Amadeus.

Review #1473: Amadeus.

Cast:
F. Murray Abraham (Antonio Salieri), Tom Hulce (Wolfgang Amadeus Mozart), Elizabeth Berridge (Constanze Mozart), Roy Dotrice (Leopold Mozart), Simon Callow (Emanuel Schikaneder), Christine Ebersole (Caterina Cavalieri), Jeffrey Jones (Emperor Joseph II), Charles Kay (Count Orsini-Rosenberg), Kenneth McMillan (Michael Schlumberg), Kenny Baker (Parody Commendatore), Lisabeth Bartlett (Papagena), and Richard Frank (Father Vogler) Directed by Miloš Forman (#1164 - One Flew Over the Cuckoo's Nest)

Review:
"Director is little bit of everything, little bit of the writer, little bit of an actor, little bit of an editor, little bit of a costume designer. Good director is the director who chooses for this profession people who are better than he is."

Milos Forman directed twelve films (and one documentary segment) in his life, one comprised of life in Czechoslovakia and abroad in the United States, recieving stature in both places through his interesting films, which started with Black Peter (1964) after years spent studying at the Film and TV School of the Academy of Performing Arts in Prague alongside writing work in Czech comedies, which served as his genre for the three films he made in his native country (with The Firemen's Ball (1967), the last before he left the country, being considered a key piece of the Czechoslovak New Wave) before he left in 1968 due to changes in the country. His films in America were a mix of adaptations of numerous media or biographical in nature (with measured success), which resulted in successes such as One Flew Over the Cuckoo's Nest (1975), this film, and Man on the Moon (1999).

The film is adapted from the play of the same name by Peter Shaffer (an English playwright behind works such as Equus that served as writer for the film), which had first been performed in 1979 in London (with a Broadway production in 1980). The play took artistic licence in its depiction of Mozart and Salieri, describing the work as "fantasia on the theme of Mozart and Salieri". This was not the first play to push forward the myth (or to be more blunt, a lie) involving Salieri having a hand in the death of his supposed rival Mozart (with one key point of anger being at Mozart's boorish behavior while being a genius), with famed Russian poet Alexander Pushkin having composed the play Mozart and Salieri in 1830 (with an opera being done by Nikolai Rimsky-Korsakov 67 years later). The idea that the two composers were such rivals to the point that one of them may very well have wanted to kill the other is absurd, full stop (I am not a history buff by any means, but anything that resembles the reek of conspiracy theory is suspicious). This fundamental point is the first and really only hurdle that stops it from being considered a great film for me. It does have a great design to it in terms of costume design, alongside a great appreciation for music (with Neville Marriner serving as music conductor and supervisor for the Academy of St Martin in the Fields orchestra) and a fairly well-rounded cast to go alongside everything (including natural light and location shooting in Prague, most notably in the Count Nositz Theatre, where Mozart had performed in) that is delivered with precision by Forman to make a mostly successful curiousity on the nature of talent and genius. There exists two versions of the film: the original 161 minute film (rated PG) and a three hour (R-rated) version released in 2002 as a Director's Cut that restored scenes cut originally due to not wanting to test the audience's patience too far in run-time (for a project that was hard enough to finance about a period drama).

It proves fitting to have Abraham and Hulce as the leads (as opposed to any of the stars from the play adaptations, which included Ian McKellen and Tim Curry - Forman wanted American leads for the two roles), since they each had experience in the theater just as much as in film. Abraham proves a tremendous presence, one wracked with desire and regret as a self-described "patron saint of mediocrity" that we can all see a little bit in ourselves that makes the most of his time count with gravitas. Hulce (and his occasional dreadful laugh) does just fine with capturing the complciated essence of a troubled genius, eccentric but captivating to see in a pursuit of greatness with tinges of hedonism along the way. Berridge (who won the role after Meg Tilly injured her way out) makes for a quietly driving force to follow along with at times with Hulce with bright spirit. The others in the cast, such as Doctrice and Jones, make for fair impressions in rounding out a period drama with a good deal of importance and distinct pleasure that retains one's attention just as much as when not on Salieri and Mozart alone. On the whole, the film moves at a careful pace within a curious starting point to generate a fairly interesting look upon music and human nature (namely, ambition) that will keep attention for what is needed with music and a game cast and design to make a mix of history and fiction that makes a solid film for its time of over three decades.

