This review of mine was published in the Saturday edition of the
Athens Banner-Herald/The Daily News on July 16. 1977, just before I left Athens for grad school. I had met the editor, Kelly, via Kate Pierson and when I showed him the piece, he liked it and made it a featured article!
"A long time ago in a Galaxy far far away,"
Thus begins the surprise cinematic success of 1977, director George Lucas' space epic "Star Wars." Moments later, the titanic hall of an Imperial space cruiser darkens the screen and an adventure is underway which will lead in two swift hours across the marvelous span of the universe and through a timeless duel of good and evil owing its existence purely to the imagination.
For an unheralded movie to push its way through the higher budget competition securing its place in the eyes of the mass media and filling the coffers of its producers is rare enough; but, when the subject matter of the picture is outer space adventure we are dealing with a phenomenon.
Everyone knows, after all, that this sort of fare attracts a small group of science fiction fanatics and Star Trekkies, but not the wide range of movie goers necessary to create a smash. Nevertheless as the executives in charge of "A Bridge Too Far," "Exorcist 2" and "The Deep" look on with envy, executives at 20th Century Fox are sitting back and congratulating themselves with the grand accomplishment of director Lucas.
Lucas' track record is extremely brief. Neither the bleak futuristic "THX 1138" nor the highly successful period piece "American Graffiti" prepares the viewer for the experience of “Star Wars.” The earlier films belong to their respective time frames while, as Hollywood aficionados and older fans will recognize, "Star Wars" stands alongside Flash Gordon, the old Errol Flynn/Olivia de Havilland classics and innumerable Allies versus Nazis pieces, horse operas and flyboy epics in the mainstream of the Hollywood tradition. Thus, we could compare "Star Wars" to "The Forbidden Planet," a wonderful sci-fi fantasy of the fifties, but not to Kubrick's "2001: A space Odyssey" which consciously aspires to the level of art.
The plot of "Star Wars" is straightforward. Briefly, it concerns the coming of age of a young man (Mark Hamill) in a setting of interplanetary rebellion. A small band of rebels, seeking to restore the peace of an earlier time, has captured the plans to the oppressive Empire's ultimate weapon, the Death Star, a space station capable of instantaneously disintegrating an entire planet. The aid of one Obi Wan Kenobi (Alec Guinness), a former general living anonymously on a remote desert world, is essential to the rebel success, for Kenobi is a master of the Zen-like Force which "surrounds us and penetrates us and binds the galaxy together” and whose power dwarfs even the advanced technology of the Empire. The Empire also has a master of the Force, Lord Darth Vader (played to perfection by David Prowse), in its service. While rebel and Imperial troops struggle on the material plane, Kenobi and Vader maintain the flame of an archaic religion, representative of the elemental conflict between good and evil which underlies Lucas’ fantasy world.
The cosmos of Star Wars is also populated by a brave, beautiful princess (Carrie Fisher), a courageous but self-serving space smuggler (Harrison Ford), a mismatched android duo (Kenny Baker and Anthony Daniels) and various strange life forms both friendly and malevolent, in short, a constellation of archetypal fantasy characters.
So far, nothing too surprising. What in fact is so remarkable about this?
First, that it can be done in 1977. Director Lucas seems quite sincere about the values offered in his film. Looking back on his earlier work, a sensitive concern for human worth may be perceived. “THX1138” depicts a couple trying to feel in a sterile world, while the episodes of “American Graffiti” sympathetically treat human foibles in a confusing, transitional time.
For persons seeking meaning, adoption of a simple, traditional ethical scheme is not unusual; and, in an era whose films often explore its jaded sophistication and scarring anxieties (Woody Allen’s excellent “Annie Hall,” for example), Lucas has migrated to an essentially mythological plane.
Second, that it is done so well. Indulging in a simplified conception is risky business but Lucas responds brilliantly, using the very technology so often seen as a threat by humanists to overpower whatever cynicism the viewer may harbor. Ladies and gentlemen, the special effects are stunning. The spaceships, the ray gun fights, the holographic chess game, the bizarre creatures, the laser swords, whew!
When you leave the theater you’ll wonder what hit you,. The actors perform commendably with the difficult task of making a timeworn style come to life, with Guiness, Prowse and Ford standing out. In addition, Star Wars is often quite funny, as Lucas wastes no opportunity to insert a humorous touch.
None or this should be mistaken for reality. Films succeed by entertaining and a simple, elegant structure in the hands of a sensitive, intelligent director is a formula which equals marvelous entertainment,