star wars a new hope essay

Luke Skywalker: a Hero’s Age in “A New Hope”

This essay about Luke Skywalker’s age in “Star Wars: Episode IV – A New Hope” explores its significance in understanding his character development and the universal themes of growth and destiny. At 19, Luke stands on the brink of adulthood, embodying the restlessness and desire for a greater purpose that resonate with the audience’s own experiences of coming of age. His age positions him perfectly for the hero’s journey outlined by Joseph Campbell, making him relatable and ideal for mentorship by characters like Obi-Wan Kenobi. Luke’s journey from a farm boy to a galactic hero mirrors the transition from adolescence to adulthood, highlighting themes of growth, responsibility, and the search for identity. Through Luke’s story, the essay illustrates how his age is not just a number but a narrative tool that enriches his arc and connects deeply with viewers, embodying the challenges and transformations that define the passage into maturity.

How it works

In the realm of cinematic history, few characters have captured the imagination and hearts of audiences like Luke Skywalker, the Tatooine farm boy who became a galactic hero. In “Star Wars: Episode IV – A New Hope,” Luke embarks on a journey that is not only literal but also metaphorical, representing his passage from youth to adulthood. The question of Luke’s age in “A New Hope” is more than a trivial detail; it is a key to understanding his character development and the universal themes of growth and destiny that the film explores.

This essay delves into Luke Skywalker’s age and its significance in the broader context of his journey and the “Star Wars” saga.

Luke Skywalker is approximately 19 years old in “A New Hope.” This detail, while seemingly minor, is pivotal in framing Luke’s story as a classic coming-of-age tale. At 19, Luke is at the cusp of adulthood, full of dreams and frustrations, eager to break free from the confines of his mundane life on Tatooine. His age makes him relatable to the audience, particularly to young viewers experiencing their own journey into adulthood. Luke’s restlessness and desire for something greater mirror the universal quest for purpose and identity that defines the transition from adolescence to adulthood.

The significance of Luke being 19 is further underscored by the hero’s journey archetype that George Lucas, the creator of “Star Wars,” deliberately weaves into the fabric of the story. According to mythologist Joseph Campbell, whose work greatly influenced Lucas, the hero’s journey often begins with a call to adventure that the hero initially refuses. For Luke, this call comes in the form of a message from Princess Leia, begging for help from Obi-Wan Kenobi. At 19, standing on the threshold of manhood, Luke is hesitant to leave everything he knows behind. Yet, it is this very age, with its inherent blend of youthful idealism and the hunger for adventure, that propels Luke forward into the unknown.

Luke’s age also plays a critical role in his interactions with other characters and his development throughout the film. As a 19-year-old, he is young enough to be mentored by older, wiser figures like Obi-Wan Kenobi and Han Solo, yet old enough to take on responsibility and make significant choices. His youth allows him to approach situations with a fresh perspective and a certain naivety that ultimately contributes to his success. Luke’s age symbolizes hope and the potential for change, both for himself and for the galaxy.

Furthermore, Luke’s journey in “A New Hope” serves as a metaphor for the transition from adolescence to adulthood. The challenges he faces and the choices he makes are emblematic of the trials and decisions that mark the passage into maturity. By the end of the film, Luke is no longer the farm boy yearning for adventure; he has taken his first steps into a larger world, accepting his destiny and his role in the fight against the Empire. His age, therefore, is not merely a number but a narrative device that enriches his character’s arc and resonates with the audience on a deeply personal level.

In conclusion, Luke Skywalker’s age in “A New Hope” is a fundamental element that enhances our understanding of his character and the timeless appeal of his journey. At 19, Luke embodies the transition from youth to adulthood, encapsulating the themes of growth, destiny, and the search for identity that are central to the “Star Wars” saga. Through Luke’s eyes, viewers are reminded of the challenges and wonders of coming of age, making his story not just a tale of galactic heroism but also a universal coming-of-age narrative that speaks to the hero within us all.

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Like "Birth of a Nation" and " Citizen Kane ," “Star Wars'' was a technical watershed that influenced many of the movies that came after. These films have little in common, except for the way they came along at a crucial moment in cinema history, when new methods were ripe for synthesis. “Birth of a Nation'' brought together the developing language of shots and editing. “Citizen Kane'' married special effects, advanced sound, a new photographic style and a freedom from linear storytelling. “Star Wars'' melded a new generation of special effects with the high-energy action picture; it linked space opera and soap opera, fairy tales and legend, and packaged them as a wild visual ride.

“Star Wars'' effectively brought to an end the golden era of early-1970s personal filmmaking and focused the industry on big-budget special-effects blockbusters, blasting off a trend we are still living through. But you can't blame it for what it did, you can only observe how well it did it. In one way or another all the big studios have been trying to make another “Star Wars'' ever since (pictures like " Raiders of the Lost Ark ," " Jurassic Park " and " Independence Day " are its heirs). It located Hollywood's center of gravity at the intellectual and emotional level of a bright teenager.

It's possible, however, that as we grow older we retain within the tastes of our earlier selves. How else to explain how much fun “Star Wars'' is, even for those who think they don't care for science fiction? It's a good-hearted film in every single frame, and shining through is the gift of a man who knew how to link state of the art technology with a deceptively simple, really very powerful, story. It was not by accident that George Lucas worked with Joseph Campbell, an expert on the world's basic myths, in fashioning a screenplay that owes much to man's oldest stories.

By now the ritual of classic film revival is well established: An older classic is brought out from the studio vaults, restored frame by frame, re-released in the best theaters, and then re-launched on home video. With this “special edition'' of the “Star Wars'' trilogy (which includes new versions of " Return of the Jedi " and " The Empire Strikes Back "), Lucas has gone one step beyond. His special effects were so advanced in 1977 that they spun off an industry, including his own Industrial Light & Magic Co., the computer wizards who do many of today's best special effects.

Now Lucas has put ILM to work touching up the effects, including some that his limited 1977 budget left him unsatisfied with. Most of the changes are subtle; you'd need a side-by-side comparison to see that a new shot is a little better. There are about five minutes of new material, including a meeting between Han Solo and Jabba the Hut that was shot for the first version but not used. (We learn that Jabba is not immobile, but sloshes along in a kind of spongy undulation.) There's also an improved look to the city of Mos Eisley (“a wretched hive of scum and villainy,'' says Obi-Wan Kenobi). And the climactic battle scene against the Death Star has been rehabbed.

The improvements are well done, but they point up how well the effects were done to begin with: If the changes are not obvious, that's because “Star Wars'' got the look of the film so right in the first place. The obvious comparison is with Kubrick's "2001: A Space Odyssey" made almost 10 years earlier, in 1968, which also holds up perfectly well today. (One difference is that Kubrick went for realism, trying to imagine how his future world would really look, while Lucas cheerfully plundered the past; Han Solo's Millennium Falcon has a gun turret with a hand-operated weapon that would be at home on a World War II bomber, but too slow to hit anything at space velocities.)

Two Lucas inspirations started the story with a tease: He set the action not in the future but “long ago,'' and jumped into the middle of it with “Chapter 4: A New Hope.'' These seemingly innocent touches were actually rather powerful; they gave the saga the aura of an ancient tale, and an ongoing one.

As if those two shocks were not enough for the movie's first moments, I learn from a review by Mark R. Leeper that this was the first film to pan the camera across a star field: “Space scenes had always been done with a fixed camera, and for a very good reason. It was more economical not to create a background of stars large enough to pan through.'' As the camera tilts up, a vast spaceship appears from the top of the screen and moves overhead, an effect reinforced by the surround sound. It is such a dramatic opening that it's no wonder Lucas paid a fine and resigned from the Directors Guild rather than obey its demand that he begin with conventional opening credits.

The film has simple, well-defined characters, beginning with the robots C-3PO (fastidious, a little effete) and R2D2 (childlike, easily hurt). The evil Empire has all but triumphed in the galaxy, but rebel forces are preparing an assault on the Death Star. Princess Leia (pert, sassy Carrie Fisher ) has information pinpointing the Death Star's vulnerable point and feeds it into R2-D2's computer; when her ship is captured, the robots escape from the Death Star and find themselves on Luke Skywalker's planet, where soon Luke ( Mark Hamill as an idealistic youngster) meets the wise, old, mysterious Kenobi ( Alec Guinness ) and they hire the free-lance space jockey Han Solo ( Harrison Ford , already laconic) to carry them to Leia's rescue.

The story is advanced with spectacularly effective art design, set decoration and effects. Although the scene in the intergalactic bar is famous for its menagerie of alien drunks, there is another scene -- when the two robots are thrown into a hold with other used droids -- which equally fills the screen with fascinating throwaway details. And a scene in the Death Star's garbage bin (inhabited by a snake with a head curiously shaped like E.T.'s) also is well done.

Many of the planetscapes are startlingly beautiful, and owe something to fantasy artist Chesley Bonestell's imaginary drawings of other worlds. The final assault on the Death Star, when the fighter rockets speed between parallel walls, is a nod in the direction of “2001,'' with its light trip into another dimension: Kubrick showed, and Lucas learned, how to make the audience feel it is hurtling headlong through space.

