star wars evaluation essay

Star Wars (Episode IV: A New Hope)

"Help me, Obi-Wan Kenobi. You're my only hope."

To see “Star Wars” again after 20 years is to revisit a place in the mind. George Lucas ‘ space epic has colonized our imaginations, and it is hard to stand back and see it simply as a motion picture, because it has so completely become part of our memories. It’s as goofy as a children’s tale, as shallow as an old Saturday afternoon serial, as corny as Kansas in August–and a masterpiece. Those who analyze its philosophy do so, I imagine, with a smile in their minds. May the Force be with them.

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.

• Kenny Baker as R2D2
• Carrie Fisher as Princess Leia
• Alec Guinness as Obi-Wan Kenobi
• Mark Hamill as Luke Skywalker
• Harrison Ford as Han Solo
• James Earl Jones as Vader's Voice
• David Prowse as Darth Vader
• Anthony Daniels as C3PO

Produced by

Directed by.

• George Lucas

Screenplay by

Leave a comment, now playing.

I, The Executioner

The Apprentice

Daddy’s Head

Little Bites

House of Spoils

Memoir of a Snail

V/H/S/Beyond

Apartment 7A

Latest articles.

Fantastic Fest 2024: The Fall, The Birthday, Wake in Fright

Justice for Alex Forrest

Fantastic Fest 2024: Table of Contents

A Communication With Light: Azazel Jacobs on “His Three Daughters”

The best movie reviews, in your inbox.

Star Wars Film Analysis

How it works

The Star Wars saga, made by George Lucas, is a big deal in movie history. It’s not just famous for its films but has also changed pop culture, tech, and storytelling. Over the last forty years, it’s entertained millions and given a lot for folks to study. Let’s talk about how Star Wars has affected culture, tech, and storytelling, with some good old research and smart insights to back it up.

• 1 Tech Stuff and Movie Magic
• 2 Stories and Myths
• 3 A Worldwide Cultural Hit
• 4 Wrapping Up
• 5 References

Tech Stuff and Movie Magic

One big thing Star Wars did was change how movies use special effects and tech.

The first movie, “Star Wars: Episode IV – A New Hope” from 1977, brought in new ways to do visual and sound effects. Lucas started a special effects company called Industrial Light & Magic (ILM), which changed the game with computerized motion control photography. This tech made space battles look cooler and more real (Kaminski, 2008).

Also, the sound was a game-changer. Ben Burtt, the sound guy, made iconic sounds like lightsabers humming and R2-D2’s beeps. These weren’t just cool noises but made the movie feel alive. Plus, Dolby Stereo sound in theaters gave people an amazing sound experience, setting a new bar for movie sound (Kerins, 2010).

When the prequels came out (1999-2005), the tech got even better. “Star Wars: Episode I – The Phantom Menace” was one of the first movies to mix digital characters with real actors. Jar Jar Binks, for instance, was all digital. “Episode II – Attack of the Clones” used digital cameras a lot, which changed how many movies were made after that (Prince, 2011).

Stories and Myths

What makes Star Wars so compelling is its story, which is full of myth and classic storytelling. Lucas borrowed a lot from Joseph Campbell’s book “The Hero with a Thousand Faces.” This book talks about the hero’s journey, a story arc you see with Luke Skywalker. He goes from being a farm boy to a Jedi Knight, which is like the classic hero’s quest for self-discovery (Campbell, 1949).

The series also digs into big themes like good vs. evil, power’s dark side, and redemption. Anakin Skywalker’s turn into Darth Vader and his eventual redemption is a big part of that. These stories are deep with psychological and philosophical ideas, making them great for academic study (Brooker, 2012).

And let’s not forget how the movies reflect their times. The first trilogy can be seen as a comment on the 1970s political scene, with its distrust in government and a wish for a fairer society. The prequels talk about the rise of authoritarianism and the fall of democracy, which hits home with today’s global politics (Gupta, 2009).

