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Thematic Treatment in The Empire Strikes Back The musical strains that open Star Wars are as familiar as the prologue, "A long time ago in a galaxy far, far away…." However, after the scrolling text disappears, the music differentiates each movie even before the action commands the viewer’s attention. Indeed, John Williams’s music is intrinsically different for each of the three films. In the first episode of the trilogy, Star Wars: A New Hope, Williams employs a few themes which are usually played in their entirety. The soundtrack of the third and final film, Return of the Jedi, is mostly background music to establish a mood. However, in the second movie of the cycle, the composer is at his best to vary the musical thematic material. In The Empire Strikes Back, John Williams establishes new themes, some of which are among the most popular melodies of the film-cycle. These themes are given incredibly diverse treatments, emphasizing characterization and plot development. The analysis of Williams’s treatment of new and old themes yields an increased understanding of the Star Wars cycle as a whole. Only four themes (including one small motive) from A New Hope carry over into The Empire Strikes Back. The first of these is the main title theme, generally associated with Luke Skywalker. In Empire, this heroic melody also becomes a musical representation of the entire rebellion. However, it is still most definitely Luke’s theme. Since the rebels are primarily seen during the first third of the movie, at Hoth, theirs is a lesser role in the plot.1 Furthermore, when Luke’s theme is applied to the rebellion, it is usually in a faster guise. Interestingly, the theme is also usually in the brass for Luke, and in the strings for the rebellion. While these general trends are not entirely consistent, they definitely reveal a variation of Luke’s theme which occurs only when the rebels are the general center of attention. While this rebellion variation is an important motivic application, the theme is still most definitely Luke’s theme. Empire and Return of the Jedi are replete with references to this main title, and the vast majority of these occurrences are associated with Luke alone. For example, while Luke flies toward Cloud City, his theme is happy and confident, with flourishes in the flute and trumpet. A few moments later, as Luke walks through the mining colony, his theme is heard when he takes a few steps forward, but when he twice stops to look around, the theme stops with him. The theme then seems to represent not only Luke Skywalker himself, but his courage and determination. Earlier in the film, Luke confronts Darth Vader in a dream-like sequence on Dagobah. Interestingly, Vader’s theme (to be discussed later in detail) makes no appearance in this scene. Indeed, no common thematic material appears until after Vader’s mask explodes to reveal Luke’s face within. The horns then invoke Luke’s own theme, gentle yet disturbing. Other examples abound, some of which will be discussed later, to illustrate that, despite the rebellion variation, Luke’s theme undoubtedly remains his own. Another of the themes written for A New Hope is Ben Kenobi’s usually gentle theme. However, in Empire, Ben plays a far less important role than in the first film, and the music changes to reflect that shift of emphasis. Ben’s theme now represents the Force in general, a perfectly logical transition since Ben Kenobi was Luke’s initial impetus to comprehend the Force. We may recall the episode in the Hoth snow-creature’s lair, in which Luke reaches for his lightsaber with his own theme, as wonderful trombone gestures accompany his physical stretches. When Luke employs telekinesis to retrieve the weapon, the Force theme becomes prevalent. Luke’s own theme returns in the trumpets as he cuts himself free and slays the creature. Similarly, on Dagobah, when Yoda twice discusses the nature of the Force, it is that theme which accompanies him. Ben’s theme has clearly shifted from being a representation of one character to a reflection of the Force. The music in the first film features a brief trumpet flourish whenever the rebellion advances or the action shows the rebels’ side of a battle. This "rebellion fanfare" receives extensive treatment in the battle scenes of A New Hope and Return of the Jedi, but only cursorily appears in The Empire Strikes Back, reflecting the more personal nature of the second film. The rebellion is not the focus of attention in Empire, but rather the emphasis becomes the individual plights of the characters. Nevertheless, during the evacuation of Hoth, the rebellion fanfare does occur occasionally. Its most clear appearance is before the first transport has left the planet, immediately after one rebel commands, "Stand by, ion control," a scene that reveals the rebels’ determination and focus. Thereafter the fanfare is second to Luke’s theme in representing the rebels’ valor, as discussed above. In A New Hope, Princess Leia has a beautiful, important