Lucas fills his screen with loving touches. There are little alien rats hopping around the desert, and a chess game played with living creatures. Luke's weather-worn “Speeder'' vehicle, which hovers over the sand, reminds me uncannily of a 1965 Mustang. And consider the details creating the presence, look and sound of Darth Vader, whose fanged face mask, black cape and hollow breathing are the setting for James Earl Jones' cold voice of doom.

Seeing the film the first time, I was swept away, and have remained swept ever since. Seeing this restored version, I tried to be more objective and noted that the gun battles on board the spaceships go on a bit too long; it is remarkable that the Empire marksmen never hit anyone important; and the fighter raid on the enemy ship now plays like the computer games it predicted. I wonder, too, if Lucas could have come up with a more challenging philosophy behind the Force. As Kenobi explains it, it's basically just going with the flow. What if Lucas had pushed a little further, to include elements of nonviolence or ideas about intergalactic conservation? (It's a great waste of resources to blow up star systems.)

The film philosophies that will live forever are the simplest-seeming ones. They may have profound depths, but their surfaces are as clear to an audience as a beloved old story. The way I know this is because the stories that seem immortal -- ”The Odyssey,'' “Don Quixote,'' “ David Copperfield ,'' “Huckleberry Finn'' -- are all the same: A brave but flawed hero, a quest, colorful people and places, sidekicks, the discovery of life's underlying truths. If I were asked to say with certainty which movies will still be widely-known a century or two from now, I would list “2001: A Space Odyssey,'' and "The Wizard" of Oz and Keaton and Chaplin, and Astaire and Rogers, and probably "Casablanca". . . and “Star Wars," for sure.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Star Wars (1977)

121 minutes

Mark Hamill as Luke Skywalker

Carrie Fisher as Princess Leia

Harrison Ford as Han Solo

Alec Guinness as Obi-Wan Kenobi

David Prowse as Darth Vader

James Earl Jones as Vader's Voice

Kenny Baker as R2D2

Anthony Daniels as C3PO

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Studying skywalkers: themes in star wars: a new hope.

The first Star Wars film introduced many themes that would anchor the entire saga.

Studying Skywalkers is an exclusive column that investigates the characters, themes, and lessons of Star Wars from an educational, literary perspective. In this installment, StarWars.com looks at themes in  Star Wars: A New Hope .

Star Wars.com continues to look at themes present in the six existing Star Wars films as we get closer to Star Wars:  The Force Awakens . Each of these films helps to perpetuate our understanding of each character, as well as to further our examination of the cultural imperatives present in these beloved movies. The prequels brought us deeper into the world of Anakin Skywalker, the Jedi Order, and the fall of the Republic. However, the legacy of Star Wars began with the original trilogy, and the uprising of the Rebellion. Featuring the heroics of Luke Skywalker, Princess Leia, and Han Solo, the original trilogy left a legacy that continues to enthrall, entertain, and inspire us. A closer look at Star Wars: A New Hope reveals themes that demonstrate how relevant the 1977 masterpiece remains, and helps collective audiences embrace how fresh this story still is today.

Respect for elders Star Wars established the well known galaxy far, far away, and inspires us for many reasons: chief among them, however, are the memorable characters, particularly the elder statesmen of the film. The film reinforces the cultural paradigm of the wise elder. Obi-Wan Kenobi is the clearest example. His mentorship of Luke Skywalker is the catalyst that leads the burgeoning hero to his destiny with the Rebellion, and eventually, the ways of a Jedi.

Not to be outdone, however, is the curmudgeonly Owen Lars. The uncle of Luke Skywalker appears to repress Luke, and keep his dreams restrained. While his manner can be difficult for his nephew to embrace, the matter is paramount to Luke’s safety. Uncle Owen raises Luke to be a self-reliant young man, and while Luke may not always agree, his respect of an elder authority figure reflects his character, as well as the wisdom of Owen Lars.

Even the Empire features the wisdom of an elder, albeit in an unconventional sense. Grand Moff Tarkin is the oldest member of the Empire seen in Star Wars , and he is clearly respected. In fact, he is the only member of the Empire that Darth Vader not only respects, but listens to, and takes commands from without fail. Undoubtedly, the remaining members of the fleet take note of this; Tarkin’s reputation has come to light more recently in James Luceno’s novel, but his wisdom, as well as the respect the Empire has for him, as seen in Star Wars , is not to be taken lightly.

People of different backgrounds can work together to produce great results Another important theme in Star Wars is the power of coming together to realize a common goal. History provides many examples of individuals and factions from different geographic backgrounds and diverse ideologies embracing differences to unite against a common foe. In A New Hope , this is made manifest in the form of Princess Leia Organa, Han Solo, and Luke Skywalker. The princess, the scoundrel, and the farmboy all have different histories, but the same destiny: to unite against the Empire, and become more as a whole than they were as single entities. This is also evident in the presentation of the Rebellion. In difficult times of war, oppression, and wrongdoing, Star Wars reinforces the power of difference, and the benefits of working together to manifest a better tomorrow.

The positive aspects of not relying too much on technology  In yet another memorable scene, Luke is training with a remote on the Millennium Falcon , while Han Solo watches in bemused self-righteousness. He famously informs Luke and Ben Kenobi that “hokey religions and ancient weapons are no match for a good blaster at your side.” To audiences, a lightsaber seems far from ancient, but it appears that to Han Solo, the weapon is out of date, and his technology (via a blaster) is the way to go. Ben ignores Solo’s snark, and Luke learns that sometimes the old ways are better.

This is much more pertinent during the penultimate chapter of A New Hope ; Luke Skywalker is called to from the beyond by Obi-Wan to “use the Force” and to “let go.” While at first caught off guard, Luke realizes that he must turn off his targeting computer (which, as shown previously by Red Leader, was no guarantee of a direct hit into the Death Star's exhaust port) in order to save the moon of Yavin from seemly imminent destruction. Luke decides not to rely on technology, and to trust his instinct, as well as his increasing Force abilities. He engages in the Force, and shuts off the device. He did not need technology to achieve his goal, and sets about a major shift in the sway of the war against the Empire.

The importance of hope and believing in what you can't see When Luke Skywalker longs for change in his life, and gazes into the twin suns of Tatooine, the audience is presented with a powerful theme: we must have hope. The future Jedi senses there is more to life, and that just beyond what is known is something greater. The scene is a favorite amongst Star Wars fans, and for good reason. Having hope, and trusting that there is something to believe in that can not be seen with the five senses inspires optimism, creativity, and hope. It is no wonder this moment has captivated so many generations of moviegoers.

The example above involving Luke Skywalker’s epic trench run in the Death Star also reinforces believing in what one cannot be seen. Luke chooses to believe in the Force; it may give the Jedi his power, but at this particular moment, Luke can see nothing more than the trenches racing by, and the real threat of Darth Vader’s TIE speeding towards him. He puts his faith in something greater that is not in his line of vision, and vanquishes the Death Star. He has hope, as well as faith, and comes out more powerful than he could possibly imagine.

What other themes in A New Hope have you noticed in your many viewings? Let us know in the comments below, and be on the lookout for the next installment, themes in Star Wars: The Empire Strikes Back .

Dan Zehr is a high school English teacher with an MS in Teaching and Learning, and runs Coffee With Kenobi (with co-host Cory Clubb), a Star Wars podcast that analyzes the saga through critical thinking, analysis, interviews, and discussion. He is also a member of the Rogues (as Blue Leader), a network of teachers that incorporate Star Wars in the Classroom .

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11 Star Wars: A New Hope (1977)

Power and Oppression in Star Wars: A New Hope

by Thomas Koch

The pilot to the 4th-highest-grossing media franchise of all time, Star Wars Episode IV – A New Hope , retroactively rebranded from its original title Star Wars , is one of the most influential movies of all time. The 1977 sci-fi space western tells the story of a rebellion that stands up to the tyrannical galactic empire eventually defeating them in an epic final battle. Despite taking place in a fantasy universe with aliens and magic, Star Wars manages to accurately reflect real-life struggles with power and oppression. Although Star Wars speaks to many issues positively, it suffers from the same problems as many other movies of its time, the cast doesn’t have nearly enough diversity.

Growing up no other franchise dominated my screen time like Star Wars . Throughout my life, I have spent countless hours watching each of the films in the series. I chose to analyze this film because after hundreds of hours watching Star Wars , I decided that a deeper dive into the film could give me a new perspective on my favorite franchise. I chose to focus on the first film because it is where everything started and is therefore the most influential of the series.

Star Wars Episode IV – A New Hope is the story of a farm boy named Luke Skywalker who finds himself in the middle of a galaxy-wide conflict. At the start of the film, Luke is just a 19-year-old moisture farmer when he unintentionally receives a message from a distressed princess in need of help. Against the will of his guardian Aunt and Uncle, he finds Obi-Wan Kenobi, the man to whom the message was intended. Kenobi tells Luke that he is destined to be a Jedi like his father before him. Obi-Wan tells Luke that the Jedi are “guardians of peace and justice,” they wield magic powers attained through the force. Kenobi describes the force as “what gives a Jedi his power. It’s an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together.” The duo eventually end up on an imperial space station rescuing the imprisoned Princess Leia and returning her to the home base of the rebel alliance with plans that would lead to the destruction of the planet-destroying Death Star.

