The Empire Strikes Back

The Empire Strikes Back
Theatrical release poster by Roger Kastel
Directed by	Irvin Kershner
Screenplay by	Leigh Brackett Lawrence Kasdan
Story by	George Lucas
Produced by	Gary Kurtz
Starring	Mark Hamill Harrison Ford Carrie Fisher Billy Dee Williams Anthony Daniels David Prowse Kenny Baker Peter Mayhew Frank Oz
Cinematography	Peter Suschitzky
Edited by	Paul Hirsch
Music by	John Williams
Production company	Lucasfilm Ltd.
Distributed by	20th Century Fox
Release date	May 21, 1980 (1980-05-21)
Running time	124 minutes
Country	United States
Language	English
Budget	$30.5 million
Box office	$538–$549 million[a]

The Empire Strikes Back (also known as Star Wars: Episode V – The Empire Strikes Back) is a 1980 American epic space opera film directed by Irvin Kershner and written by Leigh Brackett and Lawrence Kasdan, based on a story by George Lucas. The sequel to Star Wars (1977),^[b] it is the second film in the Star Wars film series and the fifth chronological chapter of the "Skywalker Saga". Set three years after the events of Star Wars, it follows the battle between the malevolent Galactic Empire, led by the Emperor, and the Rebel Alliance led by Princess Leia. Meanwhile, Luke Skywalker trains to master the Force so he can confront the powerful Sith lord, Darth Vader. The ensemble cast includes Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, and Frank Oz.

Following the success of Star Wars, Lucas hired Brackett to write the sequel; after her death in 1978, he outlined the Star Wars saga as a whole and wrote the next draft himself, before hiring Raiders of the Lost Ark (1981) writer Kasdan. To avoid the stress he faced directing Star Wars, Lucas handed the duty to his acquaintance Kershner, and focused on the expansion of his special effects company Industrial Light & Magic. Filmed from March to September 1979, in Finse, Norway and Elstree Studios, England, The Empire Strikes Back faced a difficult production that included actor injuries, illnesses, fires, and difficulties securing additional financing as costs rose. Initially budgeted at $8 million, costs had risen to $30.5 million by the project's conclusion.

The highly anticipated sequel was released on May 21, 1980, and became the highest-grossing film of the year, earning approximately $401.5 million worldwide. Unlike its predecessor, Empire was met with mixed reviews from critics and fans conflicted over its darker and more mature tone compared to the lighthearted Star Wars. Even so, critics praised the character Yoda, a diminutive puppet that serves as Luke's teacher, for its realistic expressions and characterization. The film was nominated for and won various awards, including a Special Achievement Award for Best Visual Effects at the 53rd Academy Awards. Subsequent releases have raised the film's worldwide gross to $538–$549 million and, adjusted for inflation, Empire is the thirteenth highest-grossing film ever in the United States and Canada.

In the years since its release, Empire has been critically reassessed and is now regarded as the best film in the Star Wars series and among the greatest films of all time. It had a significant impact on filmmaking and popular culture, and is considered the rare sequel that is better than its predecessor. The climax, in which Vader reveals that he is Luke's father, is often cited as one of the greatest plot twists in cinema. It spawned a variety of merchandise and adaptations, including video games and a radio play. The United States Library of Congress selected it for preservation in the National Film Registry in 2010. There was controversy because Lucas wanted a version of the film, modified for release in 1997, to be preserved instead of the original edition. Empire was followed by Return of the Jedi (1983), concluding the original Star Wars trilogy. It has since been followed by prequel and sequel trilogies that round out the "Skywalker saga".

Plot[]

Three years after the destruction of the Death Star,^[c] the Imperial fleet, led by Darth Vader, dispatches Probe Droids across the galaxy to locate Princess Leia's Rebel Alliance.

One probe locates the base on the ice planet Hoth. While investigating the probe, Luke Skywalker is captured by a wampa, but escapes using the Force and his lightsaber. Before succumbing to hypothermia, the Force spirit of Luke's deceased mentor, Obi-Wan Kenobi, instructs him to go to the swamp planet Dagobah to train as a Jedi Knight under Jedi Master Yoda. Han Solo discovers Luke and insulates him against the weather until they are rescued the next morning.

Alerted to the Rebels' location, the Empire launches a large-scale attack using AT-AT walkers to capture the base, forcing the Rebels to evacuate. Han and Leia escape with C-3PO and Chewbacca aboard the Millennium Falcon, but the ship's hyperdrive malfunctions. They hide in an asteroid field, where Han and Leia grow closer amidst the tensions. Vader summons several bounty hunters, including Boba Fett, to locate the Falcon.

Meanwhile, Luke travels with R2-D2 in his X-wing fighter to Dagobah, where he crash-lands. He meets Yoda, a diminutive creature who reluctantly accepts Luke as his Jedi apprentice after conferring with Obi-Wan's spirit. Evading the Imperial fleet, Han's group travels to the floating Cloud City on planet Bespin, which is governed by his old friend Lando Calrissian. Fett tracks them to the city and Vader forces Lando to surrender the group to the Empire, knowing Luke will come to their aid. Luke experiences a premonition of Han and Leia in pain and, against Obi-Wan's and Yoda's protestations, abandons his training to rescue them.

Leia confesses her love for Han before he is frozen in carbonite by Vader to test if the process will safely imprison Luke. Han survives and is given to Fett who intends to collect his bounty from Jabba the Hutt. Lando frees Leia and Chewbacca, but they are too late to stop Fett's escape. The group fights their way back to the Falcon and flees the city. Luke arrives and engages Vader in a lightsaber duel over the city's central air shaft. Vader overwhelms Luke, severing his right hand and separating him from his lightsaber. He urges Luke to embrace the power of the dark side of the Force and help him destroy the Emperor so they may rule the galaxy together. Luke refuses to join his father's murderer, but Vader reveals that he is Luke's father. Desperate, Luke drops into the air shaft and is ejected beneath the floating city, latching onto an antenna. He reaches out through the Force to Leia, and the Falcon returns to rescue him. The group is pursued by TIE fighters and almost cornered by Vader on his Star Destroyer until R2-D2 repairs the Falcon's hyperdrive, allowing them to escape.

Aboard the Rebel fleet, Luke's hand is replaced with a robotic prosthesis. He, Leia, C-3PO, and R2-D2 observe as Lando and Chewbacca depart on the Falcon to find Han.^[d]

Cast[]

(Left to right) Mark Hamill (pictured in 2019), Harrison Ford (2017), and Carrie Fisher (2013)

• Mark Hamill as Luke Skywalker: A pilot in the Rebel Alliance and apprentice Jedi
• Harrison Ford as Han Solo: A smuggler and captain of the Millennium Falcon
• Carrie Fisher as Leia Organa: A leader in the Rebel Alliance.^[1]
• Billy Dee Williams as Lando Calrissian: The administrator of Cloud City
• Anthony Daniels as C-3PO: A humanoid protocol droid
• David Prowse / James Earl Jones (voice) as Darth Vader: A powerful Sith Lord
• Peter Mayhew as Chewbacca: Han's loyal Wookiee friend and co-pilot
• Kenny Baker as R2-D2: An astromech droid
• Frank Oz (voice) as Yoda: A diminutive, centuries-old Jedi Master

The film also features Alec Guinness as Ben (Obi-Wan) Kenobi, and John Hollis portrays Lobot, Lando's aide.^[2] The Rebel force includes General Rieekan (portrayed by Bruce Boa),^[2] Major Derlin (John Ratzenberger),^[3][4] Cal Alder (Jack McKenzie),^[4] Dak Ralter (John Morton),^[4][5] Wedge Antilles (Denis Lawson),^[2] Zev Senesca (Christopher Malcolm),^[6][7] and Hobbie Klivian (Richard Oldfield).^[8]

The Empire's forces include Admiral Piett (Kenneth Colley), Admiral Ozzel (Michael Sheard), General Veers (Julian Glover), and Captain Needa (Michael Culver).^[2] The Emperor is voiced by Clive Revill and portrayed physically by Elaine Baker.^[9][10] Other cast includes Jeremy Bulloch as the bounty hunter Boba Fett (voiced by an uncredited Jason Wingreen);^[2][11] other bounty hunters include Dengar (portrayed by Morris Bush)^[12] and humanoid lizard Bossk (Alan Harris).^[13]

Production[]

Development[]

Creator George Lucas (in 2009). He was thoroughly involved in The Empire Strikes Back but wanted to avoid the stress of serving as director again.