Overall, I give it 9 out of 10 stars.

Redux: Star Wars: Episode III – Revenge of the Sith.

Redux Review #144: Star Wars: Episode III – Revenge of the Sith.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Senator Padmé Amidala), Hayden Christensen (Anakin Skywalker), Ian McDiarmid (Supreme Chancellor Palpatine), Samuel L. Jackson (Mace Windu), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Christopher Lee (Count Dooku / Darth Tyranus), Jimmy Smits (Senator Bail Organa), Matthew Wood (General Grievous), Silas Carson (Ki-Adi-Mundi / Nute Gunray), Temuera Morrison (Commander Cody), and Peter Mayhew (Chewbacca) Written and Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, #142 - Star Wars: Episode I – The Phantom Menace, and #143 - Star Wars: Episode II – Attack of the Clones)

Review: 
Countdown to 150 Reviews: 10, 9, 8, 7, 6...
At last, the end. The best of the bunch of prequels gets what I hope to live up to with the standard review, especially a redux - even if is more a blend of praise and slight criticism this time around. Enjoy.

Admittedly, finishing a trilogy can prove daunting, particularly when it is the culmination of a saga of a character as memorable as Darth Vader. This time around, there actually seems to be a real emphasis on making a tragedy alongside being entertainment. There are plenty of spectacle sequences along with a bit of depth - while also still having things to make light of. It isn't as inconsistent as the other two films, managing to find a heart of darkness that does seem to make this trilogy mostly worth it. For one thing, I actually seemed interested to view Anakin on screen beyond just lightsaber dueling. Sure, he always seemed to have problems with impulsiveness, anger issues, jealousy - and occasional lapses into ridiculous line reads. Christensen still struggles at times with the clunkier aspects of the dialogue at times - such as when he nonchalantly says to his wife that she'll die in childbirth. He shines best when conversing with McGregor or McDiarmid more so than Portman, who mostly is around just to linger in one set at a time without as much to really do. Their chemistry together isn't really too great, middling above teenage lyric posts on the Internet. McGregor proves efficient as ever, filling the noble roots set by Alec Guinness and completing the circle with charm. McDiarmid takes his time to go the ham of an actor on stage set by himself with Return of the Jedi (1983) - and I enjoy it just the same. Instead of being a phantom menace (pardon the pun) to the events around him, now he gets to be involved with actual fights, complete with snarls and cackles. Jackson gets something to do (and say), which I do enjoy when it comes to the film's key point for its first hour. Oz keeps the interest flowing as expected. Naturally, Lee is given four lines, disposed as quickly as expected from a trilogy that likes to jump from adversary to adversary before allowing its true puppet master to try and shine through. I would say that it might have been more interesting to have one villain throughout a whole trilogy before being disposed of (ignoring any sort of middle ground television show, of course) - but we're past that point of complaints, I guess. Smits is fairly serviceable; Wood is okay as a mediocre threat, which is quite the thing to say about a cyborg with four arms. Once the film disposes with the pretense of trying to build paper threats and actually showcases the true threat and Anakin's descent is when the film really does become an actual winner, complete with a worthy climax to alongside it.