A Worldwide Cultural Hit

Star Wars isn’t just a bunch of movies; it’s a worldwide hit. It’s changed pop culture so much that phrases like “May the Force be with you” are now everyday sayings. Characters like Darth Vader and Yoda are known everywhere.

Money-wise, Star Wars has done amazingly well. Up to 2021, the movies have made over $10 billion, making it one of the top-grossing movie franchises ever (Box Office Mojo, 2021). Plus, the toys, books, and video games have made even more money.

Academically, there’s a ton of research on Star Wars. Universities offer courses on it, like the University of Glasgow’s “Star Wars and Philosophy” class, which looks at the ethical and philosophical questions the series raises (University of Glasgow, 2021). This shows that Star Wars is more than just movies; it’s a cultural artifact worth studying seriously.

Wrapping Up

To sum up, the Star Wars saga is a huge phenomenon that has changed both movies and pop culture. It’s pushed the limits of movie-making tech and told stories rooted in classic myths that still connect with people today. Its cultural impact and financial success show that it’s still relevant. As we keep exploring the galaxy far, far away, it’s clear that the Force is still strong with this series.

• Box Office Mojo. (2021). Star Wars Franchise Box Office History. Retrieved from https://www.boxofficemojo.com/franchise/fr284918573/
• Brooker, W. (2012). Using the Force: Creativity, Community, and Star Wars Fans . Continuum International Publishing Group.
• Campbell, J. (1949). The Hero with a Thousand Faces . Princeton University Press.
• Gupta, S. (2009). Rebel Friends and New Alliances: Star Wars in the Digital Age. European Journal of American Culture , 28(3), 187-201.
• Kaminski, M. (2008). The Secret History of Star Wars . Legacy Books Press.
• Kerins, M. (2010). Beyond Dolby (Stereo): Cinema in the Digital Sound Age . Indiana University Press.
• Prince, S. (2011). Digital Visual Effects in Cinema: The Seduction of Reality . Rutgers University Press.
• University of Glasgow. (2021). Star Wars and Philosophy Course Description. Retrieved from https://www.gla.ac.uk/courses/undergraduate/philosophy/starwars/

Cite this page

Star Wars Film Analysis. (2024, Sep 17). Retrieved from https://papersowl.com/examples/star-wars-film-analysis/

"Star Wars Film Analysis." PapersOwl.com , 17 Sep 2024, https://papersowl.com/examples/star-wars-film-analysis/

PapersOwl.com. (2024). Star Wars Film Analysis . [Online]. Available at: https://papersowl.com/examples/star-wars-film-analysis/ [Accessed: 26 Sep. 2024]

"Star Wars Film Analysis." PapersOwl.com, Sep 17, 2024. Accessed September 26, 2024. https://papersowl.com/examples/star-wars-film-analysis/

"Star Wars Film Analysis," PapersOwl.com , 17-Sep-2024. [Online]. Available: https://papersowl.com/examples/star-wars-film-analysis/. [Accessed: 26-Sep-2024]

PapersOwl.com. (2024). Star Wars Film Analysis . [Online]. Available at: https://papersowl.com/examples/star-wars-film-analysis/ [Accessed: 26-Sep-2024]

Don't let plagiarism ruin your grade

Hire a writer to get a unique paper crafted to your needs.

Our writers will help you fix any mistakes and get an A+!

Please check your inbox.

You can order an original essay written according to your instructions.

Trusted by over 1 million students worldwide

1. Tell Us Your Requirements

2. Pick your perfect writer

3. Get Your Paper and Pay

Hi! I'm Amy, your personal assistant!

