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Episode IV: A New Hope. Far off in a distant galaxy, the starship belonging to Princess Leia, a young member of the Imperial Senate, is intercepted in the course of a secret mission by a massive Imperial Star Destroyer.
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Aug 1, 2021 · Readers will of course be familiar with the plot of Episode IV, but its ending and consequences may elude even the more experienced fans. So, let’s explore what the ending of the beginning...
First up is Star Wars Episode IV: A New Hope. Let’s break down the plot and structure of George Lucas’ 1977 space-opera, the first in what would become an epic franchise spanning nearly 40 years, and see how it fits within The Hero’s Journey. You can download the script below to follow along.
Jan 9, 2024 · An analysis of Star Wars Episode IV - A New Hope, from story structure and theme perspectives, the first entry in an ongoing series covering the iconic franchise.
- Overview
- Synopsis
- Development
- Release
- Reception
"A film for a generation growing up without fairy tales."
―George Lucas[4]
Star Wars: Episode IV A New Hope, originally released as Star Wars, is a 1977 film written and directed by George Lucas. It is the first part of the Star Wars original trilogy and the first Star Wars film released.
The film is set 19 years after the formation of the Galactic Empire and the events of Revenge of the Sith; construction has finished on the Death Star, a weapon capable of destroying a planet. After Princess Leia Organa, a leader of the Rebel Alliance, receives the weapon's plans in the hope of finding a weakness, she is kidnapped and taken to the Death Star. Meanwhile, a young farmer named Luke Skywalker meets Obi-Wan Kenobi, who has lived in seclusion for years on the desert planet of Tatooine. When Luke's home is burned and his aunt and uncle killed, Obi-Wan begins Luke's Jedi training as they—along with Han Solo, Chewbacca, C-3PO, and R2-D2 attempt to rescue the princess from the Empire.
Assault on Tantive IV
19 years after the formation of the Galactic Empire and the events of Revenge of the Sith, the galaxy is in a state of civil war. The Rebel Alliance has won their first major victory by stealing plans to the Galactic Empire's secret weapon, the Death Star. Hoping that the stolen plans can save her people and restore freedom to the galaxy, Princess Leia Organa, who is in custody of the plans, attempts to race home aboard the Tantive IV. However, her ship is intercepted by the Imperial I-class Star Destroyer Devastator over the desert planet of Tatooine. The ship is captured, and several Imperial stormtroopers come aboard. After defeating the small number of guards defending the ship, the Sith Lord Darth Vader arrives to assess the damage. Vader is outraged and questions Captain Antilles, whom he eventually strangles and kills. Hiding on the ship, Princess Leia is able to record a holographic message with the help of R2-D2, and gives the droid the plans for the Death Star and the responsibility of taking the message to Obi-Wan Kenobi, a Jedi-in-hiding on Tatooine. Leia is spotted by stormtroopers and they shoot her with a stun blast and bring her before Vader. Leia claims she and the ship's crew were on a diplomatic mission to Alderaan, but is disbelieved by Vader, who denounces her as a traitor and has her taken prisoner. Vader orders a message be sent to the Imperial Senate, informing them that the ship was destroyed, with everyone on board killed. R2-D2 and C-3PO use an escape pod in order to escape the ship and reach the planet of Tatooine below.
