A Revelation?
Close your eyes, concentrate hard, what’s the first feature that you ever watched that truly captivated you to watch more of? For myself, this was George Lucas’ Star Wars: Episode IV – A New Hope; a science-fiction adventure feature that, while it did seem dated and didn’t possess the ‘clarity’ of something such as DeVito’s Matilda that enchanted my 90’s childhood, it ensnared my own imagination of space and had me wanting to know what other adventures the likes of Luke Skywalker, Princess Leia and Han Solo would venture to next. Upon many re-viewings of the aforesaid film, it’s oddly hard to stand back and simply see it as just a typical blockbuster like Jaws and The Exorcist that came before it, because it conjures moments, iconic sequences, that are more memorable than a distant family relative that decides to show-up on Christmas day. For sure, in relation to its central protagonists and antagonist, and the plethora of other creatures that establish the presented world, it’s as goofy as Saturday morning cartoon that doesn’t know its own contextual boundaries. However, you can’t help but force a smile anytime you hear John Williams’ grandiose musical score, or even when Obi-Wan and Darth Vader inevitably collide in a destined lightsaber clash that instigated a myriad of other memorable and similar space bouts that have since been executed with seamless style and joy. There’s a reason why Lucas’ film dethroned Jaws in the all-time box office charts at the time of 1977, a position it held since the inception of Independence Day, and subsequently went onto to form an infamous film franchise that no other filmic property could hope to match. Much of these reasons we’ll naturally explore through this timely review. However, if there’s one thing to note, in comparison to its later brothers and sisters of Empire Strikes Back and Return of the Jedi, A New Hope has a re-watchable facet that always exhibits something new…
The Imperial Forces – under the command from the cruel Darth Vader – hold Princess Leia hostage in their efforts to quell the Rebellion against The Galactic Empire. In a desperate pursuit for adventure, Luke Skywalker, along with Jedi master Obi-Wan Kenobi and Han Solo – the captain of the Millennium Falcon – finds himself on an escapade that not only seems him working with the companionable droid duo of R2-D2 and C-3PO to rescue the captive Princess, but also a journey that see’s him learning the mysterious ways of The Force. In helping the Rebellion destroy the devastating Death Star and the Stormtroopers that roam on the planet destroyer, can Luke and his friends restore freedom and justice to the galaxy?…
As hinted in the introduction, it wasn’t by arbitrary coincidence that George Lucas’ A New Hope came to be a sudden epoch-making and culture-shifting success that resulted in devotees adhering to the franchises most iconic sequences. While we’ll dissect the aforesaid features narrative and formatic aspects, which will answer why the film became so popular, one important aspect to take note of A New Hope’s success was its timing; a feature that was released in a moment when the ideology of the ‘blockbuster’ would change for the better. Within the era of the 1970’s, forever seen as Hollywood’s second golden-age (in coming out of the dominance and rise of television), cinema at this time was characterised by ‘baby-boomer’ film-makers and students, as seen with the likes of Scorsese, coercing their visionary aptitude towards personal projects that reflected the political hodgepodge of America and the conclusiveness of the Vietnam war. Though The Exorcist and especially Jaws are credited and seen as big-budget features that kicked-down this personal movement, they weren’t seen as films that specifically targeted the family audience unlike A New Hope which revelled in doing this. In a sense, A New Hope effectively brought to an end this second golden-era of Hollywood of personal film-making and focused the industry on big-budget special effects; blasting off a new trend that we’ve only just perfected. It didn’t just jump-start a new generation of special-effects with a spectacles of high-energy, what’s paramount to consider in looking back at Lucas’ film is its narrative application; linking the unprecedented science-fiction genre with juxtaposing sub-genre’s of the likes of fairy-tales and legends in a wild yet simplistic structure that was easily identifiable. Indeed, what makes A New Hope so appealing to perceive is its easily attributable and universal archetypes which see’s protagonists that you want to root for and antagonists that are there to be booed at; heckled even to the point of a child innocence who is watching a baddie walking onto a pantomime stage. In being influenced by Joseph Campbell’s specific writing on ‘The Hero With A Thousand Faces’, a book which acutely outlines the recurring stages that are identified in mythological stories known as ‘The Hero’s Journey’, what we’re presented with in Lucas’ film is a purposefully constructed narrative structure that see’s the central figure of Luke Skywalker who personally goes through a specific arc that see’s him first become entangled with the central conflict (in meeting C-3PO and R2-D2), then meeting the mentor (where Luke is guided by Obi-Wan to learn the ways of the force and fighting against the Empire) which then leads to more companions and an expected Ordeal (through the meandering events on the Death Star) that subsequently leads to the Resurrection and climax (with Luke re-joining his rebellion friends