Movies

Did ‘Star Wars’ teach us the wrong ideas about rebellion?

BBG News

It’s fascinating to see how large a group is required to mount a rebellion. In an early version of “Star Wars” from 1977, George Lucas added a casual, talkative scene between Luke Skywalker and his friend Biggs from Tatooine. During their conversation, Biggs expresses his intention not to be conscripted by the Empire. Instead, he wants to join the Rebellion as it expands because he believes in fighting for the right side.

From my perspective as a devoted fan, it’s unfortunate that some early conversations about the Rebel Alliance between Luke and other characters had to be postponed, as they were cut from the movie. However, there’s a brief moment where you can see Biggs in action, piloting an X-wing during the attack on the Death Star. He’s the one with a distinctive brown mustache, unfortunately meeting his end in combat. Despite this abrupt departure, he garnered respect for his bravery, even though the scene didn’t pause to honor him.

In my perspective, although “Star Wars” concludes with triumphs and accolades, vanquishing the Dark Side directly is seldom depicted. Spanning nearly two-dozen films and series, the struggle between the powerful Empire and the resilient resistance has evolved into more than a symbol for contemporary struggles, but also an ethical compass showing when, and crucially, when not to engage in battle.

The Empire Strikes Back” – a timeless classic turning 45 this year, is set to kick off the TCM Classic Film Festival tomorrow evening. The movie opens with the Rebel’s Hoth ice base under siege. In an instant, Princess Leia decides to prioritize evacuating the unnamed mechanics and map-makers over a potentially riskier, grandiose confrontation. Contrary to what a typical popcorn flick might do – opting for spectacle over safety, especially during sequels which were often deemed inferior back then – Lucas, the independent filmmaker who financed this project without studio intervention, had loftier ambitions. His decisions would ultimately redefine our cultural landscape, with both positive and negative impacts.

For over five decades, “The Empire Strikes Back” has been cherished by audiences during five different presidencies and a major shift in the film industry. The original “Star Wars” is known for transforming cinema from the grounded, rough-edged ’70s into the sleek, blockbuster-focused ’80s. However, it’s “Empire,” with its successful sequel status and strategic repositioning, that inspired Hollywood to produce more franchise films.

My main problem with it is its most famous quote: “No, I am your father.”

Discovering Darth Vader’s true identity transformed the plot from a story of political conflict to an Oedipal narrative. It was surprising to learn that the Galactic Emperor’s chief enforcer and the rebellious Luke Skywalker were, in fact, kin? Yes, indeed! James Earl Jones, the voice behind Vader, delivers the revelation with a tender touch, emphasizing the “I” yet whispering the word “father” so softly that it seems as if Vader is coaxing a lost pup with a treat.

Marcia Lucas, who was married to George Lucas at the time, jokingly suggested the idea, but Jones stated he believed Vader was lying and wishes it had been true. The notion that Luke’s predestined fate allowed him to overthrow the Emperor—a concept implying this ordinary farm boy was essentially a cosmic Messiah pursued by a cosmic Herod—struck Marcia as a weak plot twist that has caused more confusion than it warranted. What are the chances that Luke would happen upon a runaway droid, who just so happened to be seeking his own father? How could such a vast galaxy be so small? In essence, Marcia felt that the line “Luke, I am your father” was an unfortunate twist in the story.

However, the major plot twist was incredibly popular and enduring in pop culture. Not only did the series maintain this theme – my apologies to James Earl Jones – but so did the film industry. For years, numerous blockbuster films have relied on “chosen one” protagonists who were inherently special, from Harry Potter and Neo to Kung Fu Panda and Austin Powers, who found out to their dismay that they and the villainous Dr. Evil were long-lost siblings. The twist has become a cliché rather than a surprise. Even the latest third season of “The White Lotus” features a significant family reveal. By this point, it’s so deeply ingrained in epic narratives that any character capable of carrying a trilogy will likely undergo genetic testing by 23andMe.

Following “Empire Strikes Back,” the Star Wars saga found itself ensnared in the grip of familiar tropes. When the newest trilogy debuted Rey, a heroic orphan (played by Daisy Ridley) in 2015’s “The Force Awakens,” viewers anticipated she had a connection to someone significant. Director Rian Johnson aimed to rekindle the original film’s inspiring inclusivity, portraying Rey’s parents as mere drunken traders peddling junk. However, a sizable group of fans were displeased by this revelation and the subsequent film, “The Last Jedi,” led them to yearn for an explanation. In response, “The Rise of Skywalker” retracted this backstory and instead declared Rey to be the daughter of none other than the Emperor himself.