I had forgotten to mention John Williams and his music score throughout these films, which it goes without saying are pretty well, but it really does shine here with the mood and pacing throughout the movie here, such as the aforementioned climax but also subtle moments such as the rumination sequence, where it carries a 90-second moment that shows off on a visual level with effective choice in composition. It isn't a perfect film by any means. It still meanders with wooden dialogue on occasion, while also feeling a bit too ridiculous with its justifications for Padme's fate (losing the will to live being a thing only a robot doctor would assume, I guess), but at least there is an actual sense of adventure present without being completely lost in a virtual screen. Sure, it does try to be a bit tidy with its ending, trying to seal things up with plenty of connections to before (much in the same vein that the other two had done), which does seem a bit overboard - but at least it sure has a well-done last shot to close on. Revenge of the Sith strives for a glut of action and story in a 140 minute run-time with plenty of drive and spectacle, managing to succeed on the last go on the prequel merry-go-round with very little in terms of hitches to interrupt the ride.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode II – Attack of the Clones.

Redux Review #143: Star Wars: Episode II – Attack of the Clones.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Hayden Christensen (Anakin Skywalker), Natalie Portman (Senator Padmé Amidala), Ian McDiarmid (Chancellor Palpatine), Christopher Lee (Count Dooku / Darth Tyranus), Samuel L. Jackson (Mace Windu), Temuera Morrison (Jango Fett), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Daniel Logan (Boba Fett), Leeanna Walsman (Zam Wesell), Silas Carson (Nute Gunray and Ki-Adi-Mundi), Ahmed Best (Delegate Jar Jar Binks), and Jimmy Smits (Bail Organa) Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, and #142 - Star Wars: Episode I – The Phantom Menace)

Review: 
Countdown to 150 Reviews, 10, 9, 8, 7...
As promised, a redux of the second prequel film. I described it as better than the first film, but not by much, and not much really does change, does it? At least these are reviews I can feel proud of, which I hope you enjoy.

These films, if distilled into a basic premise of the portrayal of the rise and fall of Anakin Skywalker, from adolescence to adulthood, could have made for some weird and wonderful tragic drama. The first film proved that trying to cover details from the past mixed with ill-advised story choices made for a film that collapsed under its own weight of hubris and anticipation from others. The only thing that changes this time around is that the anticipation is more of a dead calm, and the film manages to find time for improvement at the pace of a snail. While Lucas once again served as director and writer, Jonathan Hales was brought in to help co-write for the film, refining the script until right before production was to begin. The dialogue can't quite help the actors out again, a villain is introduced and wasted once again, and story motivations seem more appropriate for an opening film than a middle movie. You really could skip the previous movie and not really lose too much grip on the story, since you could basically sum up key events in one line or less. As I mentioned earlier, having to switch actors for your main character doesn't help matters, especially since the dynamic between McGregor and Christensen only really comes into focus on occasion. In trying to make a grander, more epic scale Star Wars with plenty of plot-lines, Lucas has succeeded in making two mediocre movies to drive his trilogy, finally finding some sense of focus by the time of its climax, with its Clone Wars aspect.

The film builds itself on the blooming relationship dynamic between Christensen and Portman's characters, having the passion of lines spoke by a computer program. A film romance works best when it actually seems the actors are truly invested in what the script wants them to say. The previous trilogy had a romance that was subtle without being overbearing in the slightest. Lucas wanted something more than just a scoundrel and a princess - a forbidden romance with a Jedi involved. Again, this works best when I actually feel that these actors really seem invested in what they want to do, and it slowly rises from slightly weird to slightly palpable, but that isn't enough in a film that plods along for 142 minutes. The acting still plays hit-and-miss, but McGregor and McDiarmid do turn out to be the key winners of the bunch, the former seeming much more interesting to be around with this time around - whether when bantering with Christensen like an odd couple or in battle, and the latter being as conniving as ever. Christensen doesn't fare too well with such a big role to fill as the eventual Darth Vader, feeling a bit too flat and occasionally grating, falling into the same trap as Lloyd had with being stuck with offbeat lines that make a shadow of a character. Portman is okay, but not too particularly inspired as the other side of the token, faring a bit better when running onto an action set than on some grass trying to talk about politics. Highlights include complaints about sand, attempts at humor that go hit-and-miss, and eventual action sequences on dusty planets that can't help but be like cutscenes once again. Lee is criminally wasted as the main adversary behind the true power, a character cut from bare cloth that isn't too particularly menacing, even with a legend like Lee. The fight with him and Yoda is amusing to picture and weirder to try and describe, since it's a CGI muppet against a mix of Lee (then in his late seventies) and a stunt double. Morrison is quiet, but alright for the necessary time needed. Jackson and Oz are given a few lines to carry, so that's a nice repeat of before I guess. The action sequences here doesn't seem as involving as one would hope, and the political drama is only slightly less pale this time around. The question isn't so much if this is a better film than the previous one as is it really a question of how it took so long to drive the story to some sort of meaningfulness. Lost in a shroud of effects, flashy costumes, and questionable motivations, Attack of the Clones is a mediocre sequel to a mediocre movie that is made lesser by comparisons of past and future of Star Wars films. I wasn't exactly bored by what I saw - I just felt much of the same mood that I did the last time.

