“Star Wars” is one of the biggest franchises of all time and has welcomed multiple generations to a galaxy far, far away for 45 years. George Lucas’ groundbreaking vision, which began all the way back in 1977 with “A New Hope,” changed the movie industry forever and, with that, made a mark on the Academy Awards that year with a Best Picture nomination. However, the relationship between “Star Wars” and the Oscars hasn’t always been as lovable as Han Solo and Chewie. In fact, there’s often been a touch of Vader-Luke in the conflicted dynamic between the two institutions. Here’s a breakdown of the history of every “Star Wars” movie at the Academy Awards, ranked in terms of Oscars success.
“A New Hope” (1977)
Dir: George Lucas
Starring: Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness
“Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a Wookiee and...
“A New Hope” (1977)
Dir: George Lucas
Starring: Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness
“Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a Wookiee and...
- 7/28/2023
- by Jacob Sarkisian
- Gold Derby
As the Oscars wrestle with grabbing a larger millennial audience, the dissing of tentpoles in the Best Picture category continues this year. In addition to AMPAS voters overlooking the sixth highest grossing movie ever at the global box office, Sony/Marvel’s Spider-Man: No Way Home ($1.77 billion) for Best Picture, they also snubbed Daniel Craig’s swan song as James Bond in MGM/Uar/Eon’s No Time to Die in that slot as well.
To date, no 007 movie has been nominated for Best Picture, this despite a push this year for No Time to Die and the franchise’s highest grossing movie of all-time, which also starred Craig, 2012’s Skyfall ($1.1 billion).
No Time to Die was held for a theatrical release during the pandemic, repping one of the event titles to put global cinemas back in business after being shuttered for over a year. No Time to Die grossed...
To date, no 007 movie has been nominated for Best Picture, this despite a push this year for No Time to Die and the franchise’s highest grossing movie of all-time, which also starred Craig, 2012’s Skyfall ($1.1 billion).
No Time to Die was held for a theatrical release during the pandemic, repping one of the event titles to put global cinemas back in business after being shuttered for over a year. No Time to Die grossed...
- 2/8/2022
- by Anthony D'Alessandro
- Deadline Film + TV
Robert Blalack, a towering figure in the world of visual effects, died on Wednesday. His wife Caroline Charron-Blalack confirmed the news to Deadline. He was 73.
Blalack said he specialized in “solving the Visual Effects requirements of ‘can’t be done’ Motion Picture productions.” He proved the truth of that statement on his second film project, a 1977 space opera by the name of Star Wars.
At the age of 29, he designed and supervised the Star Wars VistaVision Composite Optical production pipeline, which allowed all the groundbreaking 365 VistaVision VFX shots in Star Wars. Much of what he created for the film was built on a (relative) shoestring. With a VFX budget of just $1.6 million for the film, Blalack made use of obsolete VistaVision optical composite equipment from Hollywood’s Golden Years that could be had for a song.
“My task was to scavenge the Hollywood junkyards for any VistaVision Composite Optical mechanics,...
Blalack said he specialized in “solving the Visual Effects requirements of ‘can’t be done’ Motion Picture productions.” He proved the truth of that statement on his second film project, a 1977 space opera by the name of Star Wars.
At the age of 29, he designed and supervised the Star Wars VistaVision Composite Optical production pipeline, which allowed all the groundbreaking 365 VistaVision VFX shots in Star Wars. Much of what he created for the film was built on a (relative) shoestring. With a VFX budget of just $1.6 million for the film, Blalack made use of obsolete VistaVision optical composite equipment from Hollywood’s Golden Years that could be had for a song.
“My task was to scavenge the Hollywood junkyards for any VistaVision Composite Optical mechanics,...
- 2/8/2022
- by Tom Tapp
- Deadline Film + TV
Will the highest grossing film of the year “Black Panther” score a Best Picture nomination? It’s a fair question as no Marvel film has ever even been in the conversation. And the question has produced so much turmoil the academy temporarily thought of adding a Best Popular Film category. We should look towards another popular origin story that was not your typical Oscar fare — 1977’s “Star Wars: IV A New Hope” — as our guide towards “Black Panther’s” potential Oscar nomination haul.
George Lucas’s original “Star Wars” spawned a franchise that includes seven prequels and sequels and two spinoffs to date. Luke Skywalker’s origin story maybe outside the Oscars comfort zone but that didn’t stop the film from picking up 10 nominations including Best Picture; Best Director (Lucas); Best Original Screenplay (Lucas); and Best Supporting Actor (Alec Guinness).
