The Empire Strikes Back

Memorial Day weekend of 1980 featured the release of two landmark motion pictures, each leaving an indelible mark on cinema history.  One is recognized as possibly the greatest horror movie ever filmed, while the other is regarded as one of the greatest sequels of all time.  Both are rightfully identified as masterpieces today, but full appreciation for their artistry would develop with further consideration and time.

Released on May 23^rd, Stanley Kubrick’s “The Shining” hit screens and disturbed captive audiences with its macabre atmosphere.  Based on the novel by Stephen King, Kubrick kept only the book’s basic outline, and instead crafted a uniquely frightening moviegoing experience, pitching the tone of his haunted hotel fable at an uncomfortably tense pitch from the start, and slowly increasing the level throughout.  Redefining horror with its psychological depth and evocative mood, the film plays upon the audience’s most primal terrors and basest fears.

In many ways, Kubrick set out to create a mainstream theatrical hit, having been met with disappointment at his previous effort “Barry Lyndon”, and he decidedly accomplished his goal, as “The Shining” was able to attract audiences in numbers which would turn its studio a net profit.  However, its legacy is driven not by its box office but by its unrivaled ability to inspire vast interpretation.  The film is venerated for its themes and symbolism and its brilliance has been extensively analyzed over the decades since its initial run, influencing countless stylistic movies and genre directors.

Ultimately, it would be another film that would dominate this Memorial Day weekend box office.  Arriving three years after its predecessor blockbuster, the anticipation for George Lucas’ “The Empire Strikes Back” was immense, as audiences eagerly awaited the sequel to the record-breaking and beloved “Star Wars”.  Fueled by trailers, posters, and promotional materials, the public was buzzing with excitement and speculation, setting a high bar for Lucas and his creative team.

With a strong passion to oversee every aspect of his continuing saga, but not for the responsibility of writing and directing the follow up, Lucas hired Leigh Brackett and Lawrence Kasdan to pen the script and handed directorial responsibilities to journeyman filmmaker Irvin Kershner.  Together, these artists would work to realize Lucas’ incredibly ambitious vision, which encompassed new worlds and alien characters.  Initially budgeted in line with the original film, “The Empire Strikes Back” would eventually eclipse this amount, raising the possibilities for what could be accomplished on theater screens, as well as the risk if reactions from audiences were not enthusiastic.

The high expectations and fan fervor surrounding the release led to long lines and sold-out screenings, as “The Empire Strikes Back” dominated the box office in the weeks following its opening.  It would go on to reign as the year’s top moneymaker, as well as one of the highest grossing motion pictures ever by the end of its first run.  Ultimately, however, it would not challenge “Star Wars” for its hold on the all-time leader position, ending comfortably behind its forefather’s total.

In retrospect, it is not difficult to understand why, as “Empire” is a much deeper and darker viewing experience.  For all its narrative ambition, its most daring conceit is the construction of the story as an unresolved middle chapter.  In an era before streaming, or even widespread cable, Lucas had bet on his audience’s enthusiasm, knowing they had had come to watch his trilogy opener numerous times during its initial release and re-release, and betting they would wait three more years for the trilogy’s closer.

With this opportunity, Lucas refused to play it safe, trading the earlier film’s clear distinctions between good and evil for a complex morality tale which challenges perceptions of right and wrong.  Whereas Luke was sent to rescue a princess and battle the empire previously, he is now meditatively contemplating his purpose in the swamps of Dogabah, a mere pupil at the feet of the great Jedi master Yoda (mesmerizingly portrayed by puppeteer Frank Oz), tasked with philosophically questioning his place in the greater universe.  For a sequel to one motion picture’s most enjoyable thrill rides, this was a bold and powerful stylistic choice.

Inspired by the stronger story and dialogue, as well as guidance from a director with an assured actor’s hand, “Empire” is not weighed down by its greater intentions, and rises above and beyond the confines of its genre.  Wisely redistributing the character focus to allow for a credible love story, Harrison Ford and Carrie Fischer shine throughout, culminating in the saga’s most emotional moment, as Han is lowered toward his almost certain death, but not before sharing two final words with Leia.

The ending’s stakes could hardly be higher, with Han imprisoned, Leia running, and Luke handless after realizing the most unexpected twist in popular culture.  The audience is left shocked, getting little of what they had expected, but everything that they had needed.  And like every genre fan who was blessed to view “Empire” upon its release, audiences have been chasing that cinematic high ever since. 

The summer concluded with two classic comedies, as audiences transitioned from far away galaxies to the infectious energy of John Landis’ follow up to “Animal House”, the iconic Chicago-based musical “The Blues Brothers”, coupled with the inventive hilarity of David Zucker’s razor-sharp disaster parody “Airplane!”.  As the weather cooled, more serious fare arrived, beginning with David Lynch’s visually stunning follow up to “Eraserhead”, the profoundly compassionate “The Elephant Man”, and ending with Martin Scorsese’s triumphant return to excellence “Raging Bull”.  With brilliant direction, powerful performances and stunning cinematography, its raw depiction of the complexities of rage and redemption created an unrelenting emotional experience.

Amazingly, Scorsese’s masterwork was somewhat overlooked in its time, an indirect casualty of Hollywood’s most infamous financial misstep.  Released the same week and by the same studio as “Raging Bull”, Michael Cimino’s “Heaven’s Gate” collapsed the fortune of United Artists and marked the death of ambitious auteur-driven projects.  Combined with the blockbuster earnings of “Empire”, the New Hollywood circle was now complete.