In order to better understand the issues portrayed in the film it is important to understand the context of its creation. Star Wars creator George Lucas’ biggest source of inspiration for the conflict between the Rebellion and the Empire was the Vietnam War. The major conflict was still ongoing when Lucas began work on the story for the film. “The guerilla war waged by the Rebel Alliance against the Galactic Empire mirrored the battle between an insurgent force and a global superpower that was playing out in Vietnam as Lucas wrote Star Wars” (Klein).

The Vietnam War-esque conflict creates a power dynamic that many groups can identify with. This story resonates well with the Native American community in particular. The idea of small bands of underequipped rebels attempting to resist the tyrannical rule of the Galactic Empire lines up well with the real-life struggles that indigenous peoples faced with American colonialism. Despite having no on-screen representation many Native Americans still feel that their struggles are represented in the film. Darren Lone Flight, a member of the Three Affiliated Tribes in North Dakota says, “It’s a story a lot of our people [can relate to] as they’ve resisted colonial forces through history since contact” (Cram). The parallels between the Empire’s exploitation of resources and the historical exploitation of Indigenous lands and resources further strengthen the connection between the oppression of the Rebel Alliance and the Indigenous populations of the Americas.

Although the original Star Wars was ahead of its time in the visual effects department, it falls brutally short of that mark in the casting department. The cast of the film does not have a single non-white actor. The voice of Darth Vader was done by James Earl Jones, a black man, but the actor inside the suit is a white man. While it might be easy to write off any casting decisions as a product of the times, many movies in the 1970s featured black actors with movies like Shaft (1971) featuring black lead actors. The complete omission of non-white actors is unfortunately an inexcusable example of the all-too-frequent lack of diversity in Hollywood. Lucas allegedly intended to make Han Solo black and Obi-Wan Kenobi Asian and when asked why he didn’t he said “I didn’t want to make Guess Who’s Coming to Dinner at that point, so I sort of backed off” (Wetmore). This excuse, however, does not make up for the fact that the lack of racial diversity in a galaxy filled with hundreds of diverse alien species is a missed opportunity to create an inclusive universe and a movie truly ahead of its time.

On top of the clear racial diversity issues, the women in the film do not fare much better. The movie miserably fails the Bechdel test as the only two women in the film never appear in the same scene. Aside from Princess Leia the only other female with dialogue is Luke’s aunt Beru, who musters a mere 19 seconds of total dialogue in the film. Princess Leia immediately establishes herself as a strong female character by standing up to the Imperial officers and even Darth Vader who hold her captive. Unfortunately not even an industry-defining female lead like Carrie Fisher’s Leia is exempt from Hollywood sexism. Fisher famously reported that she was not allowed to wear underwear while in her costume because George Lucas told her, “There’s no underwear in space.” Neil Armstrong walked on the moon very much wearing underwear 6 years before filming for the movie began.

As one of the most popular and influential films ever created Star Wars Episode IV – A New Hope is undeniably a cinematic masterpiece and a massive success. The war-based conflict based on rebellion sets the stage for the representation of groups that have been or are currently facing oppression from a powerful entity like a government. Despite its success in this regard, the film falls short in the representation of people of color and women. Instead of capitalizing on the opportunity to create a fantasy universe that represents all people the film George Lucas chose to have no representation at all. In a world where diversity is celebrated, this film has been left behind, a product of its time or even worse.

Cram, Stephanie. “Colonialism and a Hopi Princess: Why Star Wars Resonates with Indigenous Audiences | CBC Radio.” CBCnews, CBC/Radio Canada, 30 Apr. 2020, www.cbc.ca/radio/unreserved/in-a-galaxy-far-far-away-exploring-star-wars-through -an-indigenous-lens-1.5420783/colonialism-and-a-hopi-princess-why-star-wars-res onates-with-indigenous-audiences-1.5422156#:~:text=Star%20Wars%20has%20ap peared%20as,tense%2C%22%20said%20Lone%20Fight.

Klein, Christopher. “The Real History That Inspired ‘Star Wars.’” History.Com, A&E Television Networks, 17 Nov. 2015, www.history.com/news/the-real-history-that-inspired-star-wars.

Wetmore, Kevin J. The Empire Triumphant: Race, Religion and Rebellion in the Star Wars Films . McFarland, 2005.

Difference, Power, and Discrimination in Film and Media: Student Essays Copyright © by Students at Linn-Benton Community College is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Star Wars: A New Hope Essay

Type of paper: Essay

Topic: Literature , Hero , War , The Hero , Character , Cinema , Family , Star Wars

Words: 2000

Published: 03/30/2023

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The Star Wars Episode IV: A New Hope is a popular, interesting and entertaining science fiction film. Its popularity even to this day can be attributed to how the makers of the film portrayed the mythic characters, especially of Luke Skywalker who is the main hero in the epic story. For one, the Star Wars (1977) was considered as a groundbreaking movie, and much of its success can be credited to how George Lucas introduced Luke, his family background and ultimately the events that leads him to take the central role in the story. Just like most movie heroes, Luke was depicted as an innocent young man who would not otherwise know of his destiny until considerable episodes allows the viewer to get a feel of the genre of the film. Consequently, the flow of the story revolved around the different settings where Luke gets to know other characters that will help him build his abilities, as well as the conflicts that he and the other characters must face in the process.

The Back Story

Before the introduction of the main character, the filmmaker deemed it more appropriate to introduce the setting and other relevant events that acquaint the audience about what the movie is all about. In Star Wars, the director used a scroll to convey some information about the story, and this technique allows the viewer to understand that the setting of the story will be in outer space. Further, the viewers come to comprehend that there is a clash that is ongoing between good and evil, and it is in this setting that the main character will confront his battles. In the book entitled Screenwriting Secrets in Genre Films, the author pointed out that the first few events are the most important part of the movie, and this is the part where the audience is introduced to the characters. However, in the case of Star Wars, the director did not initially introduced the characters, but used the scroll to convey some information about the story. Conveying some information at the start of the film is important to show how these events are important in the development of the role of the main character. As Walker argued, the things that are happening at the start of the story has an important implication in the hero’s journey, and that “inciting incidents will be a direct cause of the pivotal event that will change the main character’s life forever”.

Introduction of the Main Character

The introduction of Luke Skywalker follows the typical introduction of heroes in most films, from an ordinary young man doing his normal chores when circumstances called him to be part of a mission for a noble cause. The conceptualization of the main hero in Star Wars was considered as common in movies that typically evolved around the life of a “young man called to adventure, the hero going out facing trials and ordeals, and coming back after victory with a boon for the community”. Luke was introduced as wanting of discipline and maturity, so that while he was a young man with big dreams and aspirations, his inexperience and situation demonstrated an incapable and powerless personality. It was when his encounter with the two androids, R2-D2 and C-3PO that changed his life forever. Just like other classic films of this genre, the director created a way for the main character to be pulled off from his usual routine to take bigger and more serious responsibilities. In this case, Luke had been yet reluctant to defy his uncle's wishes, but their death in the hands of the enemies prompted him to join the Force against the enemy. Moreover, Luke’s innocence, which was demonstrated from his dialogues with other characters is helpful in allowing the audience to have a better grasp of the story. That is, the director used Luke’s naivety to explain the plot, setting and other circumstances in the film. The Star Wars is a science fiction that used terminologies that are otherwise unfamiliar to the audience. It is helpful that Luke was portrayed as naïve, and was new to out-of- this world ventures, because it allows the characters to enlighten the viewers about unfamiliar terms. For example, in the scene where Obi-Wan explained about the Jedi knight to Luke, the viewers are enlightened about who these groups and their roles in the story.

The Mentor’s Effort to Moving the Main Character to Change

In Screenwriting Secrets, the author pointed out how writers usually depict the transformation of the character into a wholly different individual through the prodding of a mentor. It is usually the role of the mentor to act as a positive influence to the hero by helping them develop their skills as well as instill encouraging values and ways of thinking. These positive influences motivated the hero to aspire for something better; for example, Obi Wan in Star Wars served as a mentor to Luke who eventually became a full pledge Jedi. Further, the Obi Wan became the protector of Luke and the others, while he guided them into the mythological series of adventure. In most films, the protagonists are usually unaware of the adventure they are going into until such time that they will encounter a turning point that will make them realize their calling. Luke was portrayed as an obedient young man to his aunt and uncle, thus, he was reluctant to leave the comfort of his home and his guardians care. His decision changed only with the enemy’s destruction of his home and the killing of his family. He then decided to join the Forces to help end these forms of atrocities.