Luke's destiny
"There's nothing for me here now. I want to learn the ways of the Force and become a Jedi like my father." ―Luke Skywalker[1] After arguing and going their separate ways for a while, the droids are individually picked up by Jawa traders and brought aboard a Sandcrawler. They are later bought by moisture farmer Owen Lars and his nephew, Luke Skywalker, a young farmer who lost his parents as a baby and hopes to one day be a starfighter pilot just like his friends. While cleaning R2, Luke discovers the hologram, at the mention of Obi Wan, he wonders if she means his neighbor Ben Kenobi. While eating dinner with Owen and his Aunt Beru, Owen asks Luke to take R2 to Anchorhead the next day to have his memory wiped, and expresses his hope Luke will stay with them for one more harvest season before sending his application to the Academy. R2 escapes from the Lars' homestead in search of Obi-Wan, whom the droid claims to be the property of. Luke and C-3PO search the desert and find R2 the next day, only to be attacked by Sand people. Luke and his droids are rescued by Ben Kenobi, who confirms he is Obi-Wan. At his home, Obi-Wan gives Luke his father's lightsaber, as Obi-Wan recalls his own friendship with Luke's father. He tells Luke that he and his father were a part of the Jedi order that once protected the galaxy before the Empire took over and that Darth Vader was once his apprentice before he fell to the dark side of the Force and murdered Luke's father. After viewing Princess Leia's message carried by R2-D2, Obi-Wan attempts to persuade Luke to accompany him to Alderaan. Luke refuses to go until the group discovers the remains of the Sandcrawler, the Jawas having been killed by stormtroopers searching for the droids. Realizing this, Luke hurries home only to find his aunt and uncle's charred remains, having been brutally murdered by the same stormtroopers. Luke returns upset, but Obi-Wan tells him there was nothing he could do, and that he would have been killed too and the plans would be in possession of the Empire. With nothing keeping him on Tatooine, Luke, Obi Wan, and the two droids travel to Mos Eisley to find passage to Alderaan, Princess Leia's home planet. Aboard the Death Star, Cassio Tagge argues with Conan Antonio Motti about the stations vulnerability to the rebels and points out that the rebellion has been gaining support within the imperial senate. Wilhuff Tarkin enters the room with Darth Vader and informs them that the Emperor has dissolved the senate completely, sweeping away the last remnant of the Old Republic. Believing fear will keep the galaxy in line, Motti boasts the power of the Death Star, to which Vader replies that its power is insignificant compared to the Force. When Motti mocks Vader's belief in the Force, Vader Force chokes him until Tarkin orders him to stop, and expresses his own desire to crush the Rebellion. Back in Mos Eisley, Luke, Obi-Wan and the Droids run into a patrol of stormtroopers, who ask for their identification. Obi-Wan uses a Jedi Mind trick on the lead trooper, who lets them pass. Arriving at Chalmun's Spaceport Cantina, the group hires smuggler Han Solo and his First Mate, a Wookiee named Chewbacca, for 17,000 credits, 2,000 in advance and 15,000 upon arrival, to take the four of them to Alderaan aboard their ship, the Millennium Falcon. After Han has a brief run-in with Greedo over his debts to crime lord Jabba The Hutt, which ends with Han fatally shooting Greedo, they make it to the Falcon's hanger. A brief scuffle with stormtroopers and henchmen sent by Jabba ensues, and the Falcon escapes Imperial Star-Destroyers over Tatooine and sets a course to Alderaan, unaware that the Death Star has just arrived there as well.