to destroy the Death Star and then returning ‘home’ for celebration). As much as this simplistic story structure may suggest an outcome that is reasonably foreseeable, especially in the way in which the penultimate moments results in an outcome that see’s the ‘hero’ fulfil his ‘destiny’, Lucas doesn’t simply exhibit a story-line that is routinely formulaic, it’s a narrative that charismatically upholds wondrous detail and imagination. As much as we have an inkling of the events that’ll inevitably unfold, it’s the masterful combination of editing and character interactions that heighten the more tense moments and results into sequences that are all the more memorable. From the famous opening-crawl of the film to the moments where characters are simply talking to one another, there’s genuinely some good-hearted nature to what’s being shown and while Lucas’ idea may have been completely bizarre to those who initially read-upon his idea, it proved to be a concept that all demographics could relate to. Despite the fact that you’re either younger or older, anyone can find enjoyment when it comes to A New Hope since the narrative can afford to exhibit an amalgamation of lighter and dark tones. There’s always a perfect balance to when it comes to showcasing scenes that are either comical or harrowing. A perfect example of this is seen when Luke inherently links his recently bought droids to the Empire and shockingly discovers the death of his aunt and uncle; a moment which transpires into the said protagonist wanting to know the ways of the Force and helping the Rebellion further linking to one of the Hero’s Journey’s steps of the central character calling to the adventure presented to him. As much as it would be easily feasible to mention A New Hope’s akin to Akira Kurosawa’s Seven Samurai, a feature that was influenced for it’s swashbuckling narrative traits and has been referred to many times by critics and devotee’s alike, what’s imperative to get across with the story-line of the first Star Wars saga is the manner in which it compellingly displays a likeability that’s inherently transcended into audiences of each generation remembering something about the film that most appeals to them; whether it’s a character, a quote or one specific scene. It’s hard to fathom any other feature which instinctively exudes such a memorable and favourable status quo.
Unlike the likes of Lucas’ expansion of the Star Wars film series in the form of The Phantom Menace and the rest of the accompanying pieces that culminate the infamous prequel series of films which were fumblingly smothered with an over-reliance of technological effects, which subsequently constrained any great story-telling and ample amount of characterisation, the aforesaid director in terms of A New Hope applied innovative special effects and technological feats that rather changed the landscape for big-budget film-making. Despite the film being released in the summer of 1977, it still boasts today subtle camera manoeuvrability and bashful visual effects that puts some blockbusters of today to shame. From the impeccable puppetry seen in animating the many alien of the famous cantina scene to the grandiose production design seen within the mise en scène, what’s clear to see from Lucas’ formatic application is an aptitude that evokes verisimilitude through fantastical means; similar to how the narrative structure is perceived. One ample example of this seen is through the fluid motion of the camera and how it willingly pans across the given starry space. Scenes and film that depicted that vast reaches of space had always been executed through still frames and fixed cameras since it was more economical for the film-makers to not create a background of stars large enough to pan through. In a way, A New Hope broke the status quo of this particular methodology since there are many scenes in which sequences set in space are beautifully orchestrated through the bold motions of the camera following the ships in the frame; further adding to the tension of the scenario. Even within the opening shots of the feature, As the camera tilts up, a vast spaceship appears from the top of the screen and moves overhead, an effect reinforced by the surround sound. It is such a dramatic opening that it’s no wonder Lucas paid a fine and resigned from the Directors Guild rather than obey its demand that he begin with conventional opening credits. While the newborn Industrial Light And Magic had spent $5 million of the $9.5 million budget and not produced a single usable effects shot in one year of working, this effort soon proved to be an effective mode of means as ILM redefined movie effects forever. Many of the planet-scapes are startlingly beautiful, and owe something to fantasy artist Chesley Bonestell’s imaginary drawings of other worlds. The final assault on the Death Star, when the fighter rockets speed between parallel walls, is a nod in the direction of 2001 with its light trip into another dimension: Kubrick showed, and Lucas learned, how to make the audience feel it is hurtling headlong through space. Lucas also learnt to fill his screen with doting world-building touches. There are little alien rats hopping around the desert, and a chess game played with living creatures. Luke’s weather-worn “Speeder” vehicle, which hovers over the sand, reminds me uncannily of a 1965 Mustang. And consider the details creating the presence, look and sound of Darth Vader, whose fanged face mask, black cape and hollow breathing are the setting for James Earl Jones’ cold voice of doom.
