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In Lucas’ quest to make things more epic, he diluted them horribly.
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The problem with these multiple climaxes is that it’s hard to keep track of what’s going on, and worse yet, it’s hard to actively root for anything because you’re constantly being jerked around. For ‘Return of the Jedi’ there are no fewer than three climaxes, happening simultaneously – the business on Endor getting the shield down, which involves Han, Leia and the droids the space battle to destroy the second Death Star, where Lando is piloting the Millennium Falcon for some reason (with some bizarre alien sidekick co-pilot) and the big showdown between Luke and Vader and the Emperor, something that now involves lightning shooting out of people’s fingertips because the addition of lighting makes an epic cosmic swordfight even more exciting. For the sequel, things were stripped away even further – instead of a space battle, it’s a sword fight (essentially) and one that, since it has been pared down in scale, is even more emotionally involving. The original film had one large-scale space battle that involved all the principle characters it was cleanly told and easy to follow. Everything in the “Star Wars” universe became cuter, cuddlier, and less dangerous, with the contemplative philosophical underpinnings of the previous film replaced with flimsy metaphysical hooey. Lucas found that the original title of the third film, ‘Revenge of the Jedi,’ was too harsh, so he softened that as well. The laws of ‘Return of the Jedi’ weren’t governed by art or common sense or the needs and requirements of the screenplay – the revenue generated from action figures, boxes of novelty cereal and pajamas governed them. The indigenous race that populated the forest moon of Endor was originally conceived as a slithery band of reptilian lizard creatures, which would have served the story well – the evil Empire being brought down by something equally scary and slimy (but fundamentally misunderstood.) Lucas got skittish, though, and changed them to the lovable Ewoks – essentially Native American teddybears, ready to be snapped up and snuggled by countless children the world over. Now that’s entertainment.īy contrast, all accounts suggest that Lucas haunted the set of ‘Return of the Jedi.’ Director Richard Marquand was relatively inexperienced when it came to the film’s complex visual effects, so Lucas hung around and was at the very least a second unit director and at the very worst a legitimate co-director, with Marquand saying in 2005 that the experience was “like trying to direct ‘ King Lear‘ with Shakespeare in the next room.” No, it ends with one hero being incased in a liquid metal ice cube, another character betraying his friends and another getting his hand sliced off by a murderous madman that moments before was revealed as his father. The film doesn’t end with some huge battle sequence, the Rebels taking another hard fought victory from the Empire. They were able to experiment and take chances, which they did, with gleeful abandon. Unlike the original film, which Lucas both wrote and directed, ‘The Empire Strikes Back’ was being handled by a creative team that consisted of director Irvin Kershner and screenwriters Lawrence Kasdan and Leigh Brackett. The massive amounts of money that the first “Star Wars” had brought in turned him from a filmmaker into a company he had to oversee and manage his own Galactic Empire.
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When filming began on ‘The Empire Strikes Back,’ Lucas was distracted. It was the beginning of the end of “Star Wars” as we know it. Lucas wanted to turn that around with the third film, so he did everything he could to make it lighter, brighter and more acceptable for families.
It was, in short, a downer a profoundly brilliant, meditative downer. This was one of a number of decisions that George Lucas made while constructing “Return of the Jedi” that would forever alter the spirit and tone of “Star Wars.” What had been a rollicking throwback to Saturday morning serials had, with the sequel, “ Star Wars: The Empire Strikes Back,” become deeper, darker and more spiritual.