Rescue of the princess
"Here's where the fun begins!" ―Han Solo[1] Leia, having resisted being tortured with a Mind probe for the location of the Rebel Alliance's headquarters, is brought before Grand Moff Tarkin. Tarkin threatens to use the Death Star's Superlaser on Leia's Homeworld of Alderaan if she does not tell them the Rebel base's location. She reluctantly tells them the base is on Dantooine, but Tarkin orders Alderaan to be destroyed anyway for its role in supporting the rebels. Aboard the Millennium Falcon, Obi-Wan feels a great disturbance in the Force while Luke undergoes Lightsaber training with a training remote. Upon dropping out of Hyperspace, they find what seems to be an asteroid field in Alderaan's place. The Millennium Falcon is then pulled aboard the Death Star by its powerful tractor beam. Tarkin and Vader discover that Leia lied about the Rebel bases location when their forces only discover the ruins of a base on Dantooine. Tarkin orders her to be executed. Having docked with the Death Star, Solo and the others ambush two stormtroopers and the Imperial scanning crew sent to investigate the Falcon by hiding in hidden smuggling compartments. With Han and Luke now disguised as the two stormtroopers, the group storms a control room to figure out how to escape. Obi-Wan separates from the group to disable the tractor beam, leaving the others alone. While connected to the Imperial Network, R2-D2 discovers Princess Leia is aboard the station and is set for termination. Luke convinces Han and Chewbacca to rescue her with the vague promise of a grand reward. Han and Chewbacca reluctantly agree. Luke plans to march into Detention Block AA-23, claiming that Chewbacca is part of a prisoner transfer. C-3PO and R2-D2 are instructed to remain behind, and the trio sets off on their rescue attempt. Upon being met with suspicion, they are quick to subdue the officers and guards in the princess's cell block. Luke frees Leia from her cell, but the group are pinned down by a squad of stormtroopers. Leia takes charge, blasting a hole in a nearby grate and jumping through while Chewbacca, Luke, and Han all dive after the princess. The chute ends up leading to a garbage compactor that is also home to a resident dianoga. Soon after landing, the creature pulls Luke under the surface, but releases him and is scared away when the Imperials realize where the heroes escaped to and activate the compactor. As the walls close in on the foursome, Luke desperately calls to C-3PO over his comlink asking for the compactor to be shut down. Leia struggles to get to the top and Chewbacca tries to unlock the door. R2-D2 manages to shut down the compactor just in time, although, amidst the muffled cries of joy over the comlink, C-3PO is briefly convinced that his master and friends have been crushed. After escaping from the trash compactor, the group hurries back to the Millennium Falcon, hoping that Obi-Wan has successfully shut down the tractor beam. Leia and Han bicker about who is in charge of the mission, while Han muses no reward is worth dealing with Leia's scathing criticism. Luke and Leia briefly become separated from Han and Chewie when Han chases after a group of stormtroopers, only to run into a whole battalion and be chased by them instead. Luke and Leia nearly run into a large chasm and are forced to swing across with a Grappling hook amongst blaster fire, with Leia giving Luke a brief kiss "for luck". The group soon rejoins and makes there way back to the Falcon.
Conception
During post-production on his previous film, American Graffiti, Lucas repeatedly discussed the concept of a "space opera" with producer Gary Kurtz. In January 1973 Lucas began work on this, and by May had prepared a 14-page story outline for distribution among film studios.[5] He had originally envisioned the film as being a continuation of both American Graffiti and Apocalypse Now (the latter of which he helped make before Warner Bros. Studios shut down his studio of American Zoetrope and thus forced him to hand over development to his compatriot, Francis Ford Coppola). His note for the basic plotline for the film, which was intended to be a response to the Vietnam War era, was that it involved "a technological empire going after a small band of freedom fighters."[6][7] According to Walter Murch, a former associate of Lucas when the latter was filming Apocalypse Now, the space opera setting was conceived in large part because, due to the Vietnam War still going on, the audiences would not have been receptive to a direct attack on American involvement in Vietnam.[8][9] Because of its outer space setting, the story was viewed as science fiction, an unpopular genre at the box office. Lucas later proposed that terms like "space fantasy" or "science fantasy" better fit the story.[5] He brought the outline to Universal Studios and United Artists; both rejected the project (the former refused directly, while the latter withheld their answer until after the 10 day wait period ended).[6][10][7] He also turned to Walt Disney Studios Motion Pictures, though they also turned him down.[6][7] Lucas disliked the studio system because his previous two films, American Graffiti and THX 1138, had been re-edited without his consent.[11] Still, aware that studios were unavoidable, he pursued Alan Ladd, Jr., the head of 20th Century Fox. Although Ladd did not grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd "invested in me, [but] he did not invest in the movie."[5]