Following the unexpected financial success and cultural phenomenon of Star Wars (1977), a sequel was swiftly put into production.^{[14][15][16][17]} In case that film had failed, creator George Lucas contracted Alan Dean Foster to write a low-budget sequel (later released as the novel Splinter of the Mind's Eye).^[18][19] Once success was evident, Lucas was reluctant to direct the sequel because of his stressful experience making the first film, and the subsequent impact on his health.^[20][21][22] Star Wars' success also focused more attention on him, both positive and negative.^[14]

Conscious the sequel needed to exceed the original's scope—making it a bigger production—and his production effects company Lucasfilm was relatively small and operating out of a makeshift office, Lucas considered selling the project to 20th Century Fox (Fox) in exchange for a profit percentage.^[23][21][20] He had profited substantially from Star Wars' success and did not need to work, but was too invested in his creation to entrust it to others.^{[24][21][20][25]} Lucas had concepts for Star Wars II but no solid structure.^[18] He also knew the story would be darker, and explore more mature themes, relationships, and the nature of the force.^[21] Lucas intended to independently fund the production, using his $12 million profit to relocate and expand his special effects company Industrial Light & Magic (ILM), found his movie ranch Skywalker Ranch, in Marin County, California, and the remainder as collateral for a loan from Bank of America for the $8 million budget.^{[25][21][26][27]}

Fox had the right of refusal for a sequel. Negotiations began in mid-1977 between Fox and Lucas's representatives. The controlling interest in the series' merchandising and sequels had already been granted to Lucas because Fox believed Star Wars would be worthless.^[24] Terms were agreed for Star Wars II quickly compared to those on the original, in part because Fox executive Alan Ladd Jr. had been supportive of the original and was eager for the sequel.^[28] The 100-page contract was signed on September 21, 1977, dictating Fox would distribute the film but have no creative input, in exchange for 50% of the gross profits of the first $20 million earned, with the percentage increasing in the producers' favor as profits grew. Filming also had to begin by January 1979 for release on May 1, 1980.^[29][25] The deal offered significant financial gain for Lucas, but risked his financial ruin if Star Wars II failed.^[21][30]

To mitigate some risks he founded The Chapter II Company, to control the development of and absorb the liabilities from the film.^[31] Lucas signed a contract between the company and Lucasfilm, granting himself 5% of the box office gross profits.^[32] He also founded Black Falcon to license Star Wars merchandising rights, using the income to subsidize his ongoing projects.^[33] Development began in earnest in August 1977, under the title Star Wars Chapter II.^[34]

Lucas considered replacing producer Gary Kurtz with Howard Kazanjian because of issues on Star Wars where Kurtz had not fulfilled his role, but Kurtz convinced Lucas otherwise.^[35] Lucas took an executive producer role, enabling him to focus on his businesses and development of Raiders of the Lost Ark (1981).^[25][21][36] By late 1977, Kurtz began hiring key crew members including production designer Norman Reynolds, consultant John Barry, makeup artist Stuart Freeborn, and first assistant director David Tomblin.^[37][21] Lucas re-hired artists Ralph McQuarrie and Joe Johnston to maintain visual consistency with Star Wars, and the three began conceptualizing the Hoth battle in December.^[38][39] By this point, the budget had increased to $10 million.^[40] Lucas wanted an efficient director who supported the material and accepted that Lucas was ultimately in charge.^[21] Around 100 directors, including Alan Parker and John Badham, were considered before his old acquaintance Irvin Kershner was hired in February 1978.^[21][41] Kershner was reluctant to direct the sequel to a film as successful as Star Wars, and his friends warned him against taking the job believing he would be blamed if it failed.^[42][21] Lucas convinced Kershner that it was less a sequel than a chapter in a larger story; he also promised Kershner could make the film his own.^[42]

Writing[]

(Left to right) Leigh Brackett (pictured in 1941) and Lawrence Kasdan (2015). Brackett wrote the first draft for The Empire Strikes Back before her death in 1978. George Lucas hired Kasdan to complete the script.

Lucas began formulating ideas in August 1977, including the Emperor, how to explain Hamill's facial injuries from an accident after filming Star Wars—Lucas told Hamill his character would have been replaced entirely if he died—and Luke's lost sister.^[43] Hamill recounted being told it would potentially be Leia, which he found disappointing.^[44] Lucas had written Star Wars but did not enjoy developing lore for an original universe.^[45] Science-fiction writer Leigh Brackett, whom Lucas met through a friend, excelled in quick-paced dialogue compared to Lucas. Lucas hired her for $50,000, aware she had cancer.^{[21][45][18][46]}

Between November 28 and December 2, 1977, Lucas and Brackett held a story conference.^[47][18] Lucas had core ideas in mind, but he wanted Brackett to piece them together.^[21][45] He envisioned one central plot complemented by three main subplots, set across 60 scenes, 100 script pages, and a two-hour runtime.^[48] They formed a general outline and ideas that included the Wookie homeworld, new alien species, the Galactic Emperor, a gambler from Han's past, water and city planets, Luke's lost twin sister, and a diminutive, frog-like creature, Minch Yoda.^[49][18][50] Lucas drew on influences including The Thing from Another World (1951), the novel Dune (1965), and the Flash Gordon (1954) television series.^[51] Around this time, Kurtz conceived the title, The Empire Strikes Back.^{[49][18][50][52]} Kurtz said they avoided calling it Star Wars II because films with "II" in their titles were seen as inferior.^[25]

Brackett completed her first draft in February 1978, titled Star Wars sequel, from the adventures of Luke Skywalker.^[53][46][42] The draft contained a city in the clouds, a chase through an asteroid belt, a greater focus on the love triangle between Luke, Han, and Leia (who is portrayed more as a damsel in distress), the battle of Hoth, and a climactic battle between Luke and Darth Vader. Luke is also visited by the ghosts of his father and Obi-Wan Kenobi, leaving Vader a separate character. The draft revealed Luke has a sister (but not Leia), Han goes on a mission to recruit his powerful step-father, and Lando is a clone from the clone wars.^[18] Lucas made detailed notes and attempted to contact Brackett, but she had been hospitalized; she died a few weeks later on March 18.^[54][55][21]

Re-write[]

The strict schedule left Lucas no choice but to write the second draft.^[55][21][46] Though Brackett's draft followed Lucas's outline, he found the characters were portrayed differently to his intent.^[56] Lucas completed his hand-written 121-page draft six weeks later on April 1. The process was more enjoyable than on Star Wars because he was familiar with the universe, but he struggled writing a satisfying conclusion while leaving it open for a third film.^[57] This draft established Luke's sister as a new character undertaking a similar journey,^[58] Vader's castle and his fear of the emperor,^[38][59] distinct power levels in controlling the Force,^[60] Yoda's eccentric speech pattern,^[61] and bounty hunters, including Boba Fett. Lucas wrote Fett akin to the Man with No Name, combining him with an abandoned idea for a Super Stormtrooper.^[62] The script contained no mention of Vader being Luke's father. Despite contradictory information in drafts that included the ghost of Luke's father, Lucas stated that Vader being Luke's father was always his intention, and he omitted it from scripts to avoid leaks.^[63][21] Lucas included elements such as Han's debt to Jabba, and recontextualized Luke leaving Dagobah to rescue his friends: in Brackett's draft, Kenobi instructs Luke to leave; Lucas had Luke choose to leave. He considered it the right decision, but the wrong methodology.^[55] Lucas believed it was important that the characters were inspirational and appropriate for children without making them feel inferior.^[64] Lucas's typed draft is titled Star Wars: Episode V The Empire Strikes Back.^[61]

In June 1978, Lucas hired Lawrence Kasdan to refine the draft, impressed with his work on Raiders of the Lost Ark; Kasdan was paid $60,000.^[65][46][21] A story conference was held in early July between Kasdan, Kershner, and Lucas to discuss the Lucas draft.^[46][32] The group collaborated ideas, challenging Lucas's when they did not make sense, and Lucas embraced their interesting ideas.^[66][21] Mandated to deliver a fifth of the script every other week, Kasdan commenced his re-write, focusing on developing character relationships and psychologies; the third draft was complete by early August.^[67] This version refined Minch Yoda—alternately named 'the Critter', Minch, Buffy, and simply Yoda—from a slimy, repulsive creature to a small blue one; consistent was the character's long life and wisdom.^[21][18] Yoda was intended to teach Luke to respect everyone and not judge on appearances, and defy audience expectations.^[21] The draft tightened or expanded dialogue to better pace action scenes, added more romance, and added or changed locations, such as moving a Vader scene from a spaceship deck to his private cubicle.^[68] Lucas removed a line mentioning Lando deliberately abandoned his people, and had Luke contact Leia through the Force instead of Kenobi's ghost.^[69] The fourth draft—mostly the same but with more detailed action—was submitted on October 24.^[70]