theme, which is only heard once in Empire.2 This occurrence is immediately after Han Solo informs the rebel general of his resignation. Han looks toward Leia, and her theme appears in the flute.3 As she follows him into the corridor, a romantic melody appears: Han and Leia’s so-called love theme. Interestingly, the tune occurs just as Leia, trying to convince Han to remain with the rebel fleet, tells him, "We need you." He tries to interpret her declaration amorously, which she negates. Nevertheless, the music either implies or foresees a romantic connection between the two characters. However, it would be wrong to classify this melody solely as their love song. While the melody undeniably harbors a romantic quality, it also represents the two characters themselves. The theme’s first appearance was in the first scene of the film, when Luke and Han communicate in the snowy expanse of Hoth; there is not yet any reference to the romantic tension between smuggler and princess. Furthermore, we hear this music after Luke’s rescue from Cloud City, as he and Leia embrace. A few minutes earlier, Han and Leia’s theme plays—reminiscent of Korngold’s film music at its most sweeping moments—while the heroes race to Boba Fett’s vessel to save Han. Another interesting instance is when Luke watches the Millenium Falcon fly away from the rebel base on Hoth, when the theme definitely refers to both Han and Leia, but not amorously.4 Thus, this melody does not always serve as their "love theme" per se. Nevertheless, the romantic angle of Han and Leia’s theme cannot be negated completely. Indeed, this melody is most prominent when they kiss in the asteroid belt, and later at Cloud City when the princess confesses her love for Han. Later, as the Millenium Falcon drifts away with the Star Destroyer’s garbage, Leia kisses Han on the cheek and implies that she does harbor romantic feelings for him at that particular moment. Their love theme is heard then, just as on Cloud City when she comforts him in their cell. This beautiful melody also plays a major role in Return of the Jedi, in which their relationship is developed further. Han and Leia’s love theme is not the most familiar of the melodies introduced in The Empire Strikes Back. Indeed, Darth Vader’s threatening, rhythmically firm theme is at least as famous as Luke’s heroic title sequence. Although it is often associated with Darth Vader individually, this designation is not completely valid. In Empire, the so-called "Imperial March" is heard almost every time the scene changes to the Imperial fleet. Not until Return of the Jedi, when the Emperor’s theme arrives, is the march tune specifically and consistently associated with Vader alone.5 Indeed, the first time we hear this melody, Vader is not personally at hand. After the scrolling text disappears, the first principle object seen is a Star Destroyer. Four seconds later, the piccolo plays the Imperial March. Indeed, the piccolo sounds again as Luke sees the meteorite hit the surface of Hoth, subtly recalling the Imperial theme heard but a moment prior. The piccolo plays an important role in these first few minutes, though the march itself does not occur again for some time.6 The first time we hear the Imperial March in all its glory is after the longest musically silent period of the film. During Luke’s convalescence, and while Han and Chewbacca scout the Imperial probe droid, there is no music at all. The next strains are the introduction to Vader’s theme. This melody is also prominent the moment we see a stormtrooper inside the rebel base, with Darth Vader promptly at his heels. As mentioned above, the scene consistently changes to the Imperial fleet with Vader’s theme as accompaniment. Upon the revelation that he is Luke’s father, Vader’s theme takes on a somber, unbending texture in a solo horn. At this occasion, it is no longer a monstrous, orchestral fear that frightens the heroes, but an intensely personal terror that emotionally tortures Luke alone; the music reveals this change of emphasis most powerfully.7 Vader’s theme is memorable because it is almost always in the same mood, but those exceptions are quite poignant in their own right. Some other themes are more subtle, but no less important or unique. For example, when we first see Darth Vader on Cloud City, Boba Fett enters the room a moment later, accompanied by a bassoon rumble followed by a descending half-step. This motive occurs four times in The Empire Strikes Back, always in direct association with the bounty hunter. It is first heard, with a longer melody, when Vader consults Boba Fett and a group of fellow mercenaries. While the full melody never recurs, that bassoon rumble is an unmistakable sound. It occurs later when Boba Fett pursues the Millenium Falcon after the Imperial fleet leaves the asteroid belt, and once more when Han’s frozen body is loaded onto the bounty hunter’s vessel. Though it does not return in Jedi, Boba Fett’s motive is a fascinating example of John Williams’s effective use of thematic material. Another