The Monomyth

The transition of Luke from a young and naïve farmer to a capable and full pledge Force warrior demonstrate what screenwriters claim as monomyths. In Hero with a Thousand Faces, Campbell wrote, “ a hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won” George Lucas, the writer and director of the Star Wars was said to have taken inspiration in the works and writings of Campbell and this influence must be the reason why the main character in Star Wars was portrayed that way. In Campbell’s book, he pointed out that the effect of the hero’s success leads to the “unlocking and release again of the flow of life into the body of the world”. In the same way, Luke’s triumph in Star Wars meant the renewal of peace and hope in the kingdom. In Joseph Campbell’s depiction of the monomyth, the hero is usually set to take a journey or adventure. Part of taking the challenges of these adventures include dutifully setting forth, which means leaving the comforts of home and warmth of the family. It is a journey is full of trials, threats and danger that the hero must pass through as he enters a verge a difficult and forbidden terrain. In the process, the hero must withstand the various tests that require cunning and gallantry. Most often than not, the hero was not alone in his fight as there are other characters that will support him in his struggle such as mythical folks who may offer some form of aid or assistance. Another essential part of the monomyth are the instances when the hero must fight his battles alone, and one of the means for him to win the fight is to choose good over evil. In Star Wars, Luke sets forth on an adventure he never dreamed of, but was first reluctant at first because of his family. Losing them from the enemy ignited his drive to be part of a mission, despite not knowing about the consequences of his decisions. Just as what Joseph Campbel described in his The Hero with a Thousand Faces, Luke of Star Wars was helped by other characters such as his Obi Wan, who was his mentor, Princess Leia, Han Solo and Lando Calrissian. A closer examination reveals that the hero’s effort was meaningless without the support of the other characters. Further, the common mythical setting in the hero’s struggle is the need to choose from good and evil, and Luke decided to side with the good despite putting his life and that of his fathers in danger.

The Revelation

Another typical turn of events in most science fiction films is the revelations that can have a great impact on the emotion, character and ways of thinking of the protagonists. This is a further elucidation of Campbell’s ‘ monomyth’, where the hero is usually portrayed as struggling against certain forces, and there is a need for him to prove himself in the process. The Star Wars hero, in his life as an ordinary young man has dreams other than being a farm help to his uncle, and he has been struggling with the conflict of wanting to follow his dreams or to stay with the only family he has known. Another revelation that marked the turning point in Luke’s decision was in knowing that his father was killed by Vader, Obi Wan’s former student. His anger towards Vader escalated when the enemy killed Ben Kenobi, whom he considered as a second father to him. Further, in the story, Luke learned that Vader was his father and knowing it devastated him. Obi Wan had told him the truth when he recounted that his father was killed by the enemy, as he meant that the older Skywalker was killed with his transformation into Vader’s character. Now, just like the common mythical characters, Luke was assisted by his sister and other friends in many of his battles, but he must face his fight with his father alone. Some of the reasons why he must fight his father was the need for him to save his sister Leia; also he believed that there is still some goodness in his father's heart and that he must convince him to leave the darkness empire. Luke triumph in his endeavor and was able to prove that good still prevail over evil. The hero’s journey was reflective of his development to a mature and responsible individual, and this may one of the reasons why his character is so popular among young audiences.

The Star Wars gained considerable popularity because of the manner by which the filmmakers directed the play. Specifically, the main character was portrayed according to the common characteristics that are typical of mythical heroes. While he was considered as the main character in the story, Luke was shown as a naïve young man. It was through the different trials in his life that he was able to develop the character that made him worthy for him to be called a Jedi warrior. His development took place when he was closely trained by Obi- Wan, but more so when he was left alone to decide and fight his battles alone. The key theme in this story is that the main character was able to proved that goodness will always prevail over evil.

Campbell, J. The Hero with a Thousand Faces. New World Library. 2008 Paparone, C. The Sociology of Military Science: Prospects for Postinstitutional Military Design. Bloomsberry Publishing. 2012 Shimamura, A. Experiencing Art: In the Brain of the Beholder. Oxford University Press. 2013 Walker, S. Screenwriting Secrets in Genre Film. The Fiction Works. 2012

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Star Wars: A New Hope Questions

Bring on the tough stuff. there’s not just one right answer..

• How would you describe Star Wars ' pacing? Kinetic? Methodical? A Michael Bay–ish mess? How does this pacing inform your viewing of the events of the film?
• What does the war between the Empire and Rebellion represent? Do you think it's a metaphor for a historical conflict? A religious symbol? Something else? Explain your answer.
• How does Star Wars approach the violence of war, and why do you think the movie uses this approach? Would you say it is appropriate given the subject? Why or why not?
• Star Wars was one of the original summer blockbusters. How do you see the film as setting the template for future summer blockbusters such as Jurassic Park or the Marvel cinematic universe?
• How do the characters' attitudes help set the tone for the film? Why do you suppose this was the tone chosen?
• Star Wars is basically a fantasy adventure along the lines of The Odyssey or a King Arthur adventure . Why then do you think the story is given a sci-fi gloss?
• Pick your favorite character and let's do a gender swap. What if Luke was captured and Leia rescued him? Martha Vader, anyone? Do you imagine this would change the film thematically? Why or why not? Bonus Question: Do you think such a change would have impacted the film's international success, and why?
• Many different artists have created their own Star Wars stories, and the film remains a favorite for fan films and fiction. If you could create your own Star Wars character, who would it be? Would s/he be human or alien? Jedi, droid or nerf herder? How would this character relate to the greater universe and what Star Wars themes would you incorporate or alter with him or her? Feel free to plot out a basic story for this character as well.

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W hy's T his F unny?

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Star Wars: A New Hope Essay

The dramatic war-like classic of a long clip ago in a galaxy far, far off, it is Star Wars. The ground most people go to see it is because of the THX digitally mastered sound, the new ocular effects, the superb playing, but most of all the all of import subject, without which, Star Wars would non be half the movie that it is. But now, it has launched Lucasfilm Ltd. into a new epoch and taken all the universe with it.

When Star Wars was foremost made in 1977, cipher expected it to go a large film. George Lucas had merely a little crew, a moderate figure of histrions without much of a repute, the London Symphony Orchestra, and a clump of college pupils to assist out with the effects. But one time the people started watching it and the word spread, it developed into a multimillion dollar coronation. Reason: the secret plan. Up to that clip, the most realistic sci-fi films ranged from B rated Ed Wood films to the authoritative? Take me to your leader? movies. Nothing was of all time made that even compared to Star Wars. Even the Star Trek series seemed untechnological.

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When the film starts out, it takes a whole new construct to bear: a little infinite patrol car being chased by one that’s half the size of our planet. And so the little ship is raided by cruel looking soldiers in infinite suits lead by a half adult male half automaton. The imperials, as the cruel ground forces is called, are looking for the programs to their already built conflict station, called the Death Star. Two automatons escape in a cod with the programs. Now the supporter is introduced, Luke Skywalker. A husbandman on the same desert universe that the automatons landed on, he leads a deadening life, even though he does turn out as the major supporter at the terminal of the film. When his uncle buys the automatons and the 1 with the programs wanders off, Luke chases after it and winds up with the 1 who the small droid, Artoo, sought. Obi Wan Kenobi, as the adult male is called, tells Luke that his male parent was a adult male of great power and returns to explicate the force, the all powerful entity that controls all people.

To people of the 70? s, this was a wholly new thought. The idea of something which controls everything and everyone and can, at the same clip can be utilized and controlled by those that it controls, hit many people hard on the caput. But, it WAS the 70’s and that wasn? t TOO pathetic. The narrative advancements and Luke finds his uncle’s and aunt’s charred remains following an imperial onslaught and agrees to travel with Kenobi. They locate a pilot to take them to the finish planet, but find that it has been wholly destroyed by the imperials. They so go to the Death Star ( by chance ) and are about captured, but so salvage Princess Leia, who was the adult female who was transporting the Death Star plans until her ship was attacked. Before the crew can acquire off the Death Star, nevertheless, Obi Wan Kenobi is slain by the half automaton, half adult male, Darth Vader in a battle. When the sestet of the two automatons, the Princess, Luke, the pilot ( Han Solo ) , and his wookie helper ( Chewbacca ) arrive at the H!

eadquarters of the opposition against the imperials, otherwise known as the Rebel Aliance, Artoo displays the programs for the Death Star and an onslaught is planned. The Death Star’s commanding officers know where the Rebel base is and caput for it to destruct that planet. However, the onslaught on the Death Star is made and Luke uses the force to establish two gunmans from his combatant infinite trade into the Death Star’s chief reactor, and destroys it.

In this movie, Episode IV, Luke is but a 17 twelvemonth old immature adult male and does non cognize the ways of life. When he starts out, he is but a male child who is doomed to remain on his desert planet for another twelvemonth to assist his uncle farm. But he hates it. Like his male parent, Anakin Skywalker, he has great aspirations, even though he is still a small spot selfish. Overall he’s a nice immature adult male, but still needs to larn the lessons of life, and by fall ining the confederation he learns subject and ego control, non by the manner we would make it, but by manner of war. Even though this film is largely meant for pure amusement, a conclusive facet towards war can be drawn from it.

When Luke finds his uncle’s and aunt’s charred skeletons, his life is wholly changed. He develops a disfavor towards the Galactic Empire and a demand to avenge his aunt? s, uncle? s, and father’s deceases. Highly motivated, he goes all out to wholly salvage the rebellion against the imperials. This manner, he is genuinely made a adult male.