It won six below-the line races: Best Film Editing...
George Lucas’s original “Star Wars” spawned a franchise that includes seven prequels and sequels and two spinoffs to date. Luke Skywalker’s origin story maybe outside the Oscars comfort zone but that didn’t stop the film from picking up 10 nominations including Best Picture; Best Director (Lucas); Best Original Screenplay (Lucas); and Best Supporting Actor (Alec Guinness).
It won six below-the line races: Best Film Editing...
- 1/19/2019
- by Amanda Spears
- Gold Derby
That’s no moon. That’s…well, you know what it is. The Death Star is one of the most iconic images in the “Star Wars” universe; a symbol of overwhelming destruction and totalitarian might with a weakness that can be exploited by the humblest of heroes. Now it is taking center stage again in “Rogue One.” As Gareth Edwards takes us back to the days of the Galactic Empire, here’s some facts about the infamous space station you might not have known. The design for the Death Star was made by “Star Wars” SFX artist John Stears, who also created the designs.
- 12/16/2016
- by Jeremy Fuster
- The Wrap
I'm saddened to report today that Star Wars actor Kenny Baker, best known for playing R2-D2, has passed away. The Guardian reported the actor "has died at the age of 81 after a long illness." [Update: The Guardian previously stated he was 83] Baker, who also played Paploo the Ewok in the Star Wars franchise, also had roles in Labyrinth, Time Bandits, and Flash Gordon. His niece Abigail Shield told the Guardian, “It was expected, but it’s sad nonetheless. He had a very long and fulfilled life. He brought lots of happiness to people and we’ll be celebrating the fact that he was well loved throughout the world. We’re all very proud of what he achieved in his lifetime.” Baker's wife Eileen passed away in 1993, they had two children. R2-D2 was created by George Lucas, designed by Ralph McQuarrie, co-developed by John Stears, built by Tony Dyson, and had vocal effects from Ben Burtt. Baker was...
- 8/13/2016
- by Jill Pantozzi
- Hitfix
Tony Dyson, the man who helped the create the R2-D2 robot for the “Star Wars” films, has died. He was 68. According to multiple media reports overseas, police found his body at his home in Gozo, an island in Malta, after being called by concerned neighbors. Police suspect no foul play. R2-D2, who first appeared in 1977’s “Star Wars: A New Hope,” was designed by Ralph McQuarrie and John Stears. Dyson, however, was the one who created the two physical models for the film, one of which included the one that could be worn by actor Kenny Baker. Also Read: 'Star Wars:.
- 3/4/2016
- by Beatrice Verhoeven
- The Wrap
Brian Trenchard-Smith's outrageous futuristic gore-fest imagines an Australian extermination camp run by the sadistic Michael Craig and Roger Ward, where jaded rich folk come to hunt human prey. The leading targets for this week's jaunt are Steve Railsback and Olivia Hussey. It is snarky? Is it subversive? An alternate title was Blood Camp Thatcher! Turkey Shoot Blu-ray Severin Films 1982 / Color / 2:35 widescreen / 93 80 min. / Escape 2000, Blood Camp Thatcher / Street Date September 22, 2015 / 24.98 Starring Steve Railsback, Olivia Hussey, Michael Craig, Carmen Duncan, Noel Ferrier, Lynda Stoner, Roger Ward, Michael Petrovitch, Gus Mercurio, John Ley. Cinematography John McLean Film Editor Alan Lake Original Music Brian May Special Effects John Stears Second Unit Director / Executive Producer David Hemmings Written byJon George, Neill Hicks, George Schenck, Robert Williams, David Lawrence Produced by William Fayman, Antony I. Ginnane Directed by Brian Trenchard-Smith
Reviewed by Glenn Erickson
Who cannot appreciate a movie that carries the alternate title Blood Camp Thatcher?...
Reviewed by Glenn Erickson
Who cannot appreciate a movie that carries the alternate title Blood Camp Thatcher?...
- 9/22/2015
- by Glenn Erickson
- Trailers from Hell
By Todd Garbarini
Director Robert Mandel's F/X is one of the most entertaining and compulsively watchable thrillers of 1986. I originally caught up with it on VHS and, while I was impressed with the film, the ending I found to be both hokey and frustrating, mostly due to the completely out-of-place 1982 song “Just an Illusion” by Imagination that plays over the end credits. I felt that it undermined all that preceded it. However, like William Friedkin's To Live and Die in La (1985) and David Lynch's Blue Velvet (1986), F/X is a film that would only grow on me after subsequent repeated viewings. I learned to forgive the inclusion of this song as the final minutes should really be viewed as a visual pun on the film’s overall theme, which begs the question “What is real and what is fiction?”