less familiar theme is one for the two androids, C-3PO and R2-D2. First heard when they walk through the corridors of the rebel base on Hoth, theirs is a jumpy melody, almost always played in the flute. That first occasion also includes pulsating chords in the horns, creating a particularly machine-like effect. The orchestra again invokes the droid theme when C-3PO bids farewell to his counterpart as the latter is loaded on Luke’s X-Wing. One particularly entertaining musical moment is when R2-D2 falls into the swamp on Dagobah. The music is minimal when Luke calls for the droid, but once R2 appears, the theme returns in a wonderfully playful mood, emphasizing that his apparent disappearance was just a practical joke. The droid theme continues in the forefront of the scene. As the swamp creature follows behind the droid, the melody occurs in the minor mode, and now in the shrill piccolo; the music reveals danger even more effectively than the accompanying sound effects. This scene even including one statement in the tuba, a far cry from the flute, which further underlines the humor. The droids’ theme is particularly memorable and effectively applied. The most striking use of the droid theme occurs during the two Cloud City scenes when Chewbacca attempts to reconstruct C-3PO. The first time, 3PO speaks in non-sentences, blurting out disjointed words or phrases. Similarly, the flute intones three separate elements from the droid theme in correct succession, but doesn’t state the theme coherently. A few scenes later, Chewbacca finally succeeds in making 3PO speak understandably. The droid theme is again prevalent, but it still isn’t quite right. Indeed, the android’s head is on backwards!8 The statements of the droid theme are directly related to C-3PO’s state of body. At two other junctures in The Empire Strikes Back, the flute is used in a precariously, though perhaps coincidentally, droid-like manner. Admiral Piet enters Darth Vader’s chambers and briefly sees the rear of his head, sans black helmet. As the helmet is lowered onto Vader’s head, we hear the first figure of the droid theme, in the flute. This musical gesture even begins at the same pitch as the machinery that lowers the helmet into place. Such a connection seems to foresee Ben Kenobi’s statement in Return of the Jedi that Vader is "more machine now than man." If this were an isolated incident, it could be easily dismissed as orchestrational coincidence. However, let us consider Lando Calrissian’s cyborg assistant. As Lando walks through Cloud City with Chewbacca and Leia, he taps a panel on his wrist, activating the cyborg. At the moment that his eyes open—presumably the moment the computer activates him—the flute intones an upward flourish, which Williams has applied already on various occasions as an anacrusis for the droid theme. Thus, through the use of the that theme, we learn of Vader’s and the cyborg assistant’s dependence on machinery to function.9 Another principle theme of Empire is associated with Yoda. His is a perpetually gentle theme, though it has some mildly playful elements. This new theme presents a quandary for the composer: there are now three important characters, each of whose character is based on the ability to control the Force, and each of whom has a different theme. Furthermore, as discussed above, Ben’s theme has become a general motive for the Force, which only further complicates the issue. Especially during the Dagobah scenes, Williams succeeds wonderfully at differentiating the three themes of Yoda, Luke Skywalker, and Ben Kenobi. There are very few scenes when all three themes are prevalent. Nevertheless, one such sequence is particularly poignant. Luke’s theme accompanies him as he tries to rise the sunken X-Wing from the Dagobah swamp. He fails, and Yoda teaches him about the nature of the Force, at which time the Force theme rises to the surface. Then, as Yoda succeeds in liberating the X-Wing, his theme occurs in an ethereal setting for oboe and horn, with string and flute figures that emphasize the otherworldly aspect of the moment. Another scene in Yoda’s hut employs all three melodies. We hear Ben Kenobi’s theme as Yoda addresses the disembodied knight. Yoda himself takes center stage, and his theme is hinted in the bassoon and clarinet. As the scene nears a close with Luke’s bold declaration, "I’m not afraid", his own melody takes over. Throughout the film, and especially during the Dagobah scenes, each theme—those of Luke, Ben, and Yoda—illustrates the focus of attention in the film.10 Dagobah also includes some very subtle motivic elements, both powerful and revealing. As Luke prepares a meal for himself after having crashed in the swamp, he remarks: "Still, there’s something familiar about this place." The Force theme is quite clear in the background, implying that Luke senses the Force on this planet, and it is this perception that causes the familiarity.11 A few moments later, Yoda beckons the Jedi apprentice to follow him, and we hear the first strains of the master’s