Overall, Star Wars is a great film. It’s perfect for about any spectator and is extremely thought of as one of the best films and best trilogies of all time. And even though films have merely been around for about 90 old ages, the Star Wars trilogy will be everlastingly remembered as one of the best at that place of all time was.

Quotation marks and Major Subjects

? Help me, Obi-Wan Kenobi, you? re my lone hope. ? -Princess Leia, pleading to Kenobi on a recorded message to assist her contend the Empire

? There will be no 1 to halt us this time. ? -Darth Vader, after occupying an Alliance

? Owen, he’s excessively much like his father. ? Luke’s aunt speaking to his uncle about him.

? Your devotednesss to that black magic of yours has non given you clairovoyance adequate to turn up that Rebel base … ? -An anon. moff ( high general ) addressing

Darth Vader

? I find your deficiency of religion disturbing. ? -Darth Vader addressing that same moff while choking him with telekinetics.

? You may fire when ready … ? Moff Tarkin, the commanding officer of the Death Star, giving

the order to destruct Alderan, Leia’s place planet.

? I felt a perturbation in the force as if 1000000s of people all screamed at one time and

so died out. ? Obi-Wan Kenobi associating the devastation of Alderan

? You have grown old with age; now I am the maestro. ?

? Merely a maestro of immorality, Darth. ? -Darth Vader and Kenobi merely before Kenobi’s decease.

? Way to travel, Kid! That shooting was one in a million! ? -Han Solo celebrating with Luke

after Luke destroys the Death Star.

? Luke, the force will be with you. Always. ? Obi-Wan Kenobi’s presence speaking to

Major scenes –

1. The imperial capturing of Princess Leia.

2. The devastation of Alderan.

3. The rescuing of Leia from the Death Star.

4. The decease of Obi-Wan Kenobi.

5. The devastation of the Death Star

This is besides a clump of major scenes I copied from Henry V. It took me for hours to reassign from paper to computing machine, but I did it. Perfect for histrions or people who need Shakespearean book

Excerpts from King Henry V

Main Fictional characters:

King Henry The Fifth

Duke of Exeter, Uncle to the King

Archbishop of Canterbury

Montjoy, A FrenchHerald

( Optional Part ) Katherine, Princess of France

Governor of Harfleur

Chorus/Narrator

Preliminary

Chor. Turn the achievements of many old ages into an hor glass: for which supply. Admit me to this history; who, prologue-like, your low forbearance pray, gently

To hear, and kindly to justice, our drama!

Act I, Scene II, An Ante-chamber in the King’s Palace

K. Hen. Where is my gracious Godhead of Canterbury?

Exe. Not here in presence.

K. Hen. Send for him, good uncle

Exe. Shall we call in the Ambassador, my vassal?

K. Hen. Not yet; we would be resolv? vitamin D

Before we hear him, of some things of weight, that task our ideas, refering Us and France

Enter the Archbishop of Caterbury

Cant. God and his angels guard your sacred throne, and do you long go it!

K. Hen. Sure, we thank you. My erudite Godhead, we pray you proceed, and rightly and

Religiously unfold. For God doth know how many, now in wellness, shall drop their Blood in approbation of what your fear shall motivate us to: therefore, take Heed how you inspawn our individual, how you awake the sleeping blade of war: we Charge you, in the name of God, take attentiveness; for ne’er two such lands did Contend without much autumn of blood; whose guiltless beads are every one a suffering, a Sore ailment. For we will hear, note, and believe in bosom that what you speak is In your scruples wash? vitamin D every bit pure as wickedness with babtism.

Cant. Then hear me gracious crowned head, and you equals. I speak of Charles the Great. Besides King Louis the Tenth, who was exclusive inheritor to the usurper Capet, could non maintain Quiet in his scruples have oning the Crown of France, till satisfied that just Queen Isabel, his grandma, was lineal of his girl by which the great matrimony of Charles was re-united to the Crown of France. So that, every bit clear as the Sun, all Gallic male monarchs hold to the right and rubric of the female to this twenty-four hours; howbeit they Would keep up this jurisprudence, to exclude your Highness claiming from the female and instead Choose to conceal them in a net than amply to imbar their crooked rubrics usurp? vitamin D from You and your primogenitors.

K. Hen. May I with right and scruples make this claim?

Cant. The wickedness upon my caput, awful crowned head!

Exe. Your brother male monarchs and sovereign of the Earth do all anticipate that you should bestir Yourself, as did the former king of beastss of your blood. They know your grace hath cause And agencies and might: – so hath your Highness; ne’er male monarch of England had Lords Richer and more loyal topics, whose Black Marias have left their organic structures here in England, and lie marquee? vitamin D in the Fieldss of France.

K. Hen. We do non intend the coursing of snatchers merely, but fear the chief intendment of The Scot, who hath been still a dizzy neighbor to us. Bring the message sent From Dauphin. Now are we good resolv? vitamin D: and, by God’s aid and yours, the Baronial tendon of our power, France being ours, we? ll crook it to our awe, or interrupt It all to pieces or there we? ll sit opinion in big and ample empery O? er France and All her about mighty kingly duke of doms, or put these castanetss in an unworthy Urn, tombless, with no recollection over them: either our history shall with full Mouth speak freely of our Acts of the Apostless or else our grave shall hold a tongueless oral cavity, Not worshipped like a waxen epitaph. Therefore with Frank and with uncarbed Plainness what tresure doth the Dauphin present us with, uncle?

Exe. Tennis balls, my vassal,

K. Hen. When we have match? d our rackets to these balls, we will, in France, by God’s Grace, play a set, shall strike his male parent’s Crown into the jeopardy. Tell him he hath Made a error with suck a gag, that all tribunals of France will be disturb? vitamin D with Chases. And we understand him good, how he comes o? er us with our Wilder yearss, Not mensurating what usage we made of them. We ne’er valu? d this hapless place of England; And hence, populating hence, did give ourself to brutal licence; as? Ti Ever common that work forces are merriest when they are from place.

Exe. This was a gay message.

K. Hen. We hope to do the slender bloom at it. Therefore, my Godheads, omit no happy hr That may give promotion to our expedition; for we have now no idea in us But France. Save those to God, that run before our concern. Therefore allow our Proportions for this war be shortly collected, and all things thought upon that may With sensible speed add more plumes to our wings; for, God before, we? ll Chide this Dauphin at his male parent’s door. Therefore let every adult male now task his Thought, that this just action may on pes be brought.

Narrator: Now the England get down a long ocean trip towards the bosom of France, Agincourt.

King Henry, with merely a little force of 2,000 confronts the Gatess of Harfleur, one Of the chief Gallic garrisons standing in the English’s way, and lays besieging to it, and About destroys it before demanding and immediate resignation.

Act III, Scene II [ Before the Gates of Harfleur ]

K. Hen. How yet resolves the governor of this town? This is the latest parley we will Admit: hence, to our best medrcy give yourselves; or like to work forces proud of Destruction, defy us pur worst: for I am a soldier, if I begin the battery one time once more, I will non lieve the half achieved Harfleur, ? boulder clay in her ashes she lie buried. The Gates of mercy shall all be shut up. What is? T to me when you yourselves are caise If your pure maidens autumn into the manus of hot and coercing misdemeanors?

Exe. Therefore, you work forces of Harfleur, take commiseration of your town and people pieces yet the Soldiers are in bid; whiles yet the cool and temperate air current of grace O? erblows the filthy and contagious clouds of judicious slaying, spoil and villainousness.

K. Hen. What say you? Will you give, and this avoid? Or guilty in defense mechanism, and therefore Destroy? vitamin D?

Gov. Our outlook hath this twenty-four hours an terminal: the Dauphin, whom of relief we entreated, Returns us that his powers are non yet ready to raise so great a besieging. Therefore, Great male monarch, we yield our town and lives to thy clemency. Enter our Gatess; dispose of Us and ours, for we are no longer defensable.

K. Hen. Open your Gatess. -Come uncle Exeter, travel you and come in Harfleur, there remain And fortify it strongly against the Gallic. Use clemency to them all. For us, beloved Uncle, we will retire to Calais. To-night in harfleur will we be your guest; Tomorrow for the March are we adresst.

Narrator. The English ground forces imperativenesss through Harfleur on to Agincourt. On the manner, Henry Has one of his best friends hung for stealing from a Church and undercover agents on his ain Campsite to see how his military personnels? morale is making. After, making Agincourt, Henry gives a long but highly effectual inspirational address and the English Engage the Gallic, who have 10 times the work forces, in a short but highly bloody And destructive conflict, known now as the Battle of Agincourt. After the combat, Henry awaits the consequences.

Act IV, Scene III

K. Hen. All things are ready if our heads be so.

Exe. Die the adult male whose head is rearward now!

K. Hen Thou dost non wish any more aid from England, uncle?

Exe. God’s will! My vassal, would you and I entirely, without more aid contend this royal conflict!

Enter Montjoy

Mont. Once more I come to cognize of thee, King Harry, if for thy ransome 1000 wilt now Compound, before thy most assured overthrow: for surely thou art so near the Gulf 1000 demands must be englutted. Besides, in clemency, the constable desires thee Thou wilt head thy followings of penitence; that their psyches may do a peaceful And a sweet retire from off these Fieldss, where, wretches, their hapless organic structures must Lie and maturate.