Production
Lucas wrote multiple drafts of the script: a Rough Draft in May and a First Draft in July 1974, a second draft titled, Adventures of the Starkiller as taken from the Journal of the Whills, Saga I: The Star Wars in January and a third titled, The Star Wars: From The Adventures of Luke Starkiller in August 1975. As the draft developed, the characters evolved significantly. Early in development, Luke Skywalker's character changed from a 60-year-old general to a member of a family of dwarfs;[5][12] the Corellian smuggler, Han Solo, was envisioned as a large, green-skinned monster with gills.[12] Chewbacca was inspired by Lucas' Alaskan malamute dog, Indiana, who often acted as the director's "co-pilot" by sitting in the passenger seat of his car.[12] The Force, a mysterious energy field, was initially conceived as the Kyber crystal, a "galactic holy grail."[13][5] The completed script was too long for one movie; however, Lucas refused to condense it. Instead, he expanded the first third of it into one movie and left the rest for two future films, effectively creating the original Star Wars trilogy.[14][5][15] Lucas hired conceptual artist Ralph McQuarrie to create paintings of certain scenes during screenwriting. When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings.[16] 20th Century Fox approved a budget of $8,250,000; American Graffiti's positive reviews allowed Lucas to renegotiate his deal with Alan Ladd, Jr. and request the sequel rights to the film. For Lucas, this deal protected Star Wars' unwritten segments and most of the merchandising profits.[5][17] In 1975, Lucas founded the visual effects company Industrial Light & Magic (ILM) after discovering that 20th Century Fox's visual effects department had been disbanded. ILM began its work on Star Wars in a warehouse in Van Nuys, California. Lucas himself bought old equipment for pennies on the dollar.[18] traditionally, models were filmed by moving them in front of a stationary camera.[19] Most of the visual effects used motion control photography, which creates the illusion of size by employing small models and slowly moving cameras called the Dykstraflex.[18] all the models would be shot in front of a blue screen, which would allow the placement of other elements into the scene, this process is called optical compositing.[18] the team the special effects team retooled an optical printer that allowed separate film strips to be photographed and combined onto a single layer of film.[18] artists created matt paintings to increase the scope and production value of a scene, by extending environments painted on glass, that would be photographed and combined with live-action elements.[18] Model spaceships were constructed on the basis of drawings by Joe Johnston, input from Lucas, and paintings by McQuarrie. Lucas opted to abandon the traditional sleekness of science fiction by creating a "used universe" in which all devices, ships, and buildings looked aged and dirty.[5][20][21] When filming began on March 22, 1976 in the Tunisian[22] desert for the scenes on the planet Tatooine, the project faced several problems.[source?] Lucas fell behind schedule in the first week of shooting due to a rare Tunisian rainstorm, malfunctioning props, and electronic breakdowns.[23] When actor Anthony Daniels wore the C-3PO outfit for the first time, the left leg piece shattered down through the plastic covering his left foot, stabbing him. After completing filming in Tunisia, production moved into the more controlled environment of Elstree Studios, near London.[23] However, significant problems, such as a crew that had little interest in the film, still arose.[5][23] Most of the crew considered the project a "children's film," rarely took their work seriously, and often found it unintentionally humorous.[24] Actor Kenny Baker later confessed that he thought the film would be a failure.[25] Harrison Ford found the film "weird," in that there was a princess with buns for hair and what he called a "giant in a monkey suit" named Chewbacca.[source?] Ford also found the dialogue difficult, saying, "You can type this shit, George, but you sure can't say it."