As highlighted before, A New Hope is one of the first instances in blockbuster cinema film-making where all audiences could watch an epic narrative and feel as though they can relate to specific moments and particular character choices. One aspect in recently viewing the film that rather instigates A New Hope’s family feel are the performances of all the characters and the strong chemistry they all have with one another to establish this social-verisimilitude that’s hinted at. While our perspective is gazed towards one fastidious and human-esque droid in the form of C-3PO and a childlike robot that causes mischief in the appearance of R2-D2, their confusion of the commotion of the Empire invading the rebel ship and then suddenly being hurled towards a remote planet rather serves as a visual metaphor for scrambled understanding of what’s taking place. Of course, through multiple viewings we understand now that Darth Vader, flawlessly voiced by James Earl Jones, desires the Death Star plans that Princess Leia handed to R2-D2. hence their escape. However, it’s a beginning that feels appropriate thanks to the characters depicted. While there’s an arguable notion to have Luke shown first in the narrative, by showing the two droids firstly, it gives us this perspective of the context of the story and where the narrative is taking place. The mentioned robots as well necessarily uphold a comical aspect that engrosses our attention to want to know further. Besides this however, one of the most admirable things to say of not just A New Hope, but of all the Star Wars franchise in relation to its characterisation and performances is the commendable adoption of actors that don’t necessarily have that ‘stardom’; a recognition where you’ll go, “oh it’s that actor from that film!”. Star Wars has always been attentive in casting its beloved characters and it’s this ideology that has made the performances and moments of their respective characters that much more memorable and engaging. The most obvious case and point of this is the inclusion of Harrison Ford who suavely portrays the handsome and wise-cracking Han Solo that many devotee’s adhere to be the coolest figure of the entire Star Wars franchise, understandably. His swagger and composed personality evoke every man and boy’s inner rebellious nature and the way in which he deals with any situation with his personality is certainly relatable. Through my many viewings of Lucas’ film, one character that I’ve become attached to through his own mysticism is that of Obi-Wan Kenobi, astutely enacted by Alec Guinness who’s effortless facial expressions and manner of speaking envelop a figure that’s experienced trauma. The moments in which he specifically talks to Luke of the Force and the Clone Wars always draws me in since I feel I’m always missing something, but I’m not; which is thanks to Guinness’ inviting performance. What’s pleasing to see in a film that could have made or braked Lucas was the interactions between all the characters and how methodically we’re introduced to them one by one.
Seeing the film the first time, I was swept away, and have remained swept ever since. Indeed, A New Hope was certainly a produce of its time, but like its myths have informed us, its a grand science-fiction feature that will outlive us all and that’s truly a testament to what it achieved. Naturally, while many will put Lucas’ achievements down to his persistence in detailing his formatic craftsmanship and upholding special effects that did change the landscape for the likes of CGI and puppetry work as we know it, it can’t go unnoticed how much equal imagination went into the story and how the simplistic and identifiable narrative structure married well with the likeable characters that were portrayed. Again, to highlight what had been mentioned in the introduction, it’s not a surprise that it dethroned Jaws to become the all time blockbuster box-office hitter at the time. Compared to many other films trying to champion cinemas and theatres, A New Hope upholds a unique appeal that only so few films in history can hope to try and emulate. It’s a feature bestows enjoyment and a memorable significance that is a force to be reckoned with…
On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Halloween Special Film Review of A New Hope 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 the next Star Wars film, Empire Strikes Back, and seeing how the second film of an adhered franchise became to be known as the best of the bunch! 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