K. Hen. Who hat sent thee now?

Mont. The constable of France

K. Hen. I pray thee, bear my former reply back and turn them out of service. If they do this, as if God plese, they shall, my ransom so will shortly be levied. Herald save thou thy labor. Come thou no more for ransom, soft trumpeter. But state me this, is the twenty-four hours ours?

Mont. The twenty-four hours is yours.

K. Hen. God be praised

Montjoy Exits

Exe. The list of casualties, my Godhead. Of the Gallic Godheads and barons, knights and squires, full 15 hundred, besides common work forces.

K. Hen. This note doth tell me of 10 thousand Gallic That in the field prevarication slain: of PPrinces in this figure, and Lords bearing streamers, there lie dead one hundred And 26s: added to these, of knights and esquires, and gallant gentlemen, Eight thousand and four hundred; of the which five 100s were but yesterday Dubb? 500 knights: so that, in these 10s thousand they have lost, there are but 16 Hundred soldier of fortunes; the remainder are princes, barons, Godheads, knights, squires, and Gentlemen of blood and quality. Here was a royal family of decease! Where is The figure of our English dead? [ Exe. Hands Henry another paper ] Of all work forces, But five and 20. – O God, thy arm was here; and non to us, but to thy arm Alone, ascribe us all! – When without strategem, but in field daze and even play Of conflict was of all time known so great and small loss on one portion and on the other? – Take it, God, for it is none but thine!

Exe. ? Tis wonderful!

K. Hen. Come, go we to the small town: and be it decease proclaimed through our host to tout Of this of this, or take that congratulations from God which is his to give merely.

Montjoy returns

Mont. Is it non lawful and delight your stateliness, to state how many are killed?

K. Hen. Yes, herald; but with this recognition, that God fought for us.

Mont. Yes, my scruples, he did us great good

K. Hen. Do we all holy rites: allow there be sung Non nobis and Te Deum; the dead with Charity enclos? vitamin D in clay: we? ll so to Calais; and so to england so; where Ne? Er from France arriv? d more happy work forces.

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There exists in every civilization a series of common people narratives and narratives, which make up a portion of that civilization history. These narratives, called myths, frequently venture into the charming and antic, with great heroes combating awful monsters to salvage alien lands. As the human race has evolved, we have moved beyond the demand

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Star Wars, a low budget science-fiction film, has achieved blockbuster success at the box office. It has garnered immense popularity across various cultures and age groups for numerous decades. In addition to its popularity, Star Wars effectively communicates several significant themes, with the classic hero journey being one of the most prominent throughout the movie. The

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Welive in a society, which relies on fairy tales and mythology to entertain andtake us off to a far away place where we can identify with our imagination. TheStar Wars trilogy is a classic example of the hero cycle. A young man is broughtup believing the light side of the force is his destiny. It

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Star Wars : A New Hope Essay (2884 words)

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The dramatic war-like classic of a long time ago in a galaxy far, far away, it is Star Wars. The reason most people go to see it is because of the THX digitally mastered sound, the new visual effects, the superb acting, but most of all the all important theme, without which, Star Wars would not be half the film that it is. But now, it has launched Lucasfilm Ltd.

into a new era and taken all the world with it. When Star Wars was first made in 1977, nobody expected it to become a big movie. George Lucas had only a small crew, a moderate number of actors without much of a reputation, the London Symphony Orchestra, and a bunch of college students to help out with the effects. But once the people started watching it and the word spread, it developed into a multimillion dollar investiture.

Reason: the plot. Up to that time, the most realistic sci-fi movies ranged from B rated Ed Wood movies to the classic Take me to your leader films. Nothing was ever made that even compared to Star Wars. Even the Star Trek series seemed untechnological. When the movie starts out, it takes a whole new concept to bear : a small space cruiser being chased by one thats half the size of our planet.

And then the small ship is raided by cruel looking soldiers in space suits lead by a half man half robot. The imperials, as the cruel army is called, are looking for the plans to their already built battle station, called the Death Star. Two robots escape in a pod with the plans. Now the protagonist is introduced, Luke Skywalker. A farmer on the same desert world that the robots landed on, he leads a boring life, even though he does turn out as the major protagonist at the end of the movie.

When his uncle buys the robots and the one with the plans wanders off, Luke chases after it and winds up with the one who the little droid, Artoo, sought. Obi Wan Kenobi, as the man is called, tells Luke that his father was a man of great power and proceeds to explain the force, the all powerful entity that controls all people. To people of the 70s, this was a totally new idea. The thought of something which controls everything and everyone and can, at the same time can be utilized and controlled by those that it controls, hit many people hard on the head. But, it WAS the 70s and that wasnt TOO ridiculous.

The story progresses and Luke finds his uncles and aunts charred remains following an imperial attack and agrees to go with Kenobi. They locate a pilot to take them to the destination planet, but find that it has been completely destroyed by the imperials. They then go to the Death Star (accidentally) and are almost captured, but then save Princess Leia, who was the woman who was carrying the Death Star plans until her ship was attacked. Before the crew can get off the Death Star, however, Obi Wan Kenobi is slain by the half robot, half man, Darth Vader in a fight. When the sextet of the two robots, the Princess, Luke, the pilot (Han Solo), and his wookie assistant (Chewbacca) arrive at the h!eadquarters of the resistance against the imperials, otherwise known as the Rebel Aliance, Artoo displays the plans for the Death Star and an attack is planned.

The Death Stars commanders know where the rebel base is and head for it to destroy that planet. However, the attack on the Death Star is made and Luke uses the force to launch two torpedoes from his fighter space craft into the Death Stars main reactor, and destroys it. In this film, Episode IV, Luke is but a 17 year old young man and does not know the ways of life. When he starts out, he is but a boy who is doomed to stay on his desert planet for another year to help his uncle farm. But he hates it.

Like his father, Anakin Skywalker, he has great ambitions, even though he is still a little bit selfish. Overall hes a nice young man, but still needs to learn the lessons of life, and by joining the alliance he learns discipline and self control, not by the way we would do it, but by way of war. Even though this movie is mostly meant for pure entertainment, a conclusive aspect towards war can be drawn from it. When Luke finds his uncles and aunts charred skeletons, his life is completely changed.

He develops a dislike towards the Galactic Empire and a need to revenge his aunts, uncles, and fathers deaths. Highly motivated, he goes all out to completely save the rebellion against the imperials. This way, he is truly made a man. Overall, Star Wars is a great movie. Its perfect for almost any viewer and is highly thought of as one of the best movies and best trilogies ever.

And even though movies have only been around for about 90 years, the Star Wars trilogy will be forever remembered as one of the best there ever was. Quotes and Major ThemesHelp me, Obi-Wan Kenobi, youre my only hope. -Princess Leia, pleading to Kenobi on a recorded message to help her fight the EmpireThere will be no one to stop us this time. -Darth Vader, after invading an Allianceship. Owen, hes too much like his father. Lukes aunt talking to his uncle about him.

Your devotions to that sorcery of yours has not given you clairovoyance enough to locate that rebel base. . . -An anonymous moff (high general) addressing Darth VaderI find your lack of faith disturbing.

-Darth Vader addressing that same moff while choking him with telekinetics. You may fire when ready. . . Moff Tarkin, the commander of the Death Star, givingthe order to destroy Alderan, Leias home planet.

I felt a disturbance in the force as if millions of people all screamed at once andthen died out. Obi-Wan Kenobi relating the destruction of AlderanYou have grown old with age; now I am the master. Only a master of evil, Darth. -Darth Vader and Kenobi just before Kenobis death. Way to go, Kid! That shot was one in a million! -Han Solo celebrating with Luke after Luke destroys the Death Star.

Luke, the force will be with you. Always. Obi-Wan Kenobis presence talking to Luke. Major scenes -1. The imperial capturing of Princess Leia. 2.

The destruction of Alderan. 3. The rescuing of Leia from the Death Star. 4.

The death of Obi-Wan Kenobi. 5. The destruction of the Death StarThis is also a bunch of major scenes I copied from Henry V. It took me for hours to transfer from paper to computer, but I did it.

Perfect for actors or people who need Shakespearian scriptExcerpts from King Henry VMain Characters :King Henry The FifthDuke of Exeter, Uncle to the KingArchbishop of CanterburyMontjoy, A FrenchHerald(Optional Part) Katherine, Princess of FranceGovernor of HarfleurChorus/NarratorPreludeChor. Turn the accomplishments of many years into an hor glass: for which supply. Admit me to this history; who, prologue-like, your humble patience pray, gently To hear, and kindly to judge, our play! Act I, Scene II, An Ante-chamber in the Kings PalaceK. Hen.

Where is my gracious lord of Canterbury?Exe. Not here in presence. K. Hen. Send for him, good uncleExe. Shall we call in the Ambassador, my liege?K.