Although some of Brackett's ideas remained, such as Luke's Dagobah training, her dialogue and characterization had been removed.^[71][18] Kasdan described her take as from "another era", lacking the necessary tone.^[56] Kazanjian did not believe the Writers Guild of America West would approve her receiving credit, but Lucas liked Brackett and supported her credit as co-writer. He also provided for her family beyond her contracted pay.^[71][18] The fifth draft was completed in February 1979, revising some scenes and introducing a "Hogmen" species devised by Kershner; Lucas did not like the idea because he perceived them as slaves.^[72]

Casting[]

Billy Dee Williams (1997) joined the cast as Lando Calrissian

Hamill, Fisher, Ford, Mayhew, and Baker, all reprised their roles.^[25][73] Hamill and Fisher were contracted to a second, third, and fourth film, but Ford had declined similar terms after previous negative experiences; he agreed to return because he wanted to improve his Star Wars performance.^[74] Hamill spent four months learning karate, fencing, kendo, and bodybuilding to prepare for his stunts.^[72]

Prowse hesitated to return but was told that he should agree or he would be replaced.^[75] Jones returned to voice Vader but, as with Star Wars, declined a credit. He earned $15,000 for half a day's work, plus a small percentage of the profits.^[76] Daniels returned for "reasonable" pay; he was reluctant because he received little acknowledgement for his previous performance because the filmmakers portrayed C3PO as a real being.^[77] Guinness could not return because his failing eyesight required him to avoid bright lights.^[41] Recasting him was considered, but determined to recruit him, Lucas agreed a deal in late August 1979 only briefly before filming finished. Guinness was paid 0.25% of Empire's box office gross for his few hours of work.^[78]

Empire introduces Williams as Lando Calrissian, the first African-American to portray a main role in the series.^[73][79] He found the character interesting because of his cape and Armenian surname; Williams believed this gave him room to develop the character. Williams said Lando was much like himself, in that he was a "pretty cool guy".^[80] He believed it was a token role, but was reassured it was not specifically written for a black actor.^[81] Kershner described Williams as possessing the fantastic charm of a "Mississippi riverboat hustler".^[81] Howard Rollins, Terry Alexander, Robert Christian, and Thurman Scott, were also considered.^[70] According to Fisher, Williams struggled to remember his lines during filming.^[82] Lucas intended to dub Oz's Yoda voice but determined it would be difficult to cast someone who could match their voice to Oz's physical puppeteering performance.^[10]

Jeremy Bulloch did not audition for Boba Fett; he was hired because the costume fit him. It was uncomfortable and top-heavy, making it difficult to maintain his balance, and the mask often steamed up. Bulloch assumed his lines would be dubbed over as he had little dialogue.^[83] Fett's voice actor Jason Wingreen remained uncredited until 2000. Bulloch also appears as an Imperial officer who restrains Leia on Bespin. There was no other cast available for the role, so Kurtz had him quickly change out of the Fett costume to stand in. John Morton portrays Fett in the same scene.^{[83][2][11][4]} There was no extensive casting for the Emperor. Clive Revill provided the character's voice while Marjorie Eaton physically portrayed the Emperor in test footage. The footage proved unsatisfactory and she was replaced by Elaine Baker, with chimpanzee eyes superimposed over her face.^[9][10]

Pre-production[]

Pre-production began in early 1978. Although Kershner wanted two years, the phase only lasted a year.^[84] To portray Hoth scouts looked at areas in Northern Europe such as Finland, Sweden, and the Arctic Circle. The locations needed to be free of trees and near populated areas for amenities.^[85] A Fox employee recommended Finse, Norway.^[85] For the bog planet Dagobah, scouts looked at Central Africa, Kenya, and Scandinavia. To avoid shooting on location, Lucas funded construction of a 1,250,000 cubic feet (35,000 m³) "Star Wars stage" at Elstree Studios, London, to create Dagobah and rebel base sets. Construction began at the end of August, costing $2 million.^[86][25] Sets were the single biggest expense at $3.5 million. By December 1978, the budget had increased to $21.5 million, more than double the original estimate.^[87] Financial projections for The Chapter II Company suggested it would run a monthly deficit of $5–$25 million by the end of 1979, including over $2 million in production costs and $400,000 to fund ILM.^[70]

As the commencement of filming loomed in January 1979, a fire on Elstree's Stage 3—where The Shining (1980) was being filmed—destroyed the planned space for Empire's sets.^{[88] [50]} The impact was significant, costing essential space and the production was forced to give up two more stages so The Shining could continue filming. Sixty-four sets had to be moved through nine stages and the timeline had to be rescheduled.^[88] Construction of the Star Wars stage was also slowed by poor weather, delaying construction of sets and necessary props.^[88] Location crew traveled to Finse by February 25 to receive flown-in equipment containers and begin digging trenches for battle scenes.^[89]

Music[]

The musical score of The Empire Strikes Back was composed and conducted by John Williams, and performed by the London Symphony Orchestra at a cost of about $250,000.^[90] Williams began planning in November 1979, estimating Empire required 107 minutes of score.^[91] For two weeks across 18 three-hour sessions just after Christmas, Williams recorded the score at Anvil Studios and EMI Studios, London.^[92] Up to 104 players were involved at any one time, performing with instruments including oboes, piccolos, pianos, and harps.^[93]

Filming[]

Commencement in Norway[]

Hardangerjøkulen glacier pictured in 2007. It served as the exterior of the ice planet Hoth.

Principal photography began on March 5, 1979, on the Hardangerjøkulen glacier near Finse, Norway, to depict the planet Hoth.^{[94][73][25][95]} Initially scheduled to conclude on June 22, by the end of the first week it became apparent it would take longer and cost more.^[25][96]

Filming the Hoth scenes on a set was considered, but was deemed inauthentic. However, location filming coincided with the area's worst snowstorm in half a century, impeding the production with blizzards, 40 miles per hour (64 km/h) winds, and temperatures around −26 °F (−32 °C) to −38 °F (−39 °C).^{[73][97][98][21][25]} The weather cleared only twice while filming; some days filming could not take place.^[99] The frigid conditions made the acetate film reel brittle, camera lenses iced over, snow seeped into equipment, and effects paint froze in the tins.^[100][21] To counter this, lenses were kept cool, but the camera body was warmed to protect the film, battery, and the camera operators' hands.^[101] The crew were outside for up to 11 hours, subjected to thin air, limited visibility, and mild frostbite; one crewman slipped and broke two ribs.^[102] Even so, the difficult conditions formed a strong camaraderie among the crew.^[103]

Avalanches blocked direct transport links and dug trenches quickly filled with snow. Scenes could be prepared only a few hours in advance and many scenes were filmed just outside the crew's hotel as the shifting weather regularly altered the scenery.^[104][21] Hamill and Fisher were on location, although Fisher only wanted to observe.^[72] Ford was not scheduled for the Finse phase, but to compensate for the delays he was brought there instead of creating a separate set in a Leeds studio. On a few hours notice he arrived in Finse, having traveled the last 23 miles (37 km) of the snow-laden journey by snowplow.^[105] Production returned to England after a week, except Hamill who had an additional day of filming, and the second unit who remained through March to film explosions, incidental footage, and battle scenes featuring thirty five mountain rescue skiers as extras; their work was compensated with a donation to the Norwegian Red Cross.^[106]

To film the probe landing, eight sticks of dynamite were placed on the glacier to capture the explosion at sunrise. The demolitions expert in charge knocked the battery out of his radio and received the message too late to capture the intended shot.^[107] The opening sweeping shot of the area was captured by flying a helicopter to 15,000 metres (49,000 ft) and performing a controlled drop at a rate of 30 miles per hour (48 km/h) or 2,500 metres (8,200 ft) a minute.^[108] The shot was delayed four weeks to construct a heated shelter for the helicopter.^[109] The second unit, scheduled to be in Finse for three weeks, were there for eight.^[108] When the crew returned to London, they had only half the planned footage, including background plates for special effects shots that were uneven.^{[21][98][110]} The budget increased to around $22 million, because of the delays and necessity to rework scenes to compensate for the missing footage.^[111]

Filming at Elstree Studios[]

On-set filming location, Elstree Studios (pictured 2009) in Hertfordshire, England.