F/X, which was released on Friday,...
Director Robert Mandel's F/X is one of the most entertaining and compulsively watchable thrillers of 1986. I originally caught up with it on VHS and, while I was impressed with the film, the ending I found to be both hokey and frustrating, mostly due to the completely out-of-place 1982 song “Just an Illusion” by Imagination that plays over the end credits. I felt that it undermined all that preceded it. However, like William Friedkin's To Live and Die in La (1985) and David Lynch's Blue Velvet (1986), F/X is a film that would only grow on me after subsequent repeated viewings. I learned to forgive the inclusion of this song as the final minutes should really be viewed as a visual pun on the film’s overall theme, which begs the question “What is real and what is fiction?”
F/X, which was released on Friday,...
- 5/29/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Goldfinger. GoldenEye. The Man with the Golden Gun. The world's most famous Martini drinker (shaken not stirred, naturally) has long been synonymous with that most precious and coveted of metals, but given his illustrious half century on the cinema screen there's one area in which gold has eluded him time and again – the Oscars.
Prior to last year's Skyfall (2012) the fifty year old, 24 movie series had garnered just nine nominations, two of which bagged 007 a statue at the 1965 Academy Awards for different films. The Best Effects, Sound Effects award was given to Norman Wanstall for Goldfinger (1964) and John Stears walked off with the Best Effects, Special Visual Effects Oscar for Thunderball (1965).
Though U2 were second choice for the job after the Rolling Stones had turned down a request to come up with a song, Bono was particularly pleased to land the gig as he'd spent his honeymoon at Ian Fleming's house in Jamaica.
Prior to last year's Skyfall (2012) the fifty year old, 24 movie series had garnered just nine nominations, two of which bagged 007 a statue at the 1965 Academy Awards for different films. The Best Effects, Sound Effects award was given to Norman Wanstall for Goldfinger (1964) and John Stears walked off with the Best Effects, Special Visual Effects Oscar for Thunderball (1965).
Though U2 were second choice for the job after the Rolling Stones had turned down a request to come up with a song, Bono was particularly pleased to land the gig as he'd spent his honeymoon at Ian Fleming's house in Jamaica.
- 2/9/2013
- Shadowlocked
It's not clear yet what form the Oscars' tribute to the James Bond franchise will take. On Friday, the Academy announced it had booked Shirley Bassey for her first-ever Oscar show appearance, so at the very least, we're likely get to hear her belt out one or more of the three Bond movie theme songs she recorded ("Moonraker," "Diamonds Are Forever" and of course, "Goldfinger"). We also know Adele will be on hand to sing her currently nominated theme to "Skyfall." Beyond that, Oscar host Seth MacFarlane has made a promo clip where he plays a bartender who makes fun of James Bond (Pierce Brosnan, in an archival clip) for the distinctive way he orders his martini. Otherwise, there are few clues as to what shape the tribute will take, though there is a rumor that all six men who've played 007 -- Daniel Craig, Brosnan, Timothy Dalton, Roger Moore, George Lazenby...
- 2/8/2013
- by Gary Susman
- Moviefone
Chicago – Warner Brothers likes to pull handfuls of titles out of their immensely deep catalog and they’ve come back with a unique, interesting wave of releases at low prices to spice up your Summer this year. The films have little in common (although several could be classified as sci-fi) and vary wildly in quality but all are likely to have a fan or two out there wondering why they haven’t been released on Blu-ray. Now they have.
Altered States
Photo credit: Warner Bros.
“Altered States”
Rating: 4.0/5.0
Director Ken Russell passed away last year leaving critics and movie lovers to continue to debate his unique style and best pictures. Personally, I’ve always been a fan of his 1980 adaptation of the legendary Paddy Chayefsky novel “Altered States,” featuring one of William Hurt’s most fearless and interesting performances. It’s both classic Russell in its unique style and a...
Altered States
Photo credit: Warner Bros.
“Altered States”
Rating: 4.0/5.0
Director Ken Russell passed away last year leaving critics and movie lovers to continue to debate his unique style and best pictures. Personally, I’ve always been a fan of his 1980 adaptation of the legendary Paddy Chayefsky novel “Altered States,” featuring one of William Hurt’s most fearless and interesting performances. It’s both classic Russell in its unique style and a...