Hen. Not yet; we would be resolvdBefore we hear him, of some things of weight, that task our thoughts, concerning Us and FranceEnter the Archbishop of CaterburyCant. God and his angels guard your sacred throne, and make you long become it!K. Hen. Sure, we thank you.

My learned lord, we pray you proceed, and justly and Religiously unfold. For God doth know how many, now in health, shall drop their Blood in approbation of what your reverence shall incite us to : therefore, take Heed how you inspawn our person, how you awake the sleeping sword of war: we Charge you, in the name of God, take heed; for never two such kingdoms did Contend without much fall of blood; whose guiltless drops are every one a woe, a Sore complaint. For we will hear, note, and believe in heart that what you speak is In your conscience washd as pure as sin with babtism. Cant. Then hear me gracious sovereign, and you peers.

I speak of Charles the Great. Also King Louis the Tenth, who was sole heir to the usurper Capet, could not keep Quiet in his conscience wearing the crown of france, till satisfied that fair Queen Isabel, his grandmother, was lineal of his daughter by which the great marriage of Charles was re-united to the crown of France. So that, as clear as the sun, all French kings hold to the right and title of the female to this day; howbeit they Would hold up this law, to bar your highness claiming from the female and rather Choose to hide them in a net than amply to imbar their crooked titles usurpd from You and your progenitors. K.

Hen. May I with right and conscience make this claim?Cant. The sin upon my head, dread sovereign!Exe. Your brother kings and monarchs of the earth do all expect that you should rouse Yourself, as did the former lions of your blood.

They know your grace hath cause And means and might:- so hath your highness; never king of England had nobles Richer and more loyal subjects, whose hearts have left their bodies here in England, and lie paviliond in the fields of France. K. Hen. We do not mean the coursing of snatchers only, but fear the main intendment of The Scot, who hath been still a giddy neighbour to us. Bring the message sent From Dauphin.

Now are we well resolvd: and, by Gods help and yours, the Noble sinews of our power, France being ours, well bend it to our awe, or break It all to pieces or there well sit ruling in large and ample empery oer France and All her almost mighty kingly duke of doms, or lay these bones in an unworthy Urn, tombless, with no remembrance over them: either our history shall with full Mouth speak freely of our acts or else our grave shall have a tongueless mouth, Not worshipped like a waxen epitaph. Therefore with frank and with uncarbed Plainness what tresure doth the Dauphin present us with, uncle?Exe. Tennis balls, my liege,K. Hen. When we have matchd our rackets to these balls, we will, in France, by Gods Grace, play a set, shall strike his fathers crown into the hazard. Tell him he hath Made a mistake with suck a joke, that all courts of France will be disturbd with Chases.

And we understand him well, how he comes oer us with our wilder days, Not measuring what use we made of them. We never valud this poor seat of England; And therefore, living hence, did give ourself to barbarous license; as tis Ever common that men are merriest when they are from home. Exe. This was a merry message. K.

Hen. We hope to make the slender blush at it. Therefore, my lords, omit no happy hour That may give furtherance to our expedition; for we have now no thought in us But France. Save those to God, that run before our business. Therefore let our Proportions for this war be soon collected, and all things thought upon that may With reasonable swiftness add more feathers to our wings; for, God before, well Chide this Dauphin at his fathers door. Therefore let every man now task his Thought, that this fair action may on foot be brought.

Narrator : Now the England begin a long voyage towards the heart of France, Agincourt. King Henry, with only a small force of 2,000 confronts the gates of Harfleur, one Of the main French forts standing in the Englishs path, and lays siege to it, and Nearly destroys it before demanding and immediate surrender. Act III, Scene II Before the Gates of HarfleurK. Hen.

How yet resolves the governor of this town? This is the latest parley we will Admit : therefore, to our best medrcy give yourselves; or like to men proud of Destruction, defy us pur worst: for I am a soldier, if I begin the battery once again, I will not lieve the half achieved Harfleur, till in her ashes she lie buried. The Gates of mercy shall all be shut up. What ist to me when you yourselves are caise If your pure maidens fall into the hand of hot and forcing violations?Exe. Therefore, you men of Harfleur, take pity of your town and people whiles yet the Soldiers are in command; whiles yet the cool and temperate wind of grace Oerblows the filthy and contagious clouds of heady murder, spoil and villainy. K. Hen.

What say you? Will you yield, and this avoid? Or guilty in defence, and thus Destroyd?Gov. Our expectation hath this day an end: the Dauphin, whom of succor we entreated, Returns us that his powers are not yet ready to raise so great a siege. Therefore, Great king, we yield our town and lives to thy mercy. Enter our gates; dispose of Us and ours, for we are no longer defensable.

K. Hen. Open your gates. -Come uncle Exeter, go you and enter Harfleur, there remain And fortify it strongly against the French.

Use mercy to them all. For us, dear Uncle, we will retire to Calais. To-night in harfleur will we be your guest; Tomorrow for the march are we adresst. Narrator. The English army presses through Harfleur on to Agincourt. On the way, Henry Has one of his best friends hung for stealing from a Church and spies on his own Encampment to see how his troops morale is doing.

After, reaching Agincourt, Henry gives a long but extremely effective inspirational speech and the English Engage the French, who have 10 times the men, in a short but extremely bloody And destructive battle, known now as the Battle of Agincourt. After the fighting, Henry awaits the results. Act IV, Scene IIIK. Hen. All things are ready if our minds be so.

Exe. Perish the man whose mind is backward now!K. Hen Thou dost not wish any more help from England , uncle?Exe. Gods will! My liege, would you and I alone, without more help fight this royal battle!Enter MontjoyMont. Once more I come to know of thee, King Harry, if for thy ransome thou wilt now Compound, before thy most assured overthrow: for certainly thou art so near the Gulf thou needs must be englutted. Besides, in mercy, the constable desires thee Thou wilt mind thy followers of repentance; that their souls may make a peaceful And a sweet retire from off these fields, where, wretches, their poor bodies must Lie and fester.

K. Hen. Who hat sent thee now?Mont. The constable of FranceK. Hen. I pray thee, bear my former answer back and turn them out of service.

If they do this, as if God plese, they shall, my ransom then will soon be levied. Herald save thou thy labour. Come thou no more for ransom, gentle herald. But tell me this, is the day ours?Mont. The day is yours.

K. Hen. God be praisedMontjoy Exits Exe. The list of casualties, my lord. Of the French lords and barons, knights and squires, full fifteen hundred, besides common men.

K. Hen. This note doth tell me of ten thousand French That in the field lie slain: of PPrinces in this number, and nobles bearing banners, there lie dead one hundred And twenty-six: added to these, of knights and esquires, and gallant gentlemen, Eight thousand and four hundred; of the which five hundred were but yesterday Dubbd knights: so that, in these ten thousand they have lost, there are but sixteen Hundred mercenaries; the rest are princes, barons, lords, knights, squires, and Gentlemen of blood and quality. Here was a royal fellowship of death! Where is The number of our English dead?Exe.

Hands Henry another paper Of all men, But five and twenty. – O God, thy arm was here; and not to us, but to thy arm Alone, ascribe us all! – When without strategem, but in plain shock and even play Of battle was ever known so great and little loss on one part and on the other? – Take it, God, for it is none but thine!Exe. Tis wonderful!K. Hen.

Come, go we to the village: and be it death proclaimed through our host to boast Of this of this, or take that praise from God which is his to give only. Montjoy returnsMont. Is it not lawful and please your majesty, to tell how many are killed?K. Hen. Yes, herald; but with this acknowledgement, that God fought for us. Mont.

Yes, my conscience, he did us great goodK. Hen. Do we all holy rites: let there be sung Non nobis and Te Deum; the dead with Charity enclosd in clay: well then to Calais; and then to england then; where Neer from France arrivd more happy men.

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Star Wars: A New Hope 3 Pages 698 Words

             Star Wars has captured the imagination of millions, even 27 years later. It is the movie that is the epitome of movie watching. When Star Wars was introduced it was light years ahead of its time seemingly beamed from another galaxy. As a youngster I remember watching the film and becoming entranced in its power to pull me into this other universe. In order to gain a more firm grasp on why Star Wars has had such an impact on my viewing experience, I did a little footwork to find the answers.              If a film's monetary success is any indication of its cultural impact, Star Wars is one of the most influential films ever. Canada and the U.S. alone in the first year of Star Wars: A New Hope totaled $216 million.              In 1977 there were no personal computers and no cell phones and Space Odyssey: 2001 was the space epic to beat. The public dealt with economic inflation and rising oil prices. The space race was over, but the cold war was on. During the decade Hollywood's focused on downbeat and gritty films with antiheroes breaking all the rules. Through demographic marketing studies the studios realized that they needed more films aimed at the young crowd, and films made by the younger new and fresh talent. George Lucas was caught in the rise of young directors such as Francis Ford Coppola, Steven Spielberg and Martin Scorsese.              George Lucas had unique vision that started with THX 1138 and came to a fruit in Star Wars. His intent was to make a Flash Gordon-like film and was influenced by Errol Flynn and philosopher Joseph Campbell. Joseph Campbell's book The Hero With a Thousand Faces taught George everything he wanted to know about the structure and power of myth. George's influence even stretched as far as historical Japan with Jedi arising from the term Jidai Geki meaning period drama and designated natural medieval. Star Wars draws on mythic and fairy-tale archetypes: a young orphan-hero; a my              ...