Filming at Elstree began on March 13.^[111] Production remained behind schedule without Stage 3, and the incomplete Star Wars stage lacked protection from the cold weather. The crew had to work out of any available space they could find.^[112] To save time, some scenes were shot simultaneously, including the ice cavern and medical bay.^[113] Kershner wanted each character to have a unique entrance in the film. While filming Vader's entrance, the snow troopers preceding Prowse tripped over the polystyrene ice, and the stuntman behind him stood on his cape, breaking it off and causing Prowse to collapse onto the snow troopers.^[114]

The shoot was strenuous and mired in conflicts.^[115][21] Fisher suffered from influenza and bronchitis, her weight dropped to 85 pounds (39 kg) working 12 hour days, and she collapsed on set, ostensibly due to an allergic reaction to steam or spray paint. She was also allergic to most makeup.^[116] Her situation was worsened by her overuse of Hallucinogens and painkillers,^[117] and anxiety while performing her speech to the rebels.^[118] Stress and personal traumas caused Hamill, Fisher, and Ford to infrequently argue.^[21][119] Ford and Hamill fell ill or were injured at different times.^[120] Hamill was also depressed by his isolation from human cast members, mainly acting against puppets, robots, and actors who would be dubbed over or added into his scenes later.^[121][122] He used an earpiece to hear Oz's dialogue but for various reasons, this did not work and he struggled to form a relationship with the character. The Dagobah set was liberally sprayed with mineral oil which caused him physical discomfort over long periods. Hamill described it as a "physical ordeal the whole time... but I don't really mind that".^[121] At one point, Oz cheered Hamill up with a routine by Miss Piggy. Hamill also recalled Ford giving him a kiss instead of reading his lines, entertaining the crew.^[44] Mayhew also fell ill from wearing a wool suit in 90 °F (32 °C) heat.^[123]

Bank of America representatives visited the set in late March, concerned about rising costs.^[124] Lucas rarely visited the set, but arrived on May 6, after realizing the production was over schedule and budget.^[25] An official Lucasfilm memo instructed staff to misstate the film's direct costs as $17 million.^[125] Kurtz and Lucas estimated it would cost $25–$28 million to complete filming.^[111][125] Finances ran out by mid-July when Bank of America refused to increase the loan.^[126][21] The crisis was kept a secret from the crew including Kershner, and tactics were used to delay its impact including paying staff bi-weekly instead of weekly and borrowing money from Black Falcon.^[126] Lucas was worried he would have to sell Empire to Fox to sustain the project, and Fox was rumored to be planning a hostile takeover.^[111][126] With about 20% of Empire left to film, Lucasfilm president Charles Weber arranged for Bank of Boston to refinance the loan to $31 million, including $27.7 million from Bank of Boston and a further $3 million guaranteed by Fox in exchange for an increased percentage of the theatrical returns and 10% of merchandising profits. The loan was taken out in Lucasfilm's name, making the company now directly liable.^{[127][111][21]}

The Star Wars stage was completed in early May, although it was too small to house the Rebel hangar and Dagobah sets and an extension had to be funded and built. Even so, the producers mandated filming begin on the stage on May 18, regardless of its state.^[128] The hangar scene involved 77 rebel extras, costing £2,000 per day.^[129] Around 50 tonnes of dendritic salt, mixed with magnesium sulfate for a sparkle effect, were used for the snowy sets; the combination gave the cast and crew headaches.^[130] Second unit director John Barry died suddenly in early June; he was replaced a week later by Harley Cokeliss.^{[131][50][132]} The typical purpose of the second unit was to film time-consuming tasks for special effects, but they were involved in filming main scenes—including Luke's ice cave imprisonment—because the schedule had overrun by around 26 days.^[133] Hamill was unavailable for several days after injuring his hand during a stunt jump from a speeder bike. Having been called in for the stunt the same day his son was born, combined with exhaustion and aggravation at the salt-laden setting, Hamill angrily rebuffed Kurtz for not using a double for the scene.^[134] Hamill was also agitated by Kershner's hands-on directing style, acting out how Hamill should perform a scene, and Kershner was frustrated that Hamill was not following his advice.^[135]

The life-size hangar set was dismantled in mid-June to begin building other sets around the full-scale Falcon. These scenes had to be filmed efficiently so the Falcon could be dismantled to make way for the Dagobah set.^[136] Filming began on the carbon chamber scene in late June while the second unit filmed anything they could.^[137] The raised set was largely incomplete, and low lighting and steam were used to conceal any obvious flaws. The fog machines and heat from the steam made many cast and crew members sick; it took several weeks to film.^[138] The confession of love between Leia and Han was scripted as them both admitting their feelings for the other, but Kershner believed this was too "sappy". He had Ford repeatedly improvise lines until Ford asserted he would do one more take, delivering a response to Leia of "I know."^[21] By the end of the month, cast and crew morale was low.^[139]

Dagobah and conclusion[]

Hamill returned in early July to film his climactic battle against Darth Vader (portrayed by Bob Anderson). Anderson described the experience as like fighting blindfolded because of the costume.^[140][141] Hamill spent weeks practicing his fencing routine, eventually growing frustrated and refusing to continue.^[142] The following scene, where Vader confesses he is Luke's father, was shrouded in secrecy. Prowse was given the line "Obi-Wan Kenobi is your father" to read because he was known for repeatedly, though inadvertently, leaking information.^[21] Only Kershner, the producers, and Hamill knew the actual line.^[82][21] Hamill was positioned on a platform suspended 35 feet (11 m) above a pile of mattresses.^[21] The filmed footage was damaged and the scene had to be entirely reshot in early August.^[143] The Vader confrontation took eight weeks to film. Hamill insisted on doing as many of his stunts as possible, although the insurers refused to allow him to perform a 15 feet (4.6 m) fall out of a window. He fell from a nine-inch ledge 40 feet (12 m) high, but rolled on landing to avoid damage.^[121] Lucas returned to the set on July 15, staying for the remainder of filming.^[126] He rewrote Luke's scenes on Dagobah, removing or trimming them to make it filmable in just over 2 weeks.^[144]

Much of the cast completed filming by the start of August, including Ford, Fisher, Williams, Mayhew, and Daniels.^[145] Hamill began filming on the Dagobah set against Yoda. They only had 12 days to film because Oz was scheduled for another project.^[146] With the film now over 50 days behind schedule, Kurtz was removed from his role and replaced by Kazanjian and Watts.^[147] One of the final scenes shot was of Luke exploring the dark side tree on Dagobah. A wrap party was held on the set to mark the official conclusion of filming on September 5, 1979, after 133 days. Guinness filmed his scenes against a blue screen the same day.^{[148][149][150]} Even so, Kershner and the second unit continued filming other scenes including Luke's X-Wing being raised from the swamp.^[151] Kershner left the set on September 9, Hamill concluded filming two days later, after 103 days of filming.^[152][111] The second unit concluded filming on September 24 with Hamill's stunt double.^[153][154] There was approximately 400,000 feet (120,000 m) feet of film or 80 hours of footage.^[155]

The final budget was $30.5 million.^[156][e] Kurtz blamed the cost of inflation, which had increased resource, cast, and crew costs significantly.^[157] Lucas blamed Kurtz for a lack of oversight and poor financial planning.^[158][21] Watts said Kurtz was not good with people and never developed a working relationship with Kershner, making it difficult for him to temper the director's indulgences.^[159] Kurtz had also given Kershner more leeway because of the delays caused by the Stage 3 fire.^[125] Lucas had also been frustrated by Kershner's slower pace.^[160][21] Kershner had tried to replicate the quick pacing of Star Wars, not lingering on any scene for too long.^[161] He described his filming style as frugal, performing 2 or 3 takes with little coverage film that could later compensate for mistakes. Watts and Reynolds said Kershner often looked at new ways of doing things, but this required planning that only delayed things further.^[120] Kershner also encouraged improvisation, modifying scenes and dialogue to focus more on character emotions, such as C3PO interrupting Han and Leia as they are about to kiss.^[21][162] Kazanjian said a lot of mistakes were made but blamed Weber, Lucasfilm vice president John Moohr, and primarily Kurtz.^[163] Actor John Morton described Kurtz as an unsung hero, who brought his experience of filming war to the film.^[164]

Post production[]

The schedule overrun resulted in filming and post-production taking place simultaneously; filmed footage was immediately shipped to ILM to begin effects work.^[165] A rough cut was put together by mid-October 1979, resembling the finished film, minus special effects.^[166] Lucas provided 31 pages of notes about changes he wanted, mainly relating to altering dialogue and changing scene lengths.^[167] Jones recorded Vader's dialogue in late 1979/early 1980.^[168] In early 1980, Lucas changed the long-planned opening of Luke riding his Taun Taun, to a shot of the Star Destroyer launching probes.^[169] He continued tweaking elements to improve the special effects, but even with ILM staff working up to 24 hours a day, six days a week, there was not enough time to do everything they wanted.^[170] A Dagobah pick-up scene, in which R2-D2 is spat out by a monster, was filmed in Lucas's swimming pool.^[171]

Fox executives did not see a cut of the film until March.^[172] That month, Lucas decided he wanted an additional Hoth scene and auditioned 50 ILM crew to appear as Rebels.^[10] The final 124-minute cut was completed on April 16, which triggered a $10 million payment from Fox to Bank of Boston.^{[172][173][174]} Lucasfilm also launched an employee bonus scheme to share Empire's profits with its staff.^[175] Test screenings were held in San Francisco on April 19. While the Taun Taun special effect was criticized, audiences liked Han's reply of "I know" to Leia's love confession. Lucas was unimpressed by the scene, believing it was not how Han would act.^[176][21] Because the magnetic soundtrack could flake from the film reels, Kurtz hired people to watch the film reels 24 hours a day to identify defects; 22% were defective.^[156]

