As one would expect from a series finale, all the characters find themselves in certain dire-straits. Whereas Luke ultimately faces off against the malevolence of Darth Vader and the Emperor, you also have the stories of Han and Leia who are trying to destroy the shields of the Death Star and the welcome return of Lando Calrissian who dons the swagger and the Falcon to blow-up the aforesaid space-station along with Wedge and crew. So, how do all of these different story strands mesh together? As much as all of these events may seem too congested to coherently portray in a cinematic form, what’s beautiful to perceive amongst of all the different conflicts that are happening on screen, is the manner in which these specific sequences are edited; particularly within the third and final act. There’s never a cut-away that feels awkwardly jagged or unsatisfying. Each story strand is perfectly transitioned away from another moment that needs spotlighting; something which Rogue One clearly took inspiration from when Gareth Edwards’ film bestows one of the best climax’s in the franchise. To help understand, a clear example shown is from the instant in which the Emperor mischievously shows Luke his Rebel friends struggling against a fully-operational Death Star; forever taunting him of what demise his friends could tragically face. With the Emperor deriding Luke’s own will and longing to strike the Emperor, the Jedi to-be succumbs to the sinister invitation and force-grabs his lightsaber only to be met with Darth Vader’s red-laser sword with the sound of the Emperor echoing and transitioning that tension into the struggle on Endor; with the likes of Han, Leia, Chewbacca and the Ewoks getting ambushed by the Empire. It’s editing at its real-finest as it seamlessly transitions the power of one scene into another that is pivotal to the narrative. The editing is further escalated is the intergalactic space-battles which are the best of the original trilogy.

With it being a conclusive ‘denouement’ to a story and franchise that had gone-on to inspire many film-makers and other similar film series, one of the more bigger aspects that director Marquand had to get across for those that have been enchanted by the preceding features, are the resolutions of the characters. Not only was it important to see Luke rise-up to his destiny in becoming a Jedi Master, but it equally imperative to perceive Darth Vader’s story as well; whether the greatest cinematic villain would ultimately renounce to light-side and become Anakin Skywalker once again. What results are compelling portrayals of persona’s that are still impactful to watch to this day and never once become a stagnant thing where you become sick of seeing it. As much as it’s known that Harrison Ford ultimately wanted his famed character of Han Solo to essentially die, since the actor thought the swagger “fly-boy’s” death would complete his arc and fulfilment, there’s no arguing that the said actor charms the screen through his charismatic sense of quipping in dire situations and sharing another strong bond with Carrie Fisher’s Leia once again. Like Yoda in Empire, the sole character that ‘stole-the-show’ from his introduction right-up until his demise, is The Emperor and how he provides a different challenge to Luke Skywalker; a threat that is more psychological rather than through the mite of sword clashing. The whole scenario involving Luke, Darth Vader and the Emperor is a part of the narrative that always has me intrigued considering there’s always something new to see. In my recent viewing specifically, one aspect of the scenario that I was focusing more than anything else, was the involvement of Darth Vader and how his journey started from being considered as ‘The Chosen One’ from Lucas’ prequels. As much as I’m aware that the original films were made before Lucas’ deluge into the background of Anakin and Obi-Wan Kenobi, the prequels non-the-less, despite their critical and overall value, more or less adds to goings-on in the originals; more so in Jedi as we see Vader fulfil what was predisposed about him in vanquishing the Sith and bringing balance to the Force.

As arguable as it is to state that Marquand’s Return of the Jedi doesn’t strictly compare to the majesty of its preceding counterparts of A New Hope and Empire Strikes Back, it’s a finale that Lucas and devotee’s of this generation will be still satisfied with considering it does what a conclusion should do; in resolving the central conflict of good vs. evil and finding a resolution for all of its protagonists and antagonists. While the imagination of some of the films narrative aspects are few and between, it makes up for its fanciful discrepancy by employing masterful editing techniques that makes for a conclusion that not many franchises of later year can hope to match in terms of scale and tension. While Jedi is now seen as just another part of the Star Wars compendium, in not being a grand finale and being a backdrop for the latest Star Wars ventures of Force Awakens and The Mandolorian, it’s fair to see why many cinema-goers see Marquand’s film as their personal favourite Star Wars feature…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review of  Return of the Jedi and if anyone wants to share their thoughts on the film or review itself, then you’re more than welcome to comment down below. For next week, I’ll be discussing Star Wars’ true end, The Rise of Skywalker, and where the said franchise stands in terms of the events that unfold for friends and foe…With that said, thank you once again for reading my latest Film Review and I hope you’re all having a nice weekend! Adieu! 😃🚀 👾☄️🌌⚔️

★ ★ ★ ★ ☆ – Alex Rabbitte