Don't know where to start? Give me your paper requirements and I connect you to an academic expert.

short deadlines

100% Plagiarism-Free

Certified writers

• Search Please fill out this field.
• Newsletters
• Sweepstakes

Here's what critics said about every Star Wars movie when it came out

When a movie called Star Wars hit theaters in 1977, critical reaction to George Lucas ’ bizarre amalgamation of Flash Gordon , Akira Kurosawa, and myriad other influences was hardly unanimous. While praise was widespread, particularly for the film’s innovative designs and special effects, several reviewers shook their proverbial heads at what they deemed a childish fantasy preoccupied with nostalgia and weightless amusement. “We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things,” Joy Gould Boyum wrote in The Wall Street Journal .

Of course, the rest is history. Star Wars triumphed over its naysayers to become the highest-grossing film ever (at the time), and launched a now-ubiquitous franchise — though the entries in that franchise have been, shall we say, uneven. As The Rise of Skywalker (Dec. 20) approaches to close the Skywalker saga (for real this time?), we thought we’d look back at the critical reaction to every Star Wars film when it was first released, from The Movie Formerly Known as Simply Star Wars to the latest Disney-produced entries. Read on for a roundup of each installment’s reviews.

A New Hope (1977)

Rotten Tomatoes score: 93%

Roger Ebert, The Chicago Sun-Times : “The hardware is from Flash Gordon out of 2001: A Space Odyssey , the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. Star Wars taps the pulp fantasies buried in our memories, and because it’s done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we’d abandoned when we read our last copy of Amazing Stories .”

Pauline Kael, The New Yorker : “ Star Wars is like getting a box of Cracker Jack which is all prizes. This is the writer-director George Lucas’s own film, subject to no business interference, yet it’s a film that’s totally uninterested in anything that doesn’t connect with the mass audience. There’s no breather in the picture, no lyricism; the only attempt at beauty is in the double sunset. It’s enjoyable on its own terms, but it’s exhausting, too: like taking a pack of kids to the circus…. But it’s probably the absence of wonder that accounts for the film’s special, huge success. The excitement of those who call it the film of the year goes way past nostalgia to the feeling that now is the time to return to childhood.”

Joy Gould Boyum, The Wall Street Journal : “There’s something depressing about seeing all these impressive cinematic gifts and all this extraordinary technological skill lavished on such puerile materials. Perhaps more important is what this seems to accomplish: the canonization of comic book culture which in turn becomes the triumph of the standardized, the simplistic, mass-produced commercial artifacts of our time. It’s the triumph of camp — that sentiment which takes delight in the awful simply because it’s awful. We enjoyed such stuff as children, but one would think there would come a time when we might put away childish things.”

The Empire Strikes Back (1980)

Rotten Tomatoes score: 95%

Judith Martin, The Washington Post : “To call The Empire Strikes Back a good junk movie is no insult: There is enough bad junk around…. The Empire Strikes Back has no plot structure, no character studies let alone character development, no emotional or philosophical point to make. It has no original vision of the future, which is depicted as a pastiche of other junk-culture formulae, such as the western, the costume epic and the World War II movie. Its specialty is ‘special effects’ or visual tricks, some of which are playful, imaginative and impressive, but others of which have become space-movie clichés. But the total effect is fast and attractive and occasionally amusing. Like a good hot dog, that’s something of an achievement in a field where unpalatable junk is the rule.”

Charles Champlin, The Los Angeles Times : “ The Empire Strikes Back seems to me a hugely accomplished and exciting follow-on to Star Wars … Sequels have costs and gains. A certain feeling of wondrous discovery is gone forever. After all, we’ve been to the galaxy before. On the other hand, the action can thrust forward, freed of a lot of expository needs, and with time to get a bit more deeply into characters and relationships, to embroider themes, to sketch more of that grander design and to invigorate the proceedings with new creatures and characters. The Empire Strikes Back suggests strongly that the Lucas imagination has hardly begun to be tested.”

