Skip to main content

In Defense of Star Wars


Star Wars fans tend to think of their films in a bubble, separated from the narrative of film history. That’s fine really, they know more about these films and the story than any other. It’s a fun and fleshed out universe, and if your willing to suspend your disbelief to the fullest extent, it can give you unlimited pleasure debating plot points, motives, back stories, or revision (Han Shot First! see above) What I want to do though is different from a regular fanboy blog, and contextualize A New Hope in film history, and underline its importance there.
        I, unlike most fans, prefer A New Hope to The Empire Strikes Back. I love meeting the characters, the quotable dialogue, Luke’s realizations, the rescue of Princess Leia, and the explosion of the death star. I have always maintained that if the film had failed and no sequels had been made, the first film is self contained enough to stand on its own. However, in 1977, it did not fail. In fact, the opposite; it became the highest grossing film of all time, with over $770,000,000 in box office receipts; today it remains the second highest film of all time, after the numbers are adjusted for inflation. Even more, the film seemingly came out of nowhere. George Lucas primary work before this was THX 1138 and American Graffiti, two low budget films that show no signs of precursing Star Wars. THX 1138 is a cliché’d dystopian drama that was commercially unsuccessful, and American Graffiti is a coming of age story designed to appeal to the mainstream. Francis Ford Coppola produced both films, and was instrumental in making George Lucas a director. Then there is Star Wars, a film with unprecedented special effects, a film with a score rivalled only by Jaws or Superman, a film that seems futuristic, is set in the past, but is absolutely timeless. A New Hope seemingly hit the world out of nowhere.

And Luke went on to become President.

          So in 1977 A New Hope is released and shatters box office records. It was nominated for Best Picture, Best Director, and Best Screenplay, and although it lost all of those to Annie Hall, it still ended up winning the most Oscars that year. But the real legacy of the film is that it, along with Jaws, set the standard for the Hollywood Blockbuster. Films made on big budgets that bring home around half a billion dollars, a standard that the studios is today dependent on, a standard where the audience is wowed more by the aesthetics than anything else, are forever indebted to the success of A New Hope.
         And, for a while, it was a pretty good legacy to leave behind, until recently when films have lost their entire intellectual caliber and rely solely on name brands from pre existing franchises. A New Hope was not a remake, sequel, or adaptation; it was something almost unheard of today in Hollywood, an original big budget idea. It draws inspiration only from other famous stories, such as Flash Gordon, the films of Akira Kurasawa, Westerns, 2001 A Space Odyssey, The Wizard of Oz, and a good deal of original input from George Lucas. The studios took a huge risk with Star Wars, a big budget children’s movie with only one big name (Alec Guinness) and a relatively unknown director; before the film came out, many predicted that it would be a failure. Back in the 1970’s studios were at least willing to take these risks; today, it would require multiple big names attached to it and a watered down plot.
         And then, everything that made the film special and unique was negated with The Phantom Menace. Lucas took an incredible story and pushed it to its extreme. But hey, that’s what a blockbuster is in this generation, and nothing could have illustrated it better than Star Wars. Still, no matter how bad the prequels were, nothing can tarnish the originals for me.

Comments

  1. I think we who like Empire better, like it because it is darker and digs at deeper emotional depths. I completly respect that you like Star Wars more and your reasons are absolutely valid. I do seem to gravitate more towards Return of the Jedi these days, though, due to it being a more mature production - both in technique and character building.

    ReplyDelete

Post a Comment

Popular posts from this blog

The Actor/Director

When I was a kid I used to watch Home Movies on Adult Swim, a show about kids who try to make movies with a hand held camera. I remember the main character, who was the director, saying at one point that he was going to switch roles with his friend and become the actor, because every director wants to act, and every actor wants to direct. Hollywood keeps proving this statement true. Spike Lee regularly appears in his own movies, Tarantino has done it, Kevin Smith wrote Silent Bob for himself, David Lynch acted in Twin Peaks, Martin Scorsese, Mel Brooks, Woody Allen, Fritz Lang, the list goes on of directors who have appeared in their own films. Then there are those who have had full time jobs as both actors and directors, most notably Orson Welles and Clint Eastwood. Both of them can be studied in either context, and often appear in their own work. But what I’m getting to are the actors, who make it big in Hollywood, and then try their hand at directing. These films are what interest...

I Still Don't Like Spielberg

Sorry. Four years ago I wrote an article about my issues with Steven Spielberg, particularly taking aim at Schindler’s List and AI , mostly from the Kubrickian critique I had developed at the time. As time has passed and I have seen hundreds more films to greater contextualise the man and his work, I decided it was time for a re-evaluation of Spielberg on my part. After all, the age of the “coffee table” Hollywood drama seems to be winding down, as studios continue their unfortunate output of sequels, reboots, and superhero franchises. I sometimes pine for the days when Hollywood at least made an effort and created Oscar bait - independent films dominated awards season this year, with American Sniper being the only studio film nominated for Best Picture. So this week I watched four films I had never seen before from Spielberg’s back catalogue, in the hope of being able to soften my stance towards him. With détente declared, I watched Amistad , a film grounded in the little...

Quentin Tarantino Worst to Best

I apologize for the second lapse in updates. I moved back to America from England, and have not been moved to update since returning to my native country. I’ve still been watching new films on a daily basis, however, and have a whole list of new entries I want to put in eventually. As long as I am sure my opinions are better than yours, I will continue writing. Anyway, now that I have put myself on a pedestal I suppose I must deliver, so here’s an entry I have been wanting to write ever since I began this blog, a best to worst list of the films of Quentin Tarantino. I, like every other college age male, am a huge Tarantino fan. He is at the same time subtle and extreme, and his overall style is so personal that within minutes you can tell you are watching a Tarantino film. So, from the bottom, here is a list of his films. Missing from the list will be True Romance, Four Rooms, Sin City, and the episode of CSI he directed, as I don’t classify them as Tarantino enough to make the cut...