[26] Lucas clashed with Director of Photography Gilbert Taylor, whom producer Gary Kurtz called "old-school" and "crotchety."[5][27] Moreover, with a background in independent filmmaking, Lucas was accustomed to creating most of the elements of the film himself. His camera suggestions were rejected by an offended Taylor, who felt that Lucas was over-stepping his boundaries by giving specific instructions. Lucas eventually became frustrated that the costumes, sets and other elements were not living up to his original vision of Star Wars. He rarely spoke to the actors, who felt that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words "faster" and "more intense."[5] Ladd offered Lucas some of the only support from the studio; he dealt with scrutiny from board members over the rising budget and complex screenplay drafts. After production fell two weeks behind schedule, Ladd told Lucas that he had to finish production within a week or he would be forced to shut down production. The crew split into three units, led by Lucas, Kurtz, and production supervisor Robert Watts, respectively. Under the new system, the project met the studio's deadline.[5][23] ILM concluded shooting on April 22, 1977 with shot 110P, that of a Star Destroyer.[28] Star Wars was originally slated for release in Christmas 1976; however, delays pushed the film's release to summer 1977. Already anxious about meeting his deadline, Lucas was shocked when his editor's first cut of the film was a "complete disaster." After attempting to persuade the original editor to cut the film his way, Lucas replaced the editor with Paul Hirsch and Richard Chew. He also allowed his then-wife Marcia Lucas to aid the editing process while she was cutting the film New York, New York with Lucas' friend Martin Scorsese. Richard Chew found the film had an non-energetic pace; it had been cut in a by-the-book manner: scenes were played out in master shots that flowed into close-up coverage. He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously; whoever finished first moved on to the next.[5] During production, the cast attempted to make Lucas laugh or smile as he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with hypertension and exhaustion and was warned to reduce his stress level.[5][23] Post-production was equally stressful due to increasing pressure from 20th Century Fox. Moreover, Mark Hamill's face was injured in a car accident, which made reshoots impossible.[23] Meanwhile, ILM was struggling to achieve unprecedented special effects. The company had spent half of its budget on four shots that Lucas deemed unacceptable.[23] Moreover, theories surfaced that the workers at ILM lacked discipline, forcing Lucas to intervene frequently to ensure that they were on schedule.[5] With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months. Lucas inspired ILM by editing together aerial dogfights from old war films, which enhanced the pacing of the scenes.[5][19] During the chaos of production and post-production, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an "organic soundtrack." For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Burtt created the robotic voice of R2-D2 by filtering his voice through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a scuba tank implanted with a microphone.[29] Lucas never intended to use the voice of David Prowse, who portrayed Darth Vader in costume, because of Prowse's thick English West Country accent. He originally wanted Orson Welles to speak for Darth Vader. However, he felt that Welles' voice would be too recognizable, so he cast the lesser-known James Earl Jones.[30] Nor did Lucas intend to use Anthony Daniels' voice for C-3PO. Thirty well-established voice actors, such as Stan Freberg, read for the voice of the droid. According to Daniels, one of the major voice actors recommended Daniels' voice for the role.[5][12] The "Lost Cut" of Star Wars was edited by John Jympson.[31] When Lucas screened an early cut of the film for his friends, among them directors Brian De Palma, John Milius and Steven Spielberg, their reactions were disappointing. Spielberg, who claimed to have been the only person in the audience to have enjoyed the film,[5] believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas later said that the group was honest and seemed bemused by the film. In contrast, Alan Ladd, Jr. and the rest of 20th Century Fox loved the film; one of the executives, Gareth Wigan, told Lucas, "This is the greatest film I've ever seen," and cried during the screening. Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before.[5] Although the delays increased the budget from $8 million to $11 million, the film was still the least expensive of the Star Wars saga.