To put it simply, I’ve grown to dislike that plot twist. It’s heartening to see ordinary rebels, even those born from reckless individuals, overthrowing a dictator – it’s inspiring. On the other hand, waiting for a messiah feels unproductive. (It’s amusing how some fans who tried to replicate “The Last Jedi” themselves labeled Johnson’s approach as sacrilegious.) There seems to be an entitled laziness in the post-“Empire” preoccupation with saviors, implying that societal transformation is a job for someone more significant.

In more recent times, during the peak of dystopian Young Adult (YA) fiction, movies such as “The Maze Runner” and “Divergent” dominated cinemas, leaving a sense of passive thinking as useless as purchasing a Ruth Bader Ginsberg prayer candle. It’s small, sad, and doesn’t change the world for the better. However, regardless of your political beliefs or where you reside on Earth, it’s challenging to avoid the feeling that many individuals are either trusting in powerful leaders or hoping for one they agree with to emerge.

In my humble opinion, what truly captivates us about Luke Skywalker isn’t his mysterious genetic heritage but rather his relatable struggles. He initially appeared as a self-centered adolescent who refused to aid Princess Leia, expressing, “I may not like the Empire, but I can’t do anything about it right now.” He resisted being idolized, even when fans attempted to force a halo onto him.

Impulsive and hot-headed, Luke abandoned his Jedi education, swiftly losing his hand, and by the conclusion of his journey, he deserted the rebellion, returning to his familiar life as a solitary farmer. This reviewer found these humanizing aspects of Luke Skywalker far more compelling than his magical origins.

In essence, Luke’s brief yet significant actions for the cause demonstrate that taking a stumbling step is preferable to remaining idle. The burden of such moral consciousness now appears to fall on the actor who portrayed him as well, with Mark Hamill stepping up as one of the more vocal figures on social media. (Lately, Hamill shared: “Having played a fictional resistance member long ago, I never would have thought this would ever happen in reality, but here we are.”)

In the vastness of George Lucas’ cosmos, the path to success isn’t always set in stone. A common theme that resonates throughout his galaxy is that heroism is often tangled and multifaceted. As a devoted fan, I’ve come to appreciate this complexity and the unexpected twists it brings.

Growing up, Lucas found war footage on TV fascinating, but this changed when his older sister’s fiance lost his life during the Korean War. As he matured, he came to understand that politics could be both influential and trivial, such as when he was employed to edit government documentaries about Lyndon Johnson and instructed not to reveal the president’s bald spot. He considered himself part of a group of “bearded, avant-garde pre-hippies” who protested against the Vietnam War, which he referred to as a devastating psychological impact that struck American soil. His personal transformation from innocence to tragedy mirrored the narrative of “American Graffiti,” a film set in the past that abruptly switched to a list of fatalities: One character would be killed by a drunk driver, another would go missing near An Loc.

As a devoted admirer of the black-and-white adventure films from the ’30s and ’40s, I found comfort in their clear-cut distinction between good and evil. However, my personal journey has blurred that stark contrast into shades of gray. These series, with their magnetic allure, often deviate from the typical feel-good ending, instead offering a raw depiction of life’s complexities. Characters are taken captive, they lose their innocence, they face untimely deaths, and sometimes even die in childbirth. They unintentionally aid evil or willingly embrace it. The villains always return with a vengeance.

Although there’s a general calm in the “Star Wars” universe, it’s plagued by economic disparity, high military expenditures, and rulers who are complacent with the existing situation. At its most thought-provoking, the series echoes our own struggles yet fails to propose resolutions – from directors debating Rey’s heritage to George Lucas’ political ponderings, which evolved as similar productions dominated other cinema screens.

In a 2012 conversation with ex-presidential candidate Bill Bradley, Lucas questioned, “How does a democracy transform into a dictatorship?” He pointed out instances where this occurred in ancient Rome, France, and Germany, and asked, “What triggers such a change?

In the prequel trilogy he initiated with “The Phantom Menace” in 1999, he delved into that question and although his response isn’t particularly dramatic, it carries a contemporary relevance. Essentially, a political figure stirs up a dispute about taxes to boost his election chances, and over the course of three movies and 13 years, he continues to profess love for democracy while invoking emergencies to strengthen his grip on a Senate that has grown frail, eventually agreeing to let him proclaim himself Emperor.

Kids seemed uninterested during the opening title sequence of “The Phantom Menace”, as it stated, “The taxation of trade routes to distant galaxy systems is under debate.” Comparing this story’s focus on a trade dispute to the classic father-versus-son struggle in Star Wars is like telling Han Solo to reduce his speed for traffic calming bumps.

Now, it’s significantly broader, deeper, and truthful – plus, it resonates more deeply with me on a personal level – as I feel like just an extra in the Lucas universe. As Darth put it poignantly after his line that changed everything, “Trust your feelings, you know it’s true.

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2025-04-23 13:31

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