Overall, I give it 6 out of 10 stars.

Redux: Star Wars: Episode I – The Phantom Menace.

Redux Review #142: Star Wars: Episode I – The Phantom Menace.

Cast: 
Liam Neeson (Qui-Gon Jinn), Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Queen Padmé Amidala), Jake Lloyd (Anakin Skywalker), Ian McDiarmid (Senator Palpatine / Darth Sidious), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Pernilla August (Shmi Skywalker), Frank Oz (Yoda), Ahmed Best (Jar Jar Binks), Oliver Ford Davies (Sio Bibble), Hugh Quarshie (Captain Panaka), Samuel L. Jackson (Mace Windu), Ray Park (Darth Maul, voiced by Peter Serafinowicz), Terence Stamp (Supreme Chancellor Finis Valorum), Keira Knightley (Sabé), Silas Carson (Nute Gunray), Brian Blessed (Boss Nass), Andy Secombe (Watto), and Lewis MacLeod (Sebulba) Written and Directed by George Lucas (#113 - Star Wars and #141 - American Graffiti)

Review: 
Countdown to 150 Reviews, 10, 9, 8...
Well, it has now been 20 years since the release of this film, the first of the three Star Wars prequel films. Fans may remember the revised editions of the Original Trilogy reviews (originally published 3/30-4/1, 2012) back in 2016, in light of Star Wars: The Force Awakens being released months earlier. I figured it was time to revise some admittedly okay reviews (original publish date of 5/19-5/20, 2012) right before Star Wars: The Rise of Skywalker comes out. I hope you enjoy these reduxes. 

Review: 
It goes without saying that Star Wars is one of the biggest media franchises of pop culture. It has transcended film, television, and beyond over the decades - the original trilogy is still beloved by many, whether from people who seeked it out upon original release or found it playing somewhere on their screen in the present day. Return of the Jedi was the last of these films for 16 years, with Lucas not being inspired to do further films of his saga until the advent of CGI led him to believe it could help him do what he felt was needed. The result proved polarizing, especially in the age of a growing Internet - and age doesn't really help make this film seem too much better. This is a film that bears more on spectacle and details than a fully developed adventure. Perhaps Lucas fared best when he had at least one other writer trying to guide story ideas into something more than just an assortment of old arch-types and myths. The space opera has now shifted into one with mixes of action and politics - which makes for a somewhat stilted result. Like before, there are plenty of creatures and worlds to look at, even if it seems a bit less involving to stick for. I appreciate the effects for what they try to deliver, since they hold up well for 1999 - but wondering what is a blue/green screen and what isn't does get a bit distracting sometimes. The story seems spread too thinly, distracted over whether to be a movie about the Republic or Anakin, spending too much time to really drive itself forward. To say nothing of the logistics of electing a queen at 14, or midichlorians (which is still something to ridicule even with the dawn of a further trilogy), or referencing things from the previous films (did you know who built C-3PO? Weird, I know), and so on. Making fun of these aspects is more interesting to do while watching the film rather than spend a paragraph writing, one must say. The film does fine with spectacle pieces like the pod race sequence or the Darth Maul duel, but the former verges on meandering and the latter is nearly distracted from its other battle at the same time to have the right impact. With all of these characters (new and familiar), only a select group seem truly necessary, but the dialogue doesn't give them many favors. The trilogy is meant to be a tragedy of Anakin Skywalker, and yet the first film can't really plant many seeds to make that start to bloom, perhaps since the initial focus is on a kid (after all, Lucas moved his age from initially being 12 to 9 to try and fit the effect of him separating from his mother better). It didn't need to be a rehash with him being a young adult like Luke, but Lloyd is fledged with an unenviable task of playing an eventual Darth Vader in only one go. Having just one actor (and a change in pace, no less) for three films might have made them roll with more impact - at least we would have been spared a kid Anakin asking someone if they are an angel.