Return of the Jedi (1983)

Rotten Tomatoes score: 81%

Vincent Canby, The New York Times : “ Return of the Jedi , written by Lawrence Kasdan and Lucas and directed by Richard Marquand, doesn’t really end the trilogy as much as it brings it to a dead stop. The film, which opens today at Loews Astor Plaza and other theaters, is by far the dimmest adventure of the lot. All of the members of the old Star Wars gang are back doing what they’ve done before, but this time with a certain evident boredom…. The film’s battle scenes might have been impressive but become tiresome because it’s never certain who is zapping whom with those laser beams and neutron missiles. The narrative line is virtually nonexistent, and the running time, though only slightly more than two hours, seems longer than that of Parsifal .”

Gerald Clarke, Time : “ Return of the Jedi completes the trilogy. It is not as exciting as Star Wars itself, which had the advantage of novelty. But it is better and more satisfying than The Empire Strikes Back , which suffered from a hectic, muddled pace, together with the classic problems of being the second act in a three-act play…. Despite its shortcomings, which are relatively minor in context, the film succeeds, passing the one test of all enduring fantasy: it casts a spell and envelops its audience in a magic all its own.”

The Phantom Menace (1999)

Rotten Tomatoes score: 53%

Owen Gleiberman, Entertainment Weekly : “ The Phantom Menace never stops throwing things at you. The cities and space stations have an awesome, plunging vastness, a sense of intricately sinister technology stretching out above and below you. In a strange way, though, Lucas doesn’t trust the power of those images; he keeps cutting away from them. Spectacular yet remote, The Phantom Menace fails to recapture the elemental magic of Star Wars , and that, ironically, is because it represents the coarse culmination of the original film’s adrenaline aesthetic.”

Roger Ebert, The Chicago Sun-Times : “ Star Wars: Episode I — The Phantom Menace , to cite its full title, is an astonishing achievement in imaginative filmmaking. If some of the characters are less than compelling, perhaps that’s inevitable: This is the first story in the chronology and has to set up characters who (we already know) will become more interesting with the passage of time…. Unlike many movies, these are made to be looked at more than listened to, and George Lucas and his collaborators have filled The Phantom Menace with wonderful visuals.”

Kenneth Turan, The Los Angeles Times : “Even without the pre-release hoopla, The Phantom Menace would be a considerable letdown, as Lucas and company either misjudged or did not care to re-create key aspects of what made Star Wars a phenomenon. While the new film is certainly serviceable, it’s noticeably lacking in warmth and humor, and though its visual strengths are real and considerable, from a dramatic point of view it’s ponderous and plodding.”

Attack of the Clones (2002)

Rotten Tomatoes score: 66%

Lisa Schwarzbaum, Entertainment Weekly : “ Attack of the Clones may be ‘better’ than The Phantom Menace — i.e., less jar-jarring and more securely fitted to the heroic scale of the venerable saga. Yet this installment, centered on the gathering moral darkness that will one day turn Anakin Skywalker (Hayden Christensen) into Darth Vader, proceeds with a chill, conservative grimness of purpose. The showpiece chases and futuristic aliens of this fifth production are as ornate and state-of-the-art as any tech-head could want, and we are attentive. But the sensation of being entertained is as faint as light from a galaxy far, far away.”

Scott Tobias, The A.V. Club : “In Attack Of The Clones , a turgid and uninspired entry in the diminishing Star Wars pantheon, virtually every shot has been designed to introduce jaws to the pavement, with dense cityscapes that stretch to infinity in all directions and breathtaking panoramas that put nature’s best to shame. But without the mythical power or giddy adventurousness of the first two Star Wars movies, the impact is strangely numbing, like watching a two-and-a-half-hour ILM show reel in search of moneyed investors. Though a marginal improvement over 1999’s The Phantom Menace — if only because it pushes infamous clearance-bin sidekick Jar-Jar Binks to the margins — Attack Of The Clones runs into a similar set of problems, mainly caused by characters opening their mouths to speak.”

Peter Bradshaw, The Guardian : “Where this movie comes alive is in its final act, the closing hour or so of this slightly stately two-hour-23-minute film. And it comes to life when the forces of Good and Evil unveil themselves, unambiguously, for a big showdown…. This movie is an improvement on the execrable Phantom Menace : never less than a watchable, entertaining spectacle.”