Shortly after the film's theatrical release, Lucas determined the ending was unclear about where Luke and Leia were in relation to Lando and Chewbacca. In the three week window between its limited and wider release, Lucas, Johnston, and visual effects artist Ken Ralston filmed enhancement scenes at ILM, using existing footage, new score, modified dialogue, and new miniatures to create establishing shots of the Rebel fleet and their relative positions.^[177] Including crew and special effects teams, around 700 people worked on Empire.^[178]

Special effects and design[]

The special effects for The Empire Strikes Back were developed by Lucas's own Industrial Light & Magic at a cost of $8 million.^[156] It required around 600 effects shots compared to only 360 on Star Wars.^[179] The project was arduous, as the company had just relocated to Marin County in September 1978, the facility was still under construction, and it lacked both staff and equipment. The building did not even have working lights until the following February. In all, it took eight months to complete the facility, often forcing the crew to use makeshift lighting and the only two cameras available for filming special effects until the nearly $1 million in effects equipment was installed.^{[95][98][180]}

The crew, supervised by Richard Edlund and Brian Johnson, included Dennis Muren, Bruce Nicholson, Lorne Peterson, Steve Gawley, Phil Tippett,^[95] Tom St. Amand,^[181] and Nilo Rodis-Jamero.^[180] Up to 100 people worked on the project daily, including Stuart Freeborn who was mainly responsible for crafting the Yoda puppet.^[182][42] Various techniques, including miniatures, matte paintings, stop motion, articulated models and full-size vehicles were used to create Empire's various effects.^{[119][183][50]}

Release[]

Context[]

The Empire Strikes Back logo, version featuring a Star Wars referencing frame

Industry professions expected comedies and positive entertainment to dominate theaters in 1980 because of low morale in the United States caused by economic recession. This generally increased theatrical visits as audiences sought escapism and ignored romantic films and depictions of blue-collar life.^[184][185] Several comedies were scheduled for release including Airplane!, The Blues Brothers, Caddyshack, and The Jerk.^[185] A surge of interest in science-fiction following Star Wars led to many low-budget entries in the genre attempting to profit by association, and big-budget entries such as Star Trek: The Motion Picture and The Black Hole, both released just months before The Empire Strikes Back.^[25] Sequels were not expected to perform as well as the original, and there were low expectations for merchandising.^[186] Even so, tie-in deals were arranged with Coca-Cola, Nestlé, General Mills, and Topps collectibles.^[187]

Fox was confident in the film and spent little money on advertising, taking out small advertisements in newspapers instead of full-page spreads.^[173] The studio's market research showed 60% of those interested in the film were male.^[188] Lucasfilm established a telephone number allowing callers to hear a message from cast members.^[189] Fox demanded a minimum 28-week appearance in theaters, where 12 weeks was the norm for major films.^[175] Estimates suggested that Empire would need to earn $57.2 million to be profitable, after marketing, distribution, and loan interest costs. This was a rare feat, and only 10% of films typically achieved this figure.^[190]

Credits and title[]

As with Star Wars, Lucas wanted to place all crew credits at the film's end to avoid interfering with the opening. The Writers Guild of America (WGA) and Directors Guild of America (DGA) had allowed this for the first film because Lucas directed and it featured the Lucasfilm logo, but for Empire they refused, fined Lucas $250,000 when he ignored them, and tried to have the film removed from theaters.^[161] Because Lucas had followed the laws relevant to the United Kingdom where it was produced, the DGA was unable to sanction him and instead fined Kershner $25,000.^[188] Lucas paid his fine, but was so frustrated that he left the WGA, DGA, and Motion Picture Association, restricting his ability to write and direct future films.^[161][191]

The film's title was leaked by The Hollywood Reporter in January 1978 and officially announced the following August.^[192] On release, the opening credits identified the film as Star Wars: Episode V — The Empire Strikes Back, establishing Lucas's plan to make a 9-part Star Wars series. Star Wars was also renamed Episode IV — A New Hope.^[193][194] The theatrical poster was designed by Roger Kastel.^[195]

Box office[]

The North American premiere of The Empire Strikes Back took place at the John F. Kennedy Center for the Performing Arts (pictured in 2010).

The Empire Strikes Back debuted at the Dominion Theatre, London on May 6, 1980,^[196] followed by a premiere on May 17, at the Kennedy Center in Washington, D.C. The event featured the principal cast and was attended by 600 children, including Special Oympians.^[197][196] The world premiere took place on May 20 at the Odeon Leicester Square, London. The event, dubbed "Empire Day", included actors in Stormtrooper attire interacting with people across the city.^{[198][199][196]}

In North America, Empire opened mid-week in 126 theaters on May 21, leading into the extended Memorial Day holiday weekend.^[200] The number of theaters was deliberately limited to make it difficult to watch, in turn generating more appeal—a strategy for films expected to receive positive word of mouth.^[173] It earned $1.3 million during its opening day—an average of $10,581 per theater.^[201] Empire earned a further $4.9 million during the weekend, and $1.5 million during the holiday Monday for a total of $6.4 million—an average of $50,919 per theater—making it the number one film of the weekend, ahead of the counterprogrammed debuts of the comedy The Gong Show Movie ($1.5 million) and The Shining ($600K).^{[200][202][203]} By the end of its first week, the film earned $9.6 million—a 60% increase over Star Wars—averaging $76,201 per theater, the highest-ever figure for a film in over 100 theaters.^{[204][173][205]}

It remained number one until its fourth weekend when it fell to third with $3.6 million, behind spoof comedy Wholly Moses! ($3.62 million) and western Bronco Billy ($3.7 million).^[201][206] It regained the number one position in its fifth weekend, expanding its theater count to 823 and earning $10.8 million.^[201][207] Combined with its weekday gross, Empire earned a single week gross of approximately $20 million, a box office record the film would hold until Superman II's $24 million the following year.^{[208][209][210]} It remained number one for the next seven weeks, before falling to number two in its thirteenth week with $4.3 million behind the debuting Smokey and the Bandit II ($10.9 million). Detailed box office tracking is unavailable for the remainder of Empire's 32-week, 1,278 theater total run.^[201][211]

In total, Empire earned approximately $181.4 million–$209.4 million, making it the highest-grossing film of the year, ahead of the comedy films 9 to 5 ($103.3 million), Stir Crazy ($101.3 million), and Airplane! ($83.5 million).^{[184][212][213]} Although it earned less than Star Wars' $221.3 million, Empire was considered a financial success, and was estimated by industry experts to have returned $120 million to the filmmakers,^{[184][160][213]} recouping Lucas's investment and clearing his debt.^[214] He also paid out $5 million in employee bonuses.^[161] Box office figures are not available for all films released outside of North America in 1980, although The New York Times reported the film performed well in the United Kingdom and Japan. According to Variety, Empire earned approximately $192.1 million, giving the film a cumulative worldwide gross of $401.5 million, and making it the highest-grossing film of the year.^{[215][216][217][f]} Empire did not receive the same repeat business as Star Wars, which Lucas blamed on it having an inconclusive ending.^[218][160]

Empire has received multiple theatrical re-releases, including in July 1981 ($26.8 million), November 1982 ($14.5 million), and a Lucas-modified version in February 1997 ($67.6 million).^[219] Cumulatively, these releases have raised the North American box office gross to $292 million.^{[219][220][221][222]} It is estimated to have earned a worldwide total of $538.4–$549 million.^[221][222] Adjusted for inflation, the North American box office is equivalent to $920.8 million, making it the thirteenth highest-grossing film ever.^[223]

Reception[]

Critical response[]

The Empire Strikes Back was generally well-received by critics, but reviews were more mixed than those for Star Wars.^{[160][224][225]} The film appeared on 24 top-ten films of the year lists assembled by critics, the fourth most of the year.^[226] Fan reactions were decidedly mixed, concerned by the change in tone and narrative reveals, particularly Leia's love for Han over Luke, and the relationship between Vader and Luke.^[227][228]

Critics were generally agreed that Empire was a good film but not as enjoyable as Star Wars.^{[229][230][231]} The tonal shift featuring darker material and more mature storylines was believed to detract from the charm, fun, and comic silliness of the original.^{[229][231][232]} Joy Gould Boyum believed it was "absurd" to add dramatic weight to the lighthearted Star Wars, stripping it of its innocence, although Gary Arnold found the darker undercurrents and greater narrative scale interesting, including its "astonishing twist" that created more dramatic threads to explore.^[233][231] David Denby argued it was more spectacular than the original, but lacked its camp style.^[232] Arthur Knight believed the novelty of the original and plethora of space opera films produced since made Empire seem derivative; even so, he called it the best in the genre since Star Wars.^[230][233]