In a sea of interesting acting choices, it should only prove fair to have them seem routine behind some sets and screens. Neeson seems a bit too pallid to evoke much drama, with his final fate not having as much impact as it likely could have. McGregor doesn't quite have his familiar role pinned down here, and the lack of a dynamic between him and his future student in Anakin doesn't help much. Portman is hindered more by a ridiculous decoy plot than anything, but at least she does make some sort of curious impression. Lloyd doesn't quite have the conviction to make this role work, but how can anyone turn dialogue such as "Now this is podracing" really work (while being on a starfighter - long story) without ridicule? Any time with him and Portman is just weird in general. McDiarmid does well with playing the subtle kingmaker of his own doing without hitting a snag. August is quietly effective, even when occasionally lost in the spectacle background. Best plays a role that Buster Keaton would likely laughed off as too clownish with effort - it may not work out well, but at least he isn't the only fault present. The others (including a criminally underused Stamp) are pretty forgettable, and Darth Maul proves to be a fair but not too inspiring threat. Obviously the real threat is supposed to be the bigger one to look into (even if you already know who said threat is), but it only served to make for a trilogy of cut-scene quality adversaries. The droids don't prove too imposing, either, just big stick-looking things to fill the screen. By the time it gets to its climatic battle sequences, it proves to be a glut of overload, though the Maul fight is a bit nice. At least the lightsaber fights stick out for their attempts at finesse. In the end, the movie is a mish-mash of old story types, a dash of hubris, and ultimately something ridiculous to behold for each generation of fans, old and new. Some can rush to defend it for its quirks, and I understand that basis all the same - to me, this is an average adventure compounded as a disappointing Star Wars film.

Overall, I give it 6 out of 10 stars.

Redux - Special Edition: Return of the Jedi.

Review #115: Return of the Jedi.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), David Prowse (Darth Vader (voiced by James Earl Jones), Sebastian Shaw (Anakin Skywalker), Ian McDiarmid (The Emperor), Alec Guinness (Obi-Wan Kenobi), Frank Oz (Yoda), Denis Lawson (Wedge Antilles), and Timothy M. Rose (Admiral Ackbar, Sy Snootles and Salacious Crumb) Directed by Richard Marquand.

Review
In my original review (#115 - April 1, 2012), I had given the movie a 9/10 rating, and while I stand by the rating, I regretted not saying more about the movie, with regards to the characters, action and effects. Because of this, I decided to finally make a Redux - Special Edition (which I had done for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). 

Now, with May 25, 2023 on the horizon, it is time for a bit more editing. Don't worry, it's just the addition and subtraction of certain sentences to give better clarity. Enjoy.