- 7/11/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
To mark the 50th Anniversary of one of the most successful movie franchises of all time and with filming well underway on James Bond’s 23rd official outing in Skyfall due for release later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
With James Bond well established as a worldwide phenomenon raking in countless millions at the box-office, the tenth film in the series, The Spy Who Loved Me proved unexpectedly problematic in its journey to the screen and marked the longest gap between films since the series began. Due to personal financial issues Bond producer Harry Saltzman decided to sell his 50% stake in Danjaq S.A., the company he had established with Albert R. Broccoli to produce the Bond series. United Artists, who had...
With James Bond well established as a worldwide phenomenon raking in countless millions at the box-office, the tenth film in the series, The Spy Who Loved Me proved unexpectedly problematic in its journey to the screen and marked the longest gap between films since the series began. Due to personal financial issues Bond producer Harry Saltzman decided to sell his 50% stake in Danjaq S.A., the company he had established with Albert R. Broccoli to produce the Bond series. United Artists, who had...
- 3/29/2012
- by Chris Wright
- Obsessed with Film
The Barbican in London will present a major exhibition dedicated to the style and design aspects of the James Bond films. The exhibit will run from 6 July to 5 September, in commemoration of the 50th anniversary of the film series. Here is an official announcement:
With unprecedented access to Eon’s archive, Designing 007 – Fifty Years of Bond Style is a multi-sensory experience where screen icons, costumes, production design, automobiles, gadgets, special effects, graphic design, exotic locations, weapons, stunts and props combine to immerse the audience in the creation and development of Bond style over its auspicious 50 year history.
Highlights include gadgets and weapons made for Bond and his notorious adversaries by special effects experts John Stears, Syd Cain and Chris Corbould; artwork for sets and storyboards by production designers Sir Ken Adam and Peter Lamont and costume designs by Bumble Dawson, Donfeld, Julie Harris, Lindy Hemming, Ronald Patterson, Emma Porteous, and Jany Temime.
With unprecedented access to Eon’s archive, Designing 007 – Fifty Years of Bond Style is a multi-sensory experience where screen icons, costumes, production design, automobiles, gadgets, special effects, graphic design, exotic locations, weapons, stunts and props combine to immerse the audience in the creation and development of Bond style over its auspicious 50 year history.
Highlights include gadgets and weapons made for Bond and his notorious adversaries by special effects experts John Stears, Syd Cain and Chris Corbould; artwork for sets and storyboards by production designers Sir Ken Adam and Peter Lamont and costume designs by Bumble Dawson, Donfeld, Julie Harris, Lindy Hemming, Ronald Patterson, Emma Porteous, and Jany Temime.
- 2/29/2012
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
To mark the 50th Anniversary of one of the most successful movie franchises of all time and as James Bond prepares for his 23rd official outing in Skyfall later this year, I have been tasked with taking a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
After the phenomenal box-office success of Thunderball in 1965 the Bond series producers Albert R. Broccoli and Harry Saltzman were left looking for an out of this world adventure for Bond’s fifth outing, You Only Live Twice. When Richard Maibaum the screenwriter of all the previous films became unavailable the producers hired popular short story and children’s writer Roald Dahl to pen the screenplay. Dahl had been a close friend of Fleming but described the original novel as “Fleming’s worst book”. Taking only a handful of ideas from the story,...
After the phenomenal box-office success of Thunderball in 1965 the Bond series producers Albert R. Broccoli and Harry Saltzman were left looking for an out of this world adventure for Bond’s fifth outing, You Only Live Twice. When Richard Maibaum the screenwriter of all the previous films became unavailable the producers hired popular short story and children’s writer Roald Dahl to pen the screenplay. Dahl had been a close friend of Fleming but described the original novel as “Fleming’s worst book”. Taking only a handful of ideas from the story,...
- 1/15/2012
- by Chris Wright
- Obsessed with Film
As James Bond prepares for his 23rd official outing in Skyfall and to mark next year’s 50th Anniversary of one of the most successful movie franchises of all time I have been tasked to take a retrospective look at the films that turned author Ian Fleming’s creation into one of the most recognised and iconic characters in film history.
When the second James Bond film From Russia With Love managed to top the box-office receipts of Dr. No, producers Albert R. Broccoli and Harry Saltzman knew they had struck gold with the character. Looking to expand the appeal of the next film to a more worldwide audience, in particular the American market, they chose Fleming’s seventh Bond novel Goldfinger as the third film in their series. With much of the story taking place in the American states of Kentucky and Florida as well as Switzerland and the...