Charles Champlin wrote that even if it lacks the same wonder, it compensates with action freed from the original's necessary exposition. He continued that it offers a traditional fantasy parable of good versus evil, but also explores individual nature, self-improvement, idealism, and hard work.^[234] Vincent Canby described is a more mechanical, less suspenseful experience.^[229] Gerald Clarke wrote that in many ways Empire surpassed Star Wars, including being more visually interesting and artistic.^[235] Some reviewers noted that where Star Wars's folklore and popular culture inspirations were obvious, Empire lacked the same nostalgic references and reverence to anything but Star Wars.^[229][232]

Reviewers were conflicted over Empire's inconclusive ending.^{[231][233][236][234]} Champlin described it as cleverly concluding a narrative while serving as a cliffhanger, and Knight said it encouraged excitement towards the next installment.^[234][230] Arnold wrote that it is an irreplaceable connecting work, but lacked Star Wars's self-contained narrative and asked audiences to wait several years for a resolution.^[233] Clarke described it as an "unsatisfying" conclusion.^[236] Canby and Kehr believed as the middle film it should be focused on narrative development instead of exposition, but found little progression and said characters end the story relatively unchanged.^{[229][237][231]} Judith Martin labeled it a "good junk" film, enjoyable but fleeting, because it lacked a stand-alone narrative.^[238] Knight and Clarke found the narrative sometimes difficult to follow: Knight because the third act jumped between separate storylines, and Clarke because the plot seemed to move so fast that it was difficult to pick up necessary information.^[230][236] Kehr and Richard Combs wrote that characterization seemed to be less important than special effects, visual spectacle, and action set pieces that accomplish little narratively.^[237][239]

Reviews were mixed for the central cast.^{[234][237][231]} Knight wrote that Kershner's direction made the characters more human and less archetypes.^[230] Hamill, Fisher, and Ford received some praise with Champlin describing Hamill as "youthfully innocent" and engaging and Fisher as independent.^{[234][230][240]} The character development was also highlighted, particularly Luke's growth from naive adventurer to determined hero, and Han's portrayal as a rogue antihero bound by responsibility into heroics.^[234][230] Conversely, Gould Boyum believed it was "inappropriate" to try and add deeper motivations and conflicts to one-dimensional archetypes.^[231] Arnold described the character progression as less development and more "finessing", with little change taking place,^[233] and Dave Kehr felt the characters were "stiffer" without Lucas's direction.^[237] Knight described Guinness' performance as halfhearted,^[230] and Janet Maslin was critical that Lando Calrissian, the only major black character in the film, was " exaggeratedly unctuous, untrustworthy and loaded with jive."^[241] Gene Siskel said the non-human characters, including the robots and Chewbacca, remained the most lovable creatures since the "Tin Man, Lion, and Scarecrow in 'The Wizard of Oz'."^[242]

Critics were consistent in their praise for the Yoda character as both a performance and technical achievement.^{[240][231][229][238]} Siskel said the character was the highlight of Empire,^[242] and Champlin described him as an "absolute enchanter".^[234] Knight, Gould Boyum and Arnold were impressed by his realistic expressions, so much so that they considered an actor's face had been composited onto the puppet.^{[230][231][233]} Gould Boyum continued that Yoda exemplified the tonal shift in the film, being less comical and adorable and inspired more by mythology, religion, and the works of J. R. R. Tolkien.^[231] Canby said the human cast was bland and non-descript, and even the robot characters offered diminishing enjoyment, but Yoda was a success when used sparingly.^[229]

Although Arnold praised Kershner's direction, others believed that Lucas's oversight was obvious because Kershner's influence in his other films was not evident. Denby described his work as "impersonal" and Canby believed it was not possible to identify what work Kershner had contributed himself.^[232][229] Combs said Kershner was an "ill-advised" director because he was there to emphasize the character work, but the result is common tropes at the expense of Star Wars's comic-strip pace.^[239] However, cinematographer Peter Suschitzky's work was praised for its visual impressiveness and bold color choices.^[230][233] The special effects were lauded as "breathtaking",^[231] "ingenious",^[230] and visually dazzling.^[233] Jim Harwood wrote they were let down only by the competence of those in the original which were emulated by other films.^[240] Champlin appreciated that the effects were used to enhance scenes instead of being the focus.^[234]

Accolades[]

Composer John Williams won two Grammy Awards for his score to The Empire Strikes Back, in addition to nominations for Academy, Golden Globe, and BAFTA awards.

At the 1981 Academy Awards, The Empire Strikes Back won the award for Best Sound (Bill Varney, Steve Maslow, Gregg Landaker, and Peter Sutton) and the Special Achievement Academy Award for Best Visual Effects (Brian Johnson, Richard Edlund, Dennis Muren, and Bruce Nicholson). The film received a further two nominations: Best Art Direction (Norman Reynolds, Leslie Dilley, Harry Lange, Alan Tomkins, and Michael Ford) and Best Original Score (Williams).^[243]

For the 39th Golden Globe Awards, Williams earned the film's sole nomination, for Best Original Score.^[244] He also won two Grammy Awards for Best Instrumental Composition and Best Score Soundtrack for Visual Media.^[245] The 34th British Academy Film Awards earned the film one award for Best Music (Williams), and a further two nominations: Best Sound (Sutton, Varney, and Burtt) and Best Production Design (Reynolds).^[246] At the 8th Saturn Awards, Empire received four awards: Best Science Fiction Film, Best Director, (Kershner) Best Actor (Hamill), and Best Special Effects (Johnson and Edlund).^[247] The film also won a Hugo Award for Best Dramatic Presentation.^[248]

Post-release[]

Special Edition and other changes[]

Coinciding with Lucas's plans to develop a prequel trilogy of films in the late 1990s, he remastered and re-released his original trilogy, including Empire, to test special effects under the title Star Wars Trilogy: Special Edition. This included altering or adding new scenes, some of which tied into the prequel films. Lucas described it as bringing the trilogy closer to his original vision with modern technology.^[249] Among the alterations, full shots of the Wampa were introduced, computer-generated imagery shots of locations with added buildings or people, and the Clive Revill/Elaine Baker Emperor was replaced by Ian McDiarmid who had performed the role since Return of the Jedi.^[249] These editions were well-received by critics. Roger Ebert described Empire as the best and "heart" of the original trilogy.^{[250][251][252]}

Since their initial release, the special editions have been altered multiple times. The original, unaltered version became unavailable beyond this point.^[249] The release has remained controversial with fans who consider the changes to the original films to be unnecessary or alter them in a substantial way, coupled with the inability to obtain the untouched originals officially.^[249][253] The 2010 documentary The People vs. George Lucas documents the relationship between the films, their fans, and Lucas.^[254] For the 2004 home media release, Temuera Morrison, who portrayed Fett's clone predecessor in Star Wars: Episode II – Attack of the Clones (2002), dubbed Wingreen's lines.^[83] Minor changes were made for the 2011 Blu-ray release.^[255]

Home media[]

Empire was released on Video Home System (VHS), Laserdisc, and CED videodisc formats in 1985. The VHS and Laserdisc versions received various releases in the following years, often alongside the other original trilogy films in collections, with minor alterations such as widescreen formats or remastered sound. The 1992 Special Collector's Edition also included the making of the documentary From Star Wars to Jedi: The Making of a Saga. The Special Edition release of the original trilogy took place in 1997, on VHS.^[256][257] When the film debuted on television, it was preceded by a second-person introduction by Darth Vader, framed as an interruption of the Earth broadcast by the Galactic Empire.^[258]

The film was released on DVD in 2004, collected with Star Wars and Return of the Jedi, with additional alterations to each film. The release included the documentary Empire of Dreams: The Story of the Star Wars Trilogy, about the making of the original trilogy.^[259] Lucas stated that the modified versions were as he had wanted them to be, and he had no interest in restoring the original theatrical cuts for release. Public demand eventually led to the release of the 2006 Limited Edition DVD collection that also included the original unmodified films transferred from the 1993 Laserdisc Definitive Edition, leading to a poor quality image.^[256]

Empire was released on Blu-ray in 2011, as part of a collection containing the Special Edition original trilogy, and a separate version containing the original and prequel trilogies alongside featurettes about the making of the films. Lucas made other alterations.^{[255][260][261]} Empire, alongside the other available films, was first released digitally in 2015 across various platforms, and in 4K resolution on its 2019 launch on Disney+, restored from the 1997 special edition print.^[262][263] In 2020, a 27-disc Skywalker Saga boxset was released, containing all 9 films in the series, with each film receiving three discs, a Blu-ray version, a 4K Ultra HD Blu-ray, and special features found on the 2011 release.^[264]