Decades after its release, Return of the Jedi always seems to be lumped in as the lesser of the three films of the so-called Star Wars Original Trilogy. On an emotional level, the movie is a bit too safe, particularly with the ending. Granted, The Empire Strikes Back is a tough act to follow, because that film basically saw the series grow up a bit when it came to the stakes being even higher in terms of space opera while separating its characters into neatly defined plots. I maintain of course that the original 1977 film is the one with the most punch in terms of "first-time joy", but with Return of the Jedi, it does have the benefit of closing its door of a story not one of simple rebellion, but of one with father and son. Howard Kazanjian replaced Gary Kurtz as producer. The director would be Richard Marquand, who had directed The Legacy (1978), Birth of the Beatles (1979), and Eye of the Needle (1981), with the latter being cited by Lucas as key to hiring. This time around, Lawrence Kasdan and George Lucas wrote the screenplay with Lucas providing the story (Kasdan used tape transcripts of him, Lucas, Marquand, and Kazanjian in conference discussing ideas to help make the script). The film was a tremendous success, although for Marquand, having to direct with Lucas looming on set frequently when it came to handling effects certainly must have been a challenge. Marquand directed three further films after Jedi before his death in 1987 at the age of 49 following a stroke. 

Of all the cast in the movie, the one actor with the most impact is the one with little screen time and only 24 words, Sebastian Shaw, who manages to evoke the dying words of a redeemed but withered man with such little time and be one of the more memorable aspects of the film. The Emperor, after being seen briefly in Empire Strikes Back (voiced by Clive Revill in 1980 but replaced by Ian McDiarmid with computer-generated imagery for the 2004 alteration), is given his time to showcase his power over the Empire and Vader himself. McDiarmid plays this master of deception with an unsettling tone of voice that makes the villain more than just a hammy bad guy, compelling even without much revealed about him (until the prequels, anyway, which let him play a double act). Hamill's best scenes are with McDiarmid & Jones, and they make for compelling entertainment, with the lightsaber duel being a key highlight. While the trio of Hamill, Ford & Fisher doesn't really cover any new ground, it is nice to see them again. It's interesting that Ford wanted his character to die as a "self-sacrifice" for a character that progressed from a rogue who didn't particularly care about the Rebellion (while caring mostly about himself) all those years ago to one who decides to die for his friends; Kazanjian had got Ford to return to the role and actually agreed with Ford's suggestion to kill the character off, but Lucas refused. The reveal of Leia being Luke's sister isn't a bad scene, but after everything the two characters had gone through (such as the kiss in Empire to make Han jealous - at least I hope so), it comes off as somewhat strange, especially with Leia stating that she apparently always knew. Circle of life and all. The movie ends with everyone happy (complete with celebratory music in both the original and Special Editions), but does an Empire truly end just because you take down the leader? By this point, Lucas wanted to end the trilogy and curtail any plans he (supposedly) had for Episodes VII-IX and just end it, even if it wasn't as poignant as it could've been. My thoughts on the film have shifted the tiniest bit when it came to the Ewok battle on Endor, since a group of teddy bears that believed a golden robot was a deity manage to take down Empire soldiers with logs and...overpowering them seems more and more amusing when considering the idea of a technological empire losing to a primitive tribe was evidently Lucas deciding to evoke the Vietnam War. Hell, he calls the Ewok sequences a "distraction", not a win, so keep that in mind. The opening rescue sequence on Tatooine with the loathsome Jabba the Hutt is a delightful way to spring adventure from the get go.

Of course, the space dogfight is as fun as ever, probably more so when considering how the series would do them in later years (to say nothing of the Special Editions, which are most apparent here, from the ridiculous song in the first half to the ending); Richard Edlund, Dennis Muren, Ken Ralston and Phil Tippett were each given a Special Achievement Academy Award for their work in the film in effects. Once again, the music by John Williams is excellent, being entertaining (any of the themes from the Battle of Endor, with one of my favorites being "Into The Trap", but "Emperor's Throne Room" is also a chilling brilliant one). For all I said about how it seems too safe at times, Return of the Jedi an enjoyable film, full of spectacle that has enough fun to mostly overcome its emotional shortcomings. Is it slicked in more commercial flavor than the other two? Sure, but it still an enjoyable adventure, one that showed what is fun about making space adventure that turns old cliches into new enjoyment for all to see.