When the second James Bond film From Russia With Love managed to top the box-office receipts of Dr. No, producers Albert R. Broccoli and Harry Saltzman knew they had struck gold with the character. Looking to expand the appeal of the next film to a more worldwide audience, in particular the American market, they chose Fleming’s seventh Bond novel Goldfinger as the third film in their series. With much of the story taking place in the American states of Kentucky and Florida as well as Switzerland and the...
- 12/12/2011
- by Chris Wright
- Obsessed with Film
Effects artist who won an Oscar for Star Wars
The visual effects artist Grant McCune, who has died of pancreatic cancer aged 67, won an Oscar for giving life to the droid R2-D2 in the first Star Wars movie, now known as Star Wars Episode IV: A New Hope (1977). He created the models for many of the film's spacecraft, including the X-wing starfighters, the Millennium Falcon and the Tie starfighters, one of which sold at a Hollywood auction in 2008 for $350,000. He also took an acting role as a Death Star gunner. McCune went on to design the helmet worn by the bounty hunter Boba Fett in Star Wars Episode V: The Empire Strikes Back (1980).
Although he did not create R2-D2 – the robot was credited mostly to John Stears, who shared the visual effects Oscar with McCune and others – McCune became the artist most associated with the character. He finetuned...
The visual effects artist Grant McCune, who has died of pancreatic cancer aged 67, won an Oscar for giving life to the droid R2-D2 in the first Star Wars movie, now known as Star Wars Episode IV: A New Hope (1977). He created the models for many of the film's spacecraft, including the X-wing starfighters, the Millennium Falcon and the Tie starfighters, one of which sold at a Hollywood auction in 2008 for $350,000. He also took an acting role as a Death Star gunner. McCune went on to design the helmet worn by the bounty hunter Boba Fett in Star Wars Episode V: The Empire Strikes Back (1980).
Although he did not create R2-D2 – the robot was credited mostly to John Stears, who shared the visual effects Oscar with McCune and others – McCune became the artist most associated with the character. He finetuned...
- 2/4/2011
- The Guardian - Film News
Visual-effects artist Grant McCune (above, with R2-D2), whose most notable effort was probably George Lucas's Star Wars (1977), died of pancreatic cancer at his home in Hidden Hills, 30 miles northwest of Los Angeles. McCune was 67. McCune won an Oscar for Star Wars, which he shared with visual-effects specialists John Stears, John Dykstra, Richard Edlund and Robert Blalack. Two years later, McCune was nominated for another Oscar for Robert Wise's Star Trek: The Motion Picture. Along with Bill Shourt, McCune also designed a giant white shark model for Jaws, though neither man was credited on the Spielberg film. Other efforts include Die Hard, Speed, Batman Forever, and Spider-Man. About his work with miniatures, McCune told Popular Mechanics in 2008: "I’ve always told people to get a good background in photography first. The most important thing is what you see with your eye. … All the best people who ever...
- 12/30/2010
- by Anna Robinson
- Alt Film Guide
"Star Wars", a Lucasfilm for 20th Century Fox, will undoubtedly emerge as one of the true classics in the genre of science fiction-fantasy films. In any event, it will thrill audiences of all ages for a long time to come.
The film, written and directed by George Lucas and produced by Gary Kurtz, is magnificent in scope, but the script and the engaging performances also add an effective human element to the totally believable technological aspects. Lucas combines excellent comedy and drama and progresses it with exciting action in tremendously effective space battles.
Likable heroes on noble missions and despicable villains capable of the most dastardly deeds are all wrapped up in some of the most spectacular special effects to illuminate a motion picture screen.
The story is set "a long time ago in a galaxy far, far away," where the evil Grand Moff Tarkin (Peter Cushing) rules the Galactic Empire from his Death Star, an enormous artificial planet manned by Imperial Storm Troopers.
Princess Leia Organa (Carrie Fisher), one of the leaders of the rebel forces, gets hold of the plans for the Death Star, which reveal its one weak point. When she is captured, she sends these charts on to Ben "Obi-Wan" Kenobi (Alec Guinness), the last of the Jedi Knights, who were once the guardians of peace and justice and who drew their power from the "Force", a mystical energy field composed of all living matter.