theme. Had we heard Yoda’s theme before this time, it would have been quite clear to the audience that Luke was then in the presence of his future trainer. Darth Vader’s theme also makes one wonderfully subtle appearance on Dagobah. Just as Luke prepares to leave the swamp-planet, Ben informs him that the Dark Side of the Force will tempt the hero. Vader’s theme is very faint in the bass clarinet and trombone: a powerful indicator of the source of the temptation. Indeed, Dagobah itself has a unique orchestral treatment, which we first hear in an ascending flute figure on Hoth, when Ben tells a half-conscious Luke that he must visit the Jedi master. The scenes pertaining to Dagobah are a veritable treasure trove of motivic nuance. Cloud City also has a personalized melody, though William’s application thereof is rather limited. As the Millenium Falcon first approaches the city, the orchestra first plays the Cloud City theme, accompanied by wordless choir. One interesting moment with this melody occurs during the escape from the mining colony. Han and Leia’s theme was most common during the attempt to catch Boba Fett before his departure. Once that possibility is proven false, Lando announces to the city that Imperial soldiers have taken over, at which time the horn choir invokes a portion of the Cloud City theme. This theme is quite unique, and it is unfortunate that Williams did not enploy it more often. Thematic treatment certainly does not limit a study of the music of The Empire Strikes Back. There are other elements, mostly orchestrational, that serve to link two or more scenes together, sometimes across the entire film-cycle. In Star Wars, the Ewoks, sandpeople, Jawas, and snow-creature of Hoth are the only apparently sentient, indigenous beings seen in their normal habitat. The Ewoks and Jawas have their own themes, in the third and first movies respectively. In A New Hope, the sandpeople have a uniquely percussive musical moment which is never repeated later in the cycle. However, when we first see the Hoth creature, the orchestration here also emphasizes the percussion. While the music for these two species share no other elements, orchestration is enough to separate them from the other creatures of the cycle. Two types of vehicle, both used on Hoth, also have their own unique music. First, the rebels’ snowspeeders have a choppy figure in the strings, with timpani emphases and trumpet flourishes. This music occurs only twice. As the Rogue group scans the planet for Han and Luke, stranded outside overnight, this motive predominates.12 The snowspeeder motiv13 returns during the battle against the Imperial walkers. Indeed, these walkers are the other musically specific vehicles, identifiable more by instrumentation than melody. As the rebels look across the snow, awaiting a land-based Imperial attack, an unusual piano figure accompanies them. This motive reappears once more as Luke hurriedly evacuates his own crashed snowspeeder. The Imperial walker approaches to the accompaniment of its own motive in piano and xylophone. John Williams’s thematic treatment deals not only with characters, species, esoteric concepts, and locations, but also inanimate objects. The Empire Strikes Back also introduces one other important motive, heard only twice in the entire film-cycle. Nevertheless, the musical connection is so obvious, in context with plot development and emotional drama, as to be one of Williams’s most effective examples of thematic unity. The final segment of Darth Vader’s battle with Luke, on Cloud City, is without music until Luke’s hand is severed. The horns then invoke a sudden, loud chord—all the more effective because of the preceding musical silence14 —followed by quick, rising figure. In Return of the Jedi, Luke severs Vader’s hand during a musically dramatic battle dominated by the Emperor’s theme. As Luke looks at his own mechanical hand, the same horn chord returns, with the rising figure slowed slightly. The similarity of their situations is undeniable, and is not limited to musical unity.15 This hand motive is not only a powerful musical tool, but it emphasizes the plot development that Luke may indeed replace Vader as the Emperor’s assistant. The second film of the Star Wars cycle is truly a masterpiece of musical treatment. Not only does John Williams apply old themes to new situations, but he also creates new themes to accommodate new characters and new aspects of the drama. Subtle references to these melodies, old and new, establish, emphasize, and even reveal plot and characterization. While certain illustrations of motivic treatment might be excused as coincidental, they are no less evidence of Williams’s conceptual unity. Of course, this trend continues in Return of the Jedi, but it is in Empire where Williams truly reveals the extent of his abilities to successfully create and manipulate music to achieve a dramatic objective. Even the last musical input, the rebels’ fanfare, informs the imaginative and optimistic viewer who will win in the end. Notes |