Music
From the very beginning, Lucas' intention for "Star Wars" was that it would have very familiar sounding music, that despite the extraordinary visuals and events occurring onscreen, the music would be reminiscent of Earth and of the past. To that end, he originally wanted to fill the film with tracked classical music from various composers, in a similar fashion to 2001: A Space Odyssey.[32] Lucas' friend, Steven Spielberg, recommended composer John Williams to Lucas after their recent collaboration on Jaws (1975). Spielberg convinced Lucas that he should meet with the composer, who in turn convinced him of the need for original music.[33] They also decided in this early meeting that the score should have a romantic musical sound, with leitmotifs for different characters and events, similar to the operas of Richard Wagner.[34] Rough cuts of "Star Wars" used something called a "temp score", referring to musical material that was there to find a rhythm while editing but would not be kept in the final cut as it would be replaced by the final score. These temp tracks would help to inspire the direction John Williams was to take with his score as he began writing it.[35] Most of the temp tracks are not public knowledge, but some information has been revealed over the years. In one interview, editor Paul Hirsch confirmed that a cue from Bernard Herrmann's Psycho score containing the famous "3-note motif" was used to temp the scene where the heroes exit the smuggling chambers of the Millennium Falcon.[36] In another interview, Hirsch revealed that the opening to "The Sacrifice" from Igor Stravinsky's "The Rite of Spring" was used to temp the scene in the desert, the Jawa scenes were temped from other parts of the same piece, and the Main Title crawl was temped with the overture of Ivanhoe by Miklós Rózsa.[37] Later, in his own book, Hirsch would claim that the Main Title crawl was temped with Erich Korngold's theme to the 1938 Robin Hood. It is unknown which of these claims is correct. Also in his book, Hirsch mentions that the Cantina scene was tracked by Benny Goodman's "Avalon" from his Carnegie Hall performance, some of the early battle footage was tracked with "Dance of the Adolescents" from "The Rite of Spring", and the approach to the Death Star was temped with the music from the approach to Kong Island from Max Steiner's King Kong score.[38] In an interview, sound editor Ben Burtt said that Antonín Dvořák's New World Symphony was temped into the medal ceremony (Hirsch mentioned this in his book too), and parts of Anton Bruckner's Ninth Symphony were temped as Luke's theme.[37] Homages to many of these known temp tracks appear in the final score. For example, the cue [1m5-2m1] Desert Song from Star Wars is extremely similar to the opening of the Stravinsky piece it was temped with. Further, the music in [1m2] Main Title that plays when the underbelly of the Star Destroyer flies over the camera is very similar to the ending of "Mars - The Bringer of War" from Holsts' "The Planets". Even the 3-note motif from Psycho appears in the very opening of the Star Wars cue [7m1-7m2 New] The Hatch Opens, exactly where the temp track would have been. On January 10th, 1977, Williams was invited to the spotting sessions, where he watched a rough cut of the film with Lucas, music supervisor Lionel Newman, music editor Ken Wannberg, producer Gary Kurtz, and film editor Paul Hirsch.[37][38][39] Over the next several weeks, he would get to work writing the score. The way Williams wrote his score, he began by creating all the various leitmotifs and character themes (such as "Luke's Theme", "Leia's theme", and "Ben's theme", the "Jawa theme," the "Rebel Fanfare," and the "Imperial motif"). He then went on to create the actual score by stringing all the themes he created together in a way that would match up with what was happening on screen.[40] It's unknown exactly how long John Williams spent writing the score, but it is certain that he would have had at the absolute most no more than 8 weeks, given that they started recording on March 5th. This is unrealistic because there needed to have been time for the orchestrators to write out all the various parts for the players, so it is more likely that the score was completed in 7 weeks or less. As with any creative process, parts of the score went through multiple revisions. One well-known example is the cue "Lost R2", which scores the famous "binary sunset" scene. This scene was originally scored with a very different sounding piece that contained "Luke's theme". When Lucas heard the cue, he asked if it could be rescored with "Ben's theme" because he felt it fit the scene better.