Kenobi enlists Luke Skywalker (Mark Hamill), whose father had also been a Jedi Knight and who has inherited the "Force", and together with Han Solo (Harrison Ford), a smug and cynical space smuggler whose ship and services they entice with promises of great riches, they go off to save the princess and the galaxy.
Cushing and Guinness are outstanding in their roles, and Fisher, Hamill and Ford all create personable characterizations, full of youthful energy and desires, who are capable or rising to heroic deeds despite their charming immaturity, which also adds fun and identification. Much of the comedy relief is provided by a nagging, pessimistic robot (Anthony Daniels) and a self-propelled computer (Kenny Baker), who are two of the most adorable characters ever to enliven a film.
David Prowse is commanding as Lord Darth Vader, a Jedi Knight who has sold his soul to evil, and Peter Mayhew is amusing as Chewbacca, a simian (right out of "Planet of the Apes") who is Solo's first mate. Credit for the success of the unique characters should go to special production and mechanical effects supervisors John Stears, costume designer John Mollo (whose futuristic designs are superb) and makeup supervisor Stuart Freeborn.
The technical credits are extraordinary, although they are too numerous to list here. Suffice it to say that everyone involved should be extremely proud of this enormous achievement. Special mention, however, must be made of John Barry's fantastic production design, Gilbert Taylor's awe-inspiring photography, John Dykstra's special photographic effects supervision (which makes imaginative use of laser beams and other technological devices) and Paul Hirsch, Marcia Lucas and Richard Chew's perfectly paced editing.
John Williams has composed a rich, luxuriant score that engulfs the ear as performed by the London Symphony Orchestra. The Dolby sound is also a major asset in that it is sparkling clear and, in the battle sequences, achieves an enveloping, thunderous pitch without hint of distortion.
The film, written and directed by George Lucas and produced by Gary Kurtz, is magnificent in scope, but the script and the engaging performances also add an effective human element to the totally believable technological aspects. Lucas combines excellent comedy and drama and progresses it with exciting action in tremendously effective space battles.
Likable heroes on noble missions and despicable villains capable of the most dastardly deeds are all wrapped up in some of the most spectacular special effects to illuminate a motion picture screen.
The story is set "a long time ago in a galaxy far, far away," where the evil Grand Moff Tarkin (Peter Cushing) rules the Galactic Empire from his Death Star, an enormous artificial planet manned by Imperial Storm Troopers.
Princess Leia Organa (Carrie Fisher), one of the leaders of the rebel forces, gets hold of the plans for the Death Star, which reveal its one weak point. When she is captured, she sends these charts on to Ben "Obi-Wan" Kenobi (Alec Guinness), the last of the Jedi Knights, who were once the guardians of peace and justice and who drew their power from the "Force", a mystical energy field composed of all living matter.
Kenobi enlists Luke Skywalker (Mark Hamill), whose father had also been a Jedi Knight and who has inherited the "Force", and together with Han Solo (Harrison Ford), a smug and cynical space smuggler whose ship and services they entice with promises of great riches, they go off to save the princess and the galaxy.
Cushing and Guinness are outstanding in their roles, and Fisher, Hamill and Ford all create personable characterizations, full of youthful energy and desires, who are capable or rising to heroic deeds despite their charming immaturity, which also adds fun and identification. Much of the comedy relief is provided by a nagging, pessimistic robot (Anthony Daniels) and a self-propelled computer (Kenny Baker), who are two of the most adorable characters ever to enliven a film.
David Prowse is commanding as Lord Darth Vader, a Jedi Knight who has sold his soul to evil, and Peter Mayhew is amusing as Chewbacca, a simian (right out of "Planet of the Apes") who is Solo's first mate. Credit for the success of the unique characters should go to special production and mechanical effects supervisors John Stears, costume designer John Mollo (whose futuristic designs are superb) and makeup supervisor Stuart Freeborn.
The technical credits are extraordinary, although they are too numerous to list here. Suffice it to say that everyone involved should be extremely proud of this enormous achievement. Special mention, however, must be made of John Barry's fantastic production design, Gilbert Taylor's awe-inspiring photography, John Dykstra's special photographic effects supervision (which makes imaginative use of laser beams and other technological devices) and Paul Hirsch, Marcia Lucas and Richard Chew's perfectly paced editing.
John Williams has composed a rich, luxuriant score that engulfs the ear as performed by the London Symphony Orchestra. The Dolby sound is also a major asset in that it is sparkling clear and, in the battle sequences, achieves an enveloping, thunderous pitch without hint of distortion.
- 1/31/1997
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.