Revenge of the Sith (2005)

Rotten Tomatoes score: 80%

Owen Gleiberman, Entertainment Weekly : “Anakin’s gathering storm seems hokey from the start, a function of the fact that it’s simply time for him to begin getting mad. The trouble with Revenge of the Sith is that we’re never really shown what we’re told about endlessly: Anakin succumbing to the temptations of power. He sulks a lot, with a bead of resentment in his eye, but his actions never take that crucial turn toward the destructive narcissism of Darth Vader. The audience has to work to make sense of his journey, but what we’re really doing is putting together the script that George Lucas didn’t, quite.”

A.O. Scott, The New York Times : “This is by far the best film in the more recent trilogy, and also the best of the four episodes Mr. Lucas has directed. That’s right (and my inner 11-year-old shudders as I type this): it’s better than Star Wars . Revenge of the Sith … ranks with The Empire Strikes Back as the richest and most challenging movie in the cycle. It comes closer than any of the other episodes to realizing Mr. Lucas’s frequently reiterated dream of bringing the combination of vigorous spectacle and mythic resonance he found in the films of Akira Kurosawa into American commercial cinema.”

David Edelstein, Slate : “It must be said that there’s a touch of the term paper in how his characters’ fates play out, and the actors still wear the glazed, helpless expression that comes from declaiming lines with no subtext in the direction of Creatures To Be Animated Later. But it’s worth doffing our beanies to a man who wouldn’t settle for Flash Gordon — who was driven to turn a Saturday-matinee space serial into something that needed the combined forces of Milton and Shakespeare to do it full justice. In the end, there’s a breadth, a fullness to the Star Wars saga. It’s so much more than the sum of its clunks.”

The Force Awakens (2015)

Chris Nashawaty, Entertainment Weekly : “J.J. Abrams’ The Force Awakens delivers exactly what you want it to: rollicking adventure wrapped in epic mythology, a perfect amount of fan service that fires your geekiest synapses, and a just-right cliffhanger ending that paves the way for future installments. In a way, Abrams has accomplished exactly what he did with 2009’s Star Trek . He took a worshiped pop-culture franchise with a rabid legion of disciples, treated it with respect, and made it matter again.”

Lindsey Bahr, Associated Press : “The action is nearly non-stop, as is the humor, which kicks into gear when Han Solo (Harrison Ford) finally shows up. Ford is in his element — delightful, energetic, funny, brash and fully Han, bantering with Chewie and everyone with the same verve he showed nearly 40 years ago. If only the same showcase was given to Carrie Fisher, who is woefully, inexcusably underused as Leia. As for the new characters, Ridley’s Rey is a dream. She is feisty, endearingly awe-filled, capable and magnetic. She is the new anchor. She is our Luke, and she’s much cooler than he ever was.”

Justin Chang, Variety : “Risking heresy, it’s worth noting that Abrams actually did smarter, more inventive work on his 2009 reboot of Star Trek , no doubt in part because he was working with a less heavily guarded enterprise. Star Wars , at once a cultural juggernaut and a sacrosanct institution, resists any attempt to reimagine its landscape too aggressively or imaginatively; that may be to the detriment of this diverting first effort, but Abrams has more than stoked our anticipation for what his successors may have up their sleeves.”

Rogue One (2016)

Rotten Tomatoes score: 84%

Chris Nashawaty, Entertainment Weekly : “ Rogue One is a Star Wars film, yes. And it feels epic. But what it really is at its core (underneath all of the gee-whiz special f/x) is a heist flick. This motley band of thieves and scoundrels has to nick some blueprints. It’s Ocean’s 11 in space. And while the movie sags a bit in the middle (where it gets weighed down with exposition), the third-act heist is white-knuckle stuff. It’s when the movie really goes into hyperdrive. There’s a lot to take in in Rogue One . So many new uniforms, and planets, and incidental species crammed into the back of the frame, I’m looking forward to seeing it a second and third time.”