Other media[]

The Empire Strikes Back merchandise includes Lego sets,^[265] posters, children's books, clothing, Funko Pops, character busts and statues, action figures, and furnishings.^{[266][267][268][269]} The novelization of the film, written by Donald F. Glut and released in April 1980, was a success, selling 2–3 million copies.^[270][271] The Star Wars comic book series launched in 1977 by Marvel Comics adapted the original trilogy films, beginning Empire's run in 1980, written by Archie Goodwin and Carmine Infantino.^[272][273] The book The Making of the Empire Strikes Back (2010) by J. W. Rinzler provides a comprehensive history of the film's production, including behind-the-scenes photos and cast interviews.^[274][275]

The film was the first in the series to be adapted for video games, beginning with Star Wars: The Empire Strikes Back (1982) developed by Parker Brothers for the Atari 2600 games console.^[276][277] This was followed in 1985 by the Star Wars: The Empire Strikes Back arcade game.^[278] Star Wars Trilogy Arcade (1998) features the Hoth battle as a level.^[278] Star Wars: The Empire Strikes Back was released in 1992 for the Nintendo Entertainment System and Game Boy, and Super Star Wars: The Empire Strikes Back followed in 1993 for the Super Nintendo Entertainment System.^[277] Scenes from Empire have also appeared in games like Rogue Squadron (1998) and Renegade Squadron (2007).^[279] The Empire Strikes Back pinball machine (1980) was the first officially licensed Star Wars pinball machine. It became a collectors item due to only 350 machines being produced, exclusively in Australia.^[278]

Thematic analysis[]

Mythology and inspirations[]

Analysis has identified various inspirations for Empire, particularly the early 1930s Flash Gordon serials that include a cloud city like Bespin. Tim Robey wrote that much of Empire's imagery and narrative can be connected to the 1975 film Dersu Uzala directed by Akira Kurosawa—whose work inspired Lucas.^[280][281] Muren described the Empire's assault on Hoth with AT-AT vehicles as an analogy for the Vietnam War (1955–1975), specifically an invading military employing equipment inappropriate for the local terrain.^[282]

Gerald Clarke identified Luke as the heir to mythological heroes such as Prometheus, Jason, and Galahad. He is initially guided by a traditional aide, Kenobi, who offers the promise of destiny until he is replaced by Yoda.^[283] Lancashire wrote that the Yoda narrative is a traditional mythological tale in which the hero is trained by a wise old master and must abandon all his preconceived notions.^[284] Clarke described Luke's journey as the hero who ventures into the unknown to be tested by his own dark impulses but eventually overcomes them. This, he believed, represented the human ability to control the irrational impulsiveness within to serve love, order, and justice.^[283]

Lucas wanted Yoda to be a traditional fairytale or mythological character, akin to a frog or an unassuming old man to instill a message about respecting everyone and judging on appearance alone because, he believed, that would lead the hero to succeed.^[285] Brandon Katz described Yoda as deepening the Force through philosophy. The character describes how they are all luminous beings beyond just crude flesh and matter, and presents the Jedi as Zen warriors that work in harmony with the Force. Kasdan described them as enlightened warrior priests, similar to Samurai.^[285][270]

Religion[]

In developing the Force, Lucas said he wanted the core essence of multiple religions unified by their common traits. Primarily, he designed it with the intent that there is good, evil, and a god. Lucas's personal faith included belief in God and basic morality such as treating others fairly and not taking the life of others.^[270] The Presbyterian Journal described the religious message as closer to Eastern religions like Zoroastrianism or Buddhism than Judeo-Christian, presenting good and evil as abstract concepts. Similarly, God or the Force is an impersonal entity taking no direct action. Christianity Today said that the film's drama is caused by the absence of a righteous god or being creating direct influence.^[270]

Others described Luke's journey as based purely on Christianity, focused on destiny and free will, with Luke serving as a Christ-like figure and Vader as a fallen angel attempting to lure Luke toward evil.^[286][270] Kershner said any religious symbolism was unintentional, as he wanted to focus on the power of an individual's untapped potential instead of magic.^[270]

Duality and evil[]

Anne Lancashire contrasted Star Wars message of idealism, heroics, and friendship with the more complex tone of Empire.^[287] The latter challenges the former's notions, primarily in forcing Luke to lose his innocence in coming to understand that people are neither entirely good or evil.^[288][289] When Luke enters the cave on Dagobah that represents the dark side, he does so with his lightsaber against Yoda's advice. This is in part because he does not trust Yoda's teachings and his anger drives him towards combat.^[284] Inside he defeats an image of Vader, whose mask splits open to reveal Luke's face. This represents where his anger will lead him and forces him to move beyond his naive belief that he is completely on the light side of the Force.^[284][283] Luke will succumb to the temptations of the dark side if he does not learn patience and abandon his anger.^[290] Kershner said the cave tests Luke against his greatest fear, but because the fear is in his mind and he brought his weapon with him, it creates a scenario where he is forced to use it.^[291]

The darkness is similarly presented in Han, a self-interested smuggler struggling with his growing feelings for Leia and the responsibility associated with her cause. The film represents his two sides in Leia and Lando, a representative of his smuggler life.^[292] Empire questions the cost of friendship. Where Star Wars presented traditional friendship, Empire presents friendship as requiring sacrifice. Han sacrifices himself in the frigid cold of Hoth to save Luke's life.^[288][293] Similarly, Luke abandons his Jedi training, something he has longed for, to go rescue his friends. This can be seen as a selfish choice however, as he does so against the instruction of Yoda and Kenobi, potentially sacrificing himself for his friends instead of training to defeat the Empire, the greater good, and a cause his friends support.^[293][288] Lancashire identified that characters are shown being heroic through sacrificing for others instead of battles.^[294]

Luke's impatience to leave for Bespin exemplifies his lack of growth to this point.^[290] There, Vader tempts him with the power of the dark side and the revelation that he is Luke's father.^[283][270] Vader wants Luke's help to destroy the Emperor, not for good, but so that Vader can impose his own order over the galaxy.^[270] This admission robs Luke of the idealized image of his Jedi father, reveals Kenobi's betrayal in hiding his parentage, and takes the last of his innocence.^[288] Clarke wrote that Luke is not strong or virtuous enough to resist Vader at this point, and so allows himself to fall into the airshaft below, showing that evil does sometimes win.^[283][288] The concept of a character having a good father and an evil father is a common story trope because it is easy to understand good and evil in real life.^[270] At the film's denouement, Luke has a greater understanding of the relationship between good and evil, and the dual nature of people.^[295]

Legacy[]

Modern reception[]

The Empire Strikes Back has remained an enduringly popular and groundbreaking piece of cinema.^[164][296] Writing for CNN, Brian Lowry said that without the "groundwork laid by one of the best sequels ever, [the Star Wars franchise] wouldn't be the force that it is now."^[297] Lucas's financial gamble had rewarded him significantly, enabling him to fully fund the construction of Skywalker Ranch.^{[298][161][21]} Kershner described receiving letters from fans around the world asking for autographs, and psychologists who used the Yoda character to explain philosophical ideas to their patients.^[299]

Despite the film's initial mixed reception, it has since been re-evaluated by critics and fans and is now considered as arguably the best film in the Star Wars series, and one of the greatest films ever made.^{[300][301][302][303][304][305][164][306][307][308][52]} The Hollywood Reporter's entertainment industry-voted ranking in 2014 recognized it as the thirty-second-best film of all time (behind Star Wars at number eleven), describing it as a "Shakesperean tragedy" with a daringly dark ending that few films would replicate.^[309] Empire magazine named it the third-best film of all time, stating the modern cliché of sequels using a darker tone can be traced back to Empire.^[302] A retrospective review in 1997 by critic Roger Ebert praised the film as the best of the original trilogy, describing its ability to create a sense of wonder in the audience, using story-beats that are core to the concept of storytelling,^[310] and it is listed in the 2003 film reference book 1001 Movies You Must See Before You Die.^[311] A 2014 vote by 250,000 Business Insider readers listed it as the greatest film ever made,^[312] The reveal of Vader being Luke's father remains recognized as one of the greatest plot twists in cinema.^{[313][305][314][306][315][316][317][318][296][299]} Similarly, Han saying "I know", in response to Leia's love confession, is considered one of the most iconic scenes in the Star Wars films, and one of the more famous lines of improvised dialogue.^{[319][320][321][322][323][305]}