[35] It can be argued that this opened the door for "Ben's theme" to be recontextualized into what we think of today as the "Force theme". Another interesting example of the score changing was the cue "A Home Destroyed". When this cue was written, it was designed to score the end of Ben's house, Leia's torture, the discovery of the attacked sandcrawler, and Luke returning home to find his guardians dead and his home burned. While Williams was writing the score, the film was re-edited so that the board room scene would occur where the torture scene used to be. This caused the cue to be split in half. The first 14 bars were recorded by themselves with a newly written ending featuring the "Death Star theme" for the transition to the boardroom scene. Then a second cue was recorded, being made up of bars 31-71 (attacked sandcrawler and burned homestead scenes) and bars 17-30 (Leia torture scene), with some new transition material written to join them.[41] This isn't the only time editing of the film would require changes to the score, but it is one of the only examples where a re-edit resulted in the score being changed before it was recorded. The rest of the edits were done too late, and the remaining score changes were left to be made artificially by Ken Wannberg.[38] After the writing of the score was completed, the orchestrations were performed by lead orchestrator Herbert Spencer, who was assisted by Arthur Morton, Angela Morley, Al Woodbury, Alexander Courage and Williams himself.[40]
Wary that Star Wars would be beaten out by other summer films, such as Smokey and the Bandit, 20th Century Fox moved the release date to Wednesday before Memorial Day: May 25, 1977. However, few theaters ordered the film to be shown. In response, 20th Century Fox demanded that theaters order Star Wars if they wanted an eagerly anticipated film based on a best-selling novel titled The Other Side of Midnight.[5] The New York Times published the first advertisements for the film on May 15, only ten days before its premiere.[50]
Star Wars became an instant success upon release; within three weeks, 20th Century Fox's stock price doubled to a record high. Before 1977, 20th Century Fox's greatest annual profits were $37,000,000; in 1977, the company earned $79,000,000. Although the film's cultural neutrality helped it to gain international success, Ladd became anxious during the premiere in Japan. After the screening, the audience was silent, leading Ladd, Jr. to fear that the film would be unsuccessful. He was later told that, in Japan, silence was the greatest honor to a film. Meanwhile, thousands attended a ceremony at Grauman's Chinese Theater, where C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt.[5]
During the film's original theatrical run, there were a number of television promotions:
•Darth Vader on The Wacko Saturday Morning Preview and Other Good Stuff Special (September 8, 1977)
•Darth Vader on The ABC All-Star Saturday preview show (September 9, 1977)[51]
•A re-creation of the cantina set for The Richard Pryor Show (September 13, 1977)
Star Wars debuted on May 25, 1977 in 32 theaters, and proceeded to break house records, effectively becoming one of the first blockbuster films.[66] It remains one of the most financially successful films of all time. Some of the cast and crew noted lines of people stretching around theaters as they drove by. Even technical crew members, such as model makers, were asked for autographs, and cast members became instant household names.[5] The film's original total U.S. gross came to $307,263,857, and it earned $6,806,951 during its first weekend in wide release. Lucas claimed that he had spent most of the release day in a sound studio in Los Angeles. When he went out for lunch with his then-wife Marcia, they encountered a long queue of people along the sidewalks leading to Mann's Chinese Theater, waiting to see Star Wars.[23] The film became the highest-grossing film of 1977 and the highest-grossing film of all time until E.T. The Extra-Terrestrial broke that record in 1982. (With subsequent re-releases, Star Wars reclaimed the title, but lost it again to James Cameron's 1997 blockbuster Titanic.) The film earned $797,900,000 worldwide, making it the first film to reach the $300 million mark.[67] Adjusted for inflation it is the second highest grossing movie of all time in the United States, behind Gone with the Wind.[68]
The New York Times described Star Wars: Episode IV A New Hope as "the most beautiful movie serial ever made." Roger Ebert called the film "an out-of-body experience," compared its special effects to those of 2001: A Space Odyssey, and opined that the true strength of the film was its "pure narrative."[69] Vincent Canby called the film "the movie that's going to entertain a lot of contemporary folk who have a soft spot for the virtually ritualized manners of comic-book adventure."[70]