Peter Travers, Rolling Stone : “As always, a Star Wars movie lives or dies depending on how much we give a damn or don’t about the characters. Luckily, there are no cutesy Ewoks to soften Jyn’s journey into the heart of Imperial darkness. It’s no lie that some of the interactions get lost under the weight of front-loaded exposition. But with the smashing [Felicity] Jones giving us a female warrior to rank with the great ones and a cast that knows how to keep it real even in a sci-fi fantasy, Rogue One proves itself a Star Wars story worth telling. It’s hard not to get choked up with that blind monk when he chants, ‘I’m with the Force and the Force is with me.’ Who’d want it any other way?”

Stephanie Zacharek, Time : “There’s nothing in Rogue One that would damage or scare most little children, as long as they’re prepared for an on-screen onslaught of the Pantone colors known as Oatmeal and Soot…. Rogue One: A Star Wars Story will not change lives for the worse or for the better, and it will — or ought to — offend no one. Welcome to the Republic of the Just OK.”

The Last Jedi (2017)

Rotten Tomatoes score: 91%

Chris Nashawaty, Entertainment Weekly : “There are a handful of truly spectacular moments in The Last Jedi — some as visually sumptuous and others as emotionally poignant and raw as anything in the intergalactic ring cycle so far: The sight of Rebel X-wing fighters emerging from light speed and skidding to a halt; a kamikaze crash rendered in giddy, gasp-inducing super slo-motion; a vertiginous, ground-scraping dogfight on a salt-mining planet that kicks up plumes of velvet-cake red dust…. That said, I’d stop short of calling director Rian Johnson’s undeniably impressive initiation into the Star Wars fold the masterpiece that some desperately want it to be. The film simply drags too much in the middle. Somewhere in the film’s 152-minute running time is an amazing 90-minute movie.”

Ira Madison III, The Daily Beast : “Not since George Lucas’ original trilogy has a Star Wars film felt like a dime store paperback, loaded with pulp and space operatics. Perhaps it’s because A New Hope had no idea it was meant to set off a trilogy, let alone decades of story and enduring fandom, but the first three films still feel scrappy and at times messy in their quest to simply entertain audiences with characters they fell in love with in 1977. The Force Awakens sought to replicate that, to diminishing returns, but The Last Jedi harkens back to what made Star Wars so important in the first place — it’s fun, it’s kind of all over the place, but it’s dripping with emotion and pathos and, most importantly, it tells a hell of a story.”

Matt Zoller Seitz, RogerEbert.com : “ Jedi does a better job than most sequels of giving the audience both what it wants and what it didn’t know it wanted…. The movie works equally well as an earnest adventure full of passionate heroes and villains and a meditation on sequels and franchise properties. Like The Force Awakens , only more so, this one is preoccupied with questions of legacy, legitimacy and succession, and includes multiple debates over whether one should replicate or reject the stories and symbols of the past. Among its many valuable lessons is that objects have no worth save for the feelings we invest in them, and that no individual is greater than a noble idea.”

Solo (2018)

Rotten Tomatoes score: 70%

Chris Nashawaty, Entertainment Weekly : “What you’re really left with, apart from a yearning for the young Ford at his most cavalier, is a slightly fuller and more rounded understanding of who Han Solo is – where he came from, what makes him tick, and how he’d much prefer to shower alone than with a Wookiee. In other words, it’s pure fan service. And if that’s what you’re after, then you’ll be more than satisfied. If, on the other hand, you’re looking for the sort of jaw-dropping visual grandeur and epic poetry of The Last Jedi (not to mention the original trilogy), then you’ll probably be a little nonplussed. Solo feels like a placeholder, a wafer-thin palate cleanser before the next big course. It’s the very definition of ‘solid’ and ‘competent.’ Nothing more, nothing less. Trust me.”

