The Empire Strikes Back
Irvin kershner’s the empire strikes again refines the humor, romance, and turmoil of george lucas’s superstar wars. It also movements the visual storytelling of its predecessor considerably forward, and now not just in terms of visual outcomes.
Cinematographer peter suschinsky stunningly renders the motion across the movie’s fantastical environments, the vibrant contours of high-tech surfaces clashing with soot, smoke, snow, and foliage. The lensing of the climactic lightsaber duel among luke skywalker (mark hamill) and darth vader supersedes phallic, right-versus-evil sword-thrusting to will become a practically avant-garde display of saturated colorations leaping out of shadows and smoke. The infernal spectacle mirrors this stage in the adventure of hamill’s jedi, who’s not best literally disarmed by way of vader, however endures the existential insult to harm with the revelation that this smooth and evil device-man is luke’s lengthy-misplaced father. Of route, there might be some other sequel where wrongs could be righted and disorder resolved, however as luke howls in reaction to vader’s revelation, resigning himself to an unsure unfastened fall right into a void, the empire strikes lower back conveys depression that’s rarely felt in a mass-marketed summer blockbuster.