Pauline Kael of The New Yorker criticized the film, stating that "there's no breather in the picture, no lyricism," and that it had no "emotional grip."[71] Jonathon Rosenbaum of the Chicago Reader stated, "None of these characters has any depth, and they're all treated like the fanciful props and settings!"[72] Peter Keough of the Boston Phoenix said, "Star Wars is a junkyard of cinematic gimcracks not unlike the Jawas' heap of purloined, discarded, barely functioning droids."[73] Stanley Kauffmann of The New Republic also responded negatively, noting, "His work here seems less inventive than in THX 1138." According to rottentomatoes.com, of the 54 critical reviews of the film provided on that site, 51 responded favorably (95% of the reviewers), stating in consensus that "the action and special effects are first rate."[74]
In 1989, the U.S. National Film Registry of the Library of Congress selected the film as a "culturally, historically, or aesthetically important" film.[75] In 2006, Lucas' original screenplay was selected by the Writers Guild of America as the 68th greatest of all time.[76] The American Film Institute (or AFI) listed it 15th on a list of the top 100 films of the 20th century;[77] in the UK, a poll created by Channel Four named A New Hope (together with its successor, The Empire Strikes Back) the greatest film of all time.[78] The American Film Institute has named Star Wars and specific elements of it to several of its "top 100 lists" of American cinema, compiled as a part of the Institute's 100th anniversary celebration. These include the 27th most thrilling American film of all time;[79] the thirty-ninth most inspirational American film of all-time;[80] Han Solo as the fourteenth greatest American film hero of all time and Obi-Wan Kenobi thirty-seventh on the same list.[81] The often repeated line "May the Force be with you" was ranked as the eighth greatest quote in American film history.[82] John Williams' score was ranked as the greatest American film score of all time.[83]
Star Wars won multiple awards at the 1978 Academy Awards, including Best Art Direction-Set Decoration, which went to John Barry, Norman Reynolds, Leslie Dilley, and Roger Christian. Best Costume Design was awarded to John Mollo; Best Film Editing went to Paul Hirsch, Marcia Lucas and Richard Chew; John Stears, John Dykstra, Richard Edlund, Grant McCune, and Robert Blalack all received awards for Best Effects, Visual Effects. John Williams was awarded his third Oscar for Best Music, Original Score; the Best Sound went to Don MacDougall, Ray West, Bob Minkler and Derek Ball; and a Special Achievement for sound effects went to Ben Burtt. Additional nominations included Alec Guinness for Best Actor in a Supporting Role, George Lucas for Best Screenplay and Best Director, and Gary Kurtz was nominated for his producing duties in Best Picture. At the Golden Globe awards, the film was nominated for Best Motion Picture - Drama, Best Director, Best Supporting Actor (Alec Guinness), and Best Score. It only won the award for Best Score. It received six BAFTA nominations: Best Film, Best Editing, Best Costume, Best Production/Art Design, Best Sound, and Best Score; the film won in the latter two categories. John Williams' soundtrack album won the Grammy award for Best Album of an original score for a motion picture or television program, and the film was awarded the Hugo Award for Best Dramatic Presentation. In 1997, the MTV Movie Awards awarded Chewbacca the lifetime achievement award for his work in the Star Wars trilogy.[source?]
Originally, if the film did poorly at the box office, Lucas planned to turn the novel Splinter of the Mind's Eye into a low-budget sequel to the movie. According to an interview with Alan Dean Foster in Empire magazine, the book was written to be filmed as a low-budget sequel if Star Wars was not a huge success. Harrison Ford was not signed for the sequel as of the writing of the book, which is why Han Solo does not appear in the novel. However, with the success of A New Hope, Lucas was free to make The Empire Strikes Back.[source?]
Jan 21, 2020 · Small ships are attacking the Dark Star, Luke is doing well as a pilot, he can hear Obi’s voice supporting him. In a series of attacks, most are killed, and it seems that they aren’t able to reach the target. In the end, it is just Luke being chased by Darth Vader. Luke switches off his computer – he surrenders to the Force.
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First Plot Point: After meeting Obi-Wan Kenobi and hearing Leia’s full message, explaining that she’s given the Death Star plans to Artoo and that she needs Obi-Wan to take them to her father on Alderaan, Luke stumbles upon a Jawa massacre and realizes Imperial Stormtroopers are tracking the droids. He races home to the farm only to ...
