Forty years of “The Empire Strikes Back”, the dark top of the “Star Wars”

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“The Empire Strikes Back” (1980) celebrates 40 years consolidated as the top “Star Wars”, something curious to a tape very dark and in the that triumphed the evil within is a saga of science-fiction erected, mainly, on positive values such as hope, rebellion or friendship.

“Star Wars: Episode V – The Empire Strikes Back”, by his full name, loaded with the heavy slab to be the sequel to that was then the highest grossing movie in history: “Star Wars: Episode IV – A New Hope” (1977).

Despite this, “The Empire Strikes Back” also triumphed at the box office (although his budget is shot during the production) and, above all, expanded and refined the unfolding of the narrative of “Star Wars”, with George Lucas as producer after giving the witness of the direction of Irvin Kershner.

With a scaring atmosphere and a greater dramatic weight, Kershner, supported by a solid script by Lawrence Kasdan from the prior work of Leigh Brackett and George Lucas, came out victorious from this ambush galactic despite the fact that, apparently, in some moments I was a little lost with the special effects.

“It’s amazing,” he said according to the book “Easy Riders, Raging Bulls” by Peter Biskind.

“I direct actors, then send the footage back to California and I know what it is about the scene”, he added.

These are four points that explain the legacy of “The Empire Strikes Back”:

FATHER THERE IS MORE THAN ONE

Despite the fact that “the Force be with you” could also admission with many points, there is no doubt that “I am your father” in the voice of Darth Vader is the phrase most remembered from “Star Wars” and a pivotal moment in the history of cinema.

The confession before a Luke Skywalker between dumbfounded and desperate not only was a huge surprise to the public but which, above all, served as a culmination at the turn of the “Star Wars” in “The Empire Strikes Back”: the passage of a tone more adventurous and light-space-opera of the first tape to the twisted family drama of aroma shakespearean in its sequel.

YODA AND THE SECRETS OF THE FORCE

Obi-Wan Kenobi (Alec Guinness) had already given some clues in “A New Hope”, but the presentation of the incomparable Yoda allowed the public could better understand what was exactly behind the ethereal concept of the Force.

Among lessons to be Luke Skywalker more or less sesudas, it became clear that one of the keys of the jedi to exploit the power of the Force was to dominate his feelings, attain self-control, to resist the hatred and the passions, and to reach a kind of ataraxia stoic.

The problem for the master Yoda is that his student was not at all focused on those classes and looked askance what was in the Dark Side.

BETRAYALS AND TEMPTATIONS

Above all, “The Empire Strikes Back” represents the point of greatest power of the Dark Side and only “Star Wars: Episode III – Revenge of the Sith” (2005) we can argue that absorbing halo of evil.

In this follow-up to nothing was going well for the heroes of “Star Wars”: Luke Skywalker’s discovery that his greatest enemy was his father, Han Solo had just the tape frozen after being betrayed by Lando Calrissian, the Emperor and Darth Vader were a step ahead of all, the bounty hunter stalked every corner, the Rebel Alliance is sad he could survive the awesome attack of the Empire in the frozen lands of Hoth…

It is said that hope is the last that is lost, something very valid to a series of breath upbeat as “Star Wars”, but “The Empire Strikes Back” made things really black before “Star Wars: Episode VI – Return of the Jedi” (1983).

SEXUAL TENSION RESOLVED

They had shared a handful of scenes in “A New Hope” in the already jumped out sparks, but in “The Empire Strikes Back” was when Leia and Han Solo settled a sexual tension that was perceived with clarity from any point of the galaxy.

Each one played their role: Han Solo was the loudmouth that create plenty of “sex appeal”, and Leia resisted with the head which, in reality, I demanded the heart.

Between comings and goings, to the end gave a farewell of love is perhaps not as romantic as that of “Casablanca” (1942) but without doubt ample charm.

“I love you,” she says.

“I know,” he responds.