Kate Erbland, IndieWire : “It’s not as dark as the franchise’s other standalone film, the satisfying and sad Rogue One , and even without lightsaber battles or Jedi or anyone aligned with the formal Rebellion, it still captures a humor and pace Star Wars audiences expect. For anyone wondering what former directors Phil Lord and Chris Miller’s vision might have looked like, there are scattered moments — an exaggerated facial expression here, a slightly goofy action sequence weighed down with a dramatic score there — that hint at the more comedic film they were reportedly making. It doesn’t work in such small amounts, and juxtaposed against the more straightforward charms of Howard’s film, it becomes clear just how off-kilter such a feature would be.”

Alonso Duralde, The Wrap : “ Solo is less a movie than it’s that page in Highlights Magazine that makes you feel good for finding the chair and the bicycle in the hidden picture. As an intergalactic adventure, it’s mostly adequate, with some very successful elements, but if you stripped the Star Wars names and places and put it into the world as a free-standing sci-fi-action movie, it’s doubtful that it would spawn much excitement, let alone sequels.”

Related content:

• Here’s how every Star Wars movie did at the box office
• Watch Mark Hamill react to his 1976 Star Wars audition
• Star Wars rewatch: Return of the Jedi is a toy chest in search of a film

Related Articles

To install StudyMoose App tap and then “Add to Home Screen”

Star Wars - Free Essay Examples and Topic Ideas

Star Wars is an epic space-opera franchise that follows the adventures of a diverse group of characters battling for control of the galaxy. Set in a distant universe, the story revolves around the struggle between the Jedi and the Sith, whose endless battle for power defines the fate of the galaxy. Featuring advanced technology, fantastical creatures, and gripping plotlines, the franchise has captivated audiences for decades with its iconic characters like Luke Skywalker, Darth Vader, Princess Leia, and Han Solo. With its blend of action, adventure, and drama, Star Wars has become a cultural phenomenon that continues to inspire fans around the world.

• 📘 Free essay examples for your ideas about Star Wars
• 🏆 Best Essay Topics on Star Wars
• ⚡ Simple & Star Wars Easy Topics
• 🎓 Good Research Topics about Star Wars
• ❓ Questions and Answers

Essay examples

Essay topic.

Save to my list

Remove from my list

• How does Spielberg use a variety of cinematic techniques in “Jaws” to engage the audience?
• The Genesis of Star Wars
• Three-Act Structure Storytelling in Cinema
• An Analysis of Identity in Half-life and Star Wars: The Force Awakens
• Star Wars: a New Hope Character Analysis
• Favorite Genre of movies
• Director Explains that Ending The Jedi Wasn’t an Option
• Star Wars: the Force Awakens Review
• The Issues of The Trash Compactor in The Movie Series Star Wars
• Blade Runner has been called a “Super Genre” film
• The Stages of the Hero’s Journey
• Conflict of Light Vs Dark in Star Wars
• Star Wars between Misogyny and Radical Feminism
• Difference between diegetic and non-diegetic sound
• Thor The Marvel’s Hero and Archetypal Breadwinner
• Star Wars: a New Peace
• Business Strategy of The Lego Group
• Failure of Star Wars the Last Jedi Franchise
• May the Force be With You, a Movie Review of Star Wars Episode One
• The Movie “Lone Star”
• Become a child star
• Essay Malgorzata Muserovich – star
• What a Star – What a Jerk?
• Become a Child Star? It Is Imperfect!
• Star Apple (Chrysophyllum cainito) as an Antiseptic Mouthwash
• Top Star Bakery Case Analysis

FAQ about Star Wars

👋 Hi! I’m your smart assistant Amy!

Don’t know where to start? Type your requirements and I’ll connect you to an academic expert within 3 minutes.

The following analysis reveals a comprehensive look at the Storyform for Star Wars . Unlike most of the analysis