32 years later, Star Wars: The Force Awakens bridged its continuation to the old and new generations of fans, doing a fine job as a beginning of a new trilogy. Time will tell how the new trilogy (and spin-off films) will go, but as someone who saw Episode VII on opening day and enjoyed himself, I sure can't wait.

Overall, I give it 9 out of 10 stars.

Redux - Special Edition: The Empire Strikes Back.

Review #114: The Empire Strikes Back.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), David Prowse (Darth Vader (voiced by James Earl Jones), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Frank Oz (Yoda), Jeremy Bulloch (Boba Fett), Alec Guinness (Obi-Wan Kenobi), and Denis Lawson (Wedge Antilles) Directed by Irvin Kershner (#004 - Robocop 2)

Review
In my original review (#114 - March 31, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the characters and effects at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux - Special Edition (which I did for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy.

The Empire Strikes Back is often called the best installment of the original trilogy and one of the best sequels of all time, and with good reason. It raises the stakes along with the mood and tension in a degree that makes for an entertaining movie that eclipse the excitement and depth of the original film in some aspects. It's interesting that the beginning of the movie starts not only with a large-scale battle, but one that our heroes technically lose (in that they retreat). Sure, they had destroyed the Death Star, but the story (and the war) didn't end just because you can blow up a base (or two). It has been three years since they destroyed the Empire's space station, but the Rebels has moved on from celebrating in Throne Rooms to having to deal with getting a new base and adapting to the cold and the fear the Empire would find them. The music by John Williams is once again fantastic, ranging from tense (The Battle of Hoth) to mysterious (Yoda's Theme) to one that inspires dread (The Imperial March) to one that fits for the climax (The Clash of Lightsabers), with the music fitting the movie just perfect.

Of the (now seven) films, Empire Strikes Back is the only one that introduces key characters while not having any major ones die, and the movie still manages to be emotionally satisfying. Williams is certainly a welcome addition to the band of heroes, managing to have a certain aspect of intrigue along with conflict about the decisions he has to make. Yoda is an interesting case, depending on when you see him (prequels/originals), but in this he certainly has a mystique that evolves from seeming like an strange little hermit (in our first encounter watching him first meet Luke) to a wise master that seems to have more secrets than he lets on. I love the puppetry for Yoda because it never seems fake or off-putting to watch. The way it moves around along with the voice (by Frank Oz) fits well with a character as grand as Yoda.

It's interesting how popular Boba Fett (voiced by Jason Wingreen originally, though replaced by Temuera Morrison after 2004) became even though he doesn't have many lines to say (though he does have a crucial role), though his armor is admittedly interesting to look at.  The Emperor (voiced originally by Clive Revill but replaced by Ian McDiarmid in the newer editions starting in 2004) has only one scene in the movie, but he manages to have an important presence even when he isn't seen because even though Vader seems to be more in control (as opposed to Tarkin essentially having Vader on a leash in the previous one) of the Empire's wrath, he still has a Master to look to. Of course, one can't mention the movie without saying something about the Han-Leia dynamic, and the way their romance doesn't seem to override the movie or take away from it - because it seems natural and it makes the movie more interesting than it already is. Even the line of "I know" to Leia saying "I love you" works because it doesn't bog the movie down in melodramatic form of romance (which is something the prequels, in particular Episode II failed to do).

Once again, the effects (visual and sound) are impressive, but the fight between Vader and Luke is also a key highlight, with the lighting and steam creating a subdued atmosphere, for a fight sequence that is a key improvement over the last film in terms of tension and stunt choreography. The reveal of Darth Vader being Luke's father is a moment in which the movie manages to culminate all the emotional buildup of Luke having believed that his father was killed by Vader only to find out a harrowing truth (or was it?...of course it was) into a powerful moment that still is a great scene even when you've already seen the movie or know the mythology because it still manages to be a memorable and effective scene, serving as a great climax for the film. Ultimately, The Empire Strikes Back manages to be a dark, but entertaining movie that serves a great sequel to the original Star Wars film that while not ending on a high note for the characters, still has a hopeful outlook to continue onto more adventures.