Empire magazine listed it as the sixth greatest movie sequel, citing the bold unresolved ending and willingness to not follow the same formula as the original film.^[324] Den of Geek listed it as the second best sequel, behind Aliens (1986), labelling it Lucas's "masterpiece", and Playboy named it the third-best, describing the reveal of the relationship between Luke and Vader as the "emotional core that has elevated Star Wars to the pantheon of timeless modern sagas."^[300][301] Other publications have listed it as one of the best sequels ever made, including the BBC,^[325] Collider,^[326] and others like Time and Playboy described it as a sequel that surpasses the original.^[327][301] Rotten Tomatoes recognizes it as the twenty-seventh best sequel, based on review scores.^[328] Rolling Stone's reader-voted list of the best sequels lists Empire as the third-best.^[329]

Review aggregator Rotten Tomatoes offers a 94% approval rating from the aggregated reviews of 104 critics. The consensus reads, "Dark, sinister, but ultimately even more involving than A New Hope, The Empire Strikes Back defies viewer expectations and takes the series to heightened emotional levels."^[330] The film also has a score of 82 out of 100 on Metacritic based on 25 critics, indicating "universal acclaim".^[331] Characters introduced in the film, like Yoda and Lando Calrissian, are now considered iconic.^{[332][333][285][334][335][336]} The American Film Institute also listed Vader's appearance in the film as the third best on its 2003 list of the 100 Best Heroes & Villains, behind Norman Bates and Hannibal Lecter.^[337]

Cultural impact[]

The Empire Strikes Back was ubiquitous throughout American culture on its release, appearing in political cartoons. Singer Freddie Mercury ended a Queen concern while riding on the shoulders of someone in a Darth Vader costume.^[214]

In 2010, The Empire Strikes Back was selected by the United States Library of Congress to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant".^[338][339] Even so, Lucas refused permission for the original unaltered versions of Empire or Star Wars and his efforts to submit the Special Editions for preservation was rejected. The Library holds unaltered but unpreserved copies retained from the original films' copyright submission.^[340][341]

Landon Palmer, Eric Diaz, and Darren Mooney argued that Empire and not Star Wars embedded the concept of the modern blockbuster film franchise and sequels serving as a chapter in an infinitely expanding narrative, creating a template that was emulated over the following decades. This defied the contemporary popular trend of exploiting a popular film by creating cheaper sequels to diminishing returns as in the Jaws franchise.^{[342][343][344]} Instead, more was spent on Empire to expand the fictional universe and reap greater box office returns. The cliffhanger ending setting up a future sequel is seen in many modern films, particular the Marvel Cinematic Universe (MCU).^[342] It has also been considered that Empire forged a narrative structure that continues to be emulated in trilogies where the middle film will be darker than the original and typically feature a sad ending, leading into a subsequent film. Examples series cited include Back to the Future, The Matrix, Pirates of the Caribbean, and The Lord of the Rings.^[345][346]

Several filmmakers, including the Russo brothers, Roland Emmerich, and Kevin Feige have cited it as an inspiration in their careers or identified as fans.^{[347][348][349]}

Sequels, prequels, and adaptations[]

The film was adapted into 1982 radio play broadcast on National Public Radio in the U.S.^[350] The Empire Strikes Back was followed by Return of the Jedi in 1983, concluding the original film trilogy. The film's plot follows the Rebel assault on the Empire and Luke's final confrontation with Vader and the Emperor. Like the previous films, Jedi was a financial success and fared well with critics.^[351][352]

Nearly two decades after the release of Empire, Lucas wrote and directed the prequel trilogy, consisting of The Phantom Menace (1999), Attack of the Clones (2002), and Revenge of the Sith (2005). The films chronicle the history between Obi-Wan Kenobi and Anakin Skywalker, and Skywalker's fall to the dark side and transformation into Darth Vader. Though financially successful, the films polarized critics and fans on their release for the storylines and some new characters. Retrospectives have highlighted that those for whom the prequels were their first Star Wars experience were more positive about the films than those who grew up on the original trilogy.^{[254][353][354][355][356]}

Following Lucas's sale of the Star Wars franchise to The Walt Disney Company in 2012, Disney developed a sequel trilogy, consisting of The Force Awakens (2015), The Last Jedi (2017), and The Rise of Skywalker (2019).^{[357][358][359][360][361]} The sequel trilogy was financially successful and generally well received by critics and fans, although reactions to The Rise of Skywalker, as the conclusion to the Skywalker narrative, were typically negative and derisive.^[362][363] Original trilogy cast including Ford, Hamill, and Fisher reprised their roles, alongside new characters portrayed by Daisy Ridley, John Boyega, Adam Driver, and Oscar Isaac.^[364] Standalone films and television series have also been released, exploring adventures set around the main trilogy arcs.^{[362][365][366][367]}

References[]

Notes[]

References[]

Works cited[]

Books

• Arnold, Alan (1980). Once Upon a Galaxy: A Journal of Making the Empire Strikes Back. London: Sphere Books. ISBN 978-0-345-29075-5.
• Hearn, Marcus (2005). The Cinema of George Lucas. New York City: H. N. Abrams. ISBN 0-8109-4968-7.
• Rinzler, J. W. (2010). The Making of Star Wars: The Empire Strikes Back — The Definitive Story. United Kingdom: Aurum Press. ISBN 978-1-84513-555-3. OCLC 657407687.
• Schneider, Steven Jay (2013). "1980s". 1001 Movies You Must See Before You Die. Boston, Massachusetts: Murdoch Books Pty Limited. ISBN 978-0-7641-6613-6.

Journals

• Lancashire, Anne (1981). "Complex Design in "The Empire Strikes Back"". Film Criticism. Pennsylvania, United States: Allegheny College. 5 (3): 38–52.

Magazines

• "Box Office News". Variety. Vol. 375 no. 1. United States. May 17, 1999. Retrieved April 20, 2021.
• Clarke, Gerald (May 19, 1980). "The Empire Strikes Back! And so does George Lucas in the second of his Star Wars epics". Time. Vol. 115 no. 20. New York City. p. 66. Retrieved September 1, 2021.
• Denby, David (May 26, 1980). "'Star Wars' Strikes Back". The New Yorker. Retrieved August 30, 2021.
• Groves, Dan (April 14, 1997). "'Back' Strikes Big In O'seas B.O." Variety. Vol. 366 no. 11. United States. Retrieved April 20, 2021.
• Hutchison, David (November 1980). "Building An FX Shop To Shoot The Empire In Space". Starlog. No. 40. United States: Starlog Group, Inc. pp. 64–69. Retrieved October 31, 2020.
• Mandell, Paul (December 1980). "Tauntauns, Walkers and Probots". Cinefex. No. 3. United States. Retrieved February 18, 2021.
• Packer, David S. (November 1980). "Mark Hamill". Starlog. No. 40. United States: Starlog Group, Inc. pp. 16–20, 61. Retrieved October 31, 2020.
• Shay, Don (August 1980). "Of Ice Planets, Bog Planets And Cities In The Sky". Cinefex. No. 2. United States. Retrieved February 18, 2021.
• "Smokey 2 No. 1 in Domestic B.O. Maiden Wk. With $17,805,900". Daily Variety. United States. August 25, 1980.
• Woods, Mark (May 12, 1997). "'Liar' Leads, But 'Selena' Cooks In Mexico". Variety. Vol. 367 no. 2. United States. Retrieved April 20, 2021.

Newspapers

• Buckley, Tom (May 16, 1980). "At the Movies; The 'Force' behind 'Empire Strikes Back.'". The New York Times. New York City. p. C13. Archived from the original on March 17, 2021. Retrieved March 17, 2021.
• "'Empire Strikes' Tops 'Star Wars' Opening Sales". The New York Times. New York City. May 24, 1980. p. 13. Retrieved March 17, 2021.
• "Hollywood: 'The Empire' Strikes It Rich". The New York Times. New York City. June 1, 1980. p. F19. Retrieved March 18, 2021.

Further reading[]

• Bouzereau, Laurent (1997). The Annotated Screenplays. Del Rey. ISBN 0-345-40981-7.
• Kaminski, Michael (2008) [2007]. The Secret History of Star Wars (3.0 ed.).

External links[]

• Official website at starwars.com
• Official website at Lucasfilm.com
• Star Wars: Episode V The Empire Strikes Back on Wookieepedia, a Star Wars wiki
• The Empire Strikes Back at IMDb
• The Empire Strikes Back at the TCM Movie Database
• The Empire Strikes Back at AllMovie
• Star Wars, Episode V: The Empire Strikes Back at Filmsite.org
• The Empire Strikes Back at the American Film Institute Catalog
• The Empire Strikes Back essay by Daniel Eagan In America's Film Legacy, 2009-2010: A Viewer's Guide To The 50 Landmark Movies Added To The National Film Registry In 2009–10, Bloomsbury Publishing USA, 2011, ISBN 1441120025 pages 166-169 [1]