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Star Wars Will Always Be Defined By Empire Strikes Back, Not A New Hope

• The Empire Strikes Back introduced key characters like Master Yoda, shaping the future of Star Wars.
• Darth Vader's revelation as Luke's father defined the Skywalker Saga, impacting all trilogies.
• The Emperor Palpatine's transformation in The Empire Strikes Back made him a true threat in Star Wars.

Although Star Wars began with A New Hope , The Empire Strikes Back will always be the movie that most defined the franchise. The Empire Strikes Back is not only considered one of Star Wars' best movies but is also crucial in the chronology of Star Wars movies and TV shows . In fact, despite the second movie often being the most difficult to pull off in a trilogy, The Empire Strikes Back was a defining moment for Star Wars , shaping the franchise's future.

In part, The Empire Strikes Back carries such significance in Star Wars because it introduced key characters such as Master Yoda and, of course, included one famous plot twist. However, the movie represents so much more. In several ways, The Empire Strikes Back made Star Wars what it is today, truly defining its past and its future.

10 Ways The Empire Strikes Back Changed Hollywood Forever

The empire strikes back does so much of star wars' world-building, master yoda defined the jedi in the empire strikes back.

Created By George Lucas

Cast Tom Kane, Frank Oz

First Appearance Star Wars: Episode V - The Empire Strikes Back

Alliance Jedi

A New Hope was groundbreaking because it created numerous brand-new ideas and introduced audiences to the Star Wars galaxy. However, as the first movie, A New Hope's role was just that: offering a baseline upon which Star Wars stories could build. This made The Empire Strikes Back the first opportunity for the franchise to dive deeper and explore these planets, individuals, groups, and concepts (such as the Force) in greater detail.

One key way The Empire Strikes Back did so was through Master Yoda. Although Obi-Wan Kenobi was the one to first show Luke the ways of the Force and give him some information on his father, the Jedi, and the Clone Wars, it was Yoda who really helped Luke see and understand. During Luke's training on Dagobah, Yoda provided significant insight into the ways of the Force, both the light and the dark side, and the expectations of a Jedi. While narratively this meant Yoda was training Luke, these moments were also informing the audience.

This background provided by Yoda then explicitly informed the prequel trilogy's depictions of the Jedi, the Sith, and the Force . Particularly given the way the prequels have become foundational to understanding the Star Wars galaxy and the Jedi's history, these scenes with Yoda had a massive impact on the franchise more broadly. In fact, Yoda's world-building in The Empire Strikes Back continues to reverberate throughout the Star Wars franchise.

Yoda's world-building in The Empire Strikes Back continues to reverberate throughout the Star Wars franchise.

The Skywalker Saga Is Defined By Darth Vader's Revelation

Darth vader being luke skywalker's father shaped every trilogy, anakin skywalker/darth vader.

Cast Sebastian Shaw, Matt Lanter, Matt Lucas, Bob Anderson, Jake Lloyd, James Earl Jones, Hayden Christensen, David Prowse

First Appearance Star Wars: Episode IV - A New Hope

Alliance Jedi, Sith

It would be difficult to overstate what a major impact Darth Vader had on the Star Wars franchise, and that really began in The Empire Strikes Back . The plot twist that Darth Vader was Luke Skywalker's true father is easily one of the most famous plot twists in Star Wars, if not in all of cinema. While that moment was significant because it was a shock, it also completely shaped the rest of Star Wars .

By identifying Darth Vader as Luke Skywalker's father, Star Wars needed to explain how that could be true if Obi-Wan's description of Luke's father was also true. That is, Star Wars had to address why Obi-Wan said Vader killed Luke's father and described Luke's father as a great Jedi Knight. Ultimately, this led to one of the most compelling aspects of the entire Star Wars story.

By identifying Darth Vader as Luke Skywalker's father, Star Wars needed to explain how that could be true if Obi-Wan's description of Luke's father was also true.

With this choice, Star Wars effectively created the Skywalker Saga . This incredible revelation set in motion the story of Anakin Skywalker and the tragedy of how he became Darth Vader, making clear that there was also a significant history with Obi-Wan Kenobi. This, combined with Yoda's added context about the Jedi, fundamentally shaped the prequel trilogy, leading to some of Star Wars' greatest movies.

The Complete Star Wars Skywalker Family Tree

Empire strikes back sets up prequels and sequels, the empire strikes back is the connective tissue across star wars.

Perhaps most impressive is the fact that The Empire Strikes Back set up not just the Star Wars prequel trilogy but the sequels as well . The Empire Strikes Back was foundational for the prequel trilogy, establishing many of the characters and the history of that era, but the movie's relevance has permeated all of Star Wars . In fact, the tensions around the Skywalker line only grew in the sequel trilogy.

Kylo Ren made it no secret that his obsession with his grandfather, Darth Vader, heavily influenced everything from his aesthetic to his ambitions. His mask was highly reminiscent of Vader's, and his desperation to be equal to his grandfather in the dark side of the Force was so significant that Rey recognized it almost immediately. His obsessive behavior boils down to the familial connection, which was established through this Empire Strikes Back twist. This also demonstrates the incredible impact Anakin had throughout the Star Wars timeline .

While Darth Vader was an excellent villain in A New Hope and had an interesting backstory with Obi-Wan based on their fight, The Empire Strikes Back truly changed the game . By revealing that Darth Vader was Luke's father, Star Wars had humanized him, and that had massive implications for the entire Skywalker Saga. In fact, that choice defined the Skywalkers, who have in turn defined Star Wars.

By revealing that Darth Vader was Luke's father, Star Wars had humanized him.

Even The Emperor Is Transformed In The Empire Strikes Back

Emperor palpatine became a true threat in the empire strikes back, changing star wars forever, emperor palpatine/darth sidious.

Cast Ian McDiarmid, Sam Witwer, Ian Abercrombie

Alliance Sith, Empire

While it might be easier to point to the ways The Empire Strikes Back shaped the Skywalker family, a more surprising alteration the movie made to Star Wars was the change to Star Wars' greatest villain. Although Palpatine was scary in A New Hope and oversaw much of what the Empire was doing, The Empire Strikes Back saw him exert his true power, including that which he held over Darth Vader. In fact, prior to The Empire Strikes Back , the plan was not to make Palpatine an all-powerful Sith Lord .

It's nearly impossible to imagine Star Wars without the version of Emperor Palpatine that has since been established. Over time, Palpatine has only become even more central, making a return in Star Wars: The Rise of Skywalker and continuing to be critical in brand-new content such as The Bad Batch season 3. However, prior to The Empire Strikes Back , Palpatine would have played a very different role, completely reshaping Star Wars.

Over time, Palpatine has only become even more central.

While the beauty of Star Wars is in part how artfully connected the franchise's movies and TV shows are, The Empire Strikes Back stands out as a particularly critical element of Star Wars . Because of the movie's additional information, character development, and plot twists, Star Wars became what it is today. While A New Hope will always have the honor of introducing Star Wars to the world, The Empire Strikes Back can't be denied as Star Wars' most defining movie.

Star Wars: Episode V - The Empire Strikes Back

Cast Billy Dee Williams, Mark Hamill, Harrison Ford, Peter Mayhew, Kenny Baker, James Earl Jones, Frank Oz, David Prowse, Carrie Fisher, Anthony Daniels

Director Irvin Kershner

Studio(s) Lucasfilm

Writers Leigh Brackett, Lawrence Kasdan, George Lucas

Franchise(s) Star Wars

ALL STAR WARS TV SHOWS & MOVIES ARE AVAILABLE TO STREAM ON DISNEY PLUS

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The Sunday Read: ‘What Deathbed Visions Teach Us About Living’

Researchers are documenting a phenomenon that seems to help the dying, as well as those they leave behind..

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Chris Kerr was 12 when he first observed a deathbed vision. His memory of that summer in 1974 is blurred, but not the sense of mystery he felt at the bedside of his dying father. Throughout Kerr’s childhood in Toronto, his father, a surgeon, was too busy to spend much time with his son, except for an annual fishing trip they took, just the two of them, to the Canadian wilderness. Gaunt and weakened by cancer at 42, his father reached for the buttons on Kerr’s shirt, fiddled with them and said something about getting ready to catch the plane to their cabin in the woods. “I knew intuitively, I knew wherever he was, must be a good place because we were going fishing,” Kerr told me.

Kerr now calls what he witnessed an end-of-life vision. His father wasn’t delusional, he believes. His mind was taking him to a time and place where he and his son could be together, in the wilds of northern Canada.

Kerr followed his father into medicine, and in the last 10 years he has hired a permanent research team that expanded studies on deathbed visions to include interviews with patients receiving hospice care at home and with their families, deepening researchers’ understanding of the variety and profundity of these visions.

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Additional production for The Sunday Read was contributed by Isabella Anderson, Anna Diamond, Sarah Diamond, Elena Hecht, Emma Kehlbeck, Tanya Pérez and Krish Seenivasan.

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