Next up on Redux - Special Edition is the film that ended the story of our heroes...for a while on a peculiar note...

Overall, I give it 10 out of 10 stars.

Redux - Special Edition: Star Wars (1977).

Review Special Edition: #113: Star Wars.

Cast

Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Peter Cushing (Grand Moff Tarkin), Alec Guinness (Obi-Wan Kenobi), David Prowse (Darth Vader (voiced by James Earl Jones), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Phil Brown (Owen Lars), Shelagh Fraser (Beru Lars), Jack Purvis (Chief Jawa), Denis Lawson (Wedge Antilles), and Garrick Hagon (Biggs Darklighter) Directed by George Lucas.

Review

In my original review (#113 - March 30, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the acting at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux Review (which I had done for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy this "Special Edition" version, if you will. 

Star Wars (also referred to as A New Hope) is a mythical tale that has entertained audiences all around the world for over 40 years, and the scope of its influence on cinema (and filmmakers) can't be understated. It's interesting how a space opera like this had been influenced by other movies such as The Hidden Fortress and Flash Gordon serials, but also works by Edgar Rice Burroughs. Star Wars at its heart is a fairy tale with the mythical nature of the characters, legends in an epic that is not set in the beginning, but rather the middle. You don't have to watch the prequels before seeing this because this film s manages to introduce itself and its story extremely well, right from the opening crawl. I remember watching this when I was around 13 years old, and I can recall that I didn't know much about Star Wars at the time (aside from the name), but the Battle of Yavin (amidst other scenes) managed to stick out the most in my head, even years later. Perhaps it was the memorability of the characters, or the music (by John Williams) being so in tune to the movie, with Binary Sunset being especially memorable, but other music works extremely well to the atmosphere of the film (Cantina Band) or with adventure with the Yavin sequence at the end.

The characters are interesting to watch interact with each other (particularly our main trio), which is more interesting than the actual acting with regards to the dialogue. While admittedly Hamill can come across as slightly whiny, the progression of his character throughout the trilogy means that it is worth it in the end. Ford is a charming rouge who (along with Chewbacca) manage to be entertaining from the first scene they are in, primarily because of the sheer magnetism of the duo. Fisher also does a fine job, alongside Cushing and Guinness (both already well-established actors of film), who are both memorable in their own ways. Cushing is the perfect actor to play a role that really is the main enemy of the film (as he is the one that commands the Death Star, orders the destruction of Alderaan), even with a Sith Lord at his side. Guinness manages to seal the mysterious wise aspects of an old warrior in his first few scenes while putting Luke onto the path of adventure (even if what he says is true from a certain point of view) and realizing what he must do to play his part in trying to bring down the Empire. It's interesting how David Prowse plays the physical aspects of Darth Vader, and he sure fits the imposing frame of a villain perfectly, with James Earl Jones' voice being quintessential for the character.

Even though the movie has had fixes over the years (most notably the "Special Edition" version), the effects are still impressive to me in the sense that I love the effort it must have taken to get the look and action right, such as the TIE fighter attack and how it was based off of dog fights from World War II. The fun isn't in the themes or the dialogue, but in the adventure that ensues, and how it satisfies you by just being a charming movie that doesn't need slogs of backstory to be enjoyable. You can watch this first instead of the prequels and still not be too confused because it isn't one to try and fill background information, rather it is one that has a story of its own with a mythos that would only get expanded upon in future installments.

Next up on the Redux Review / Special Edition: The sequel that many argue is one of the best sequels of all time...

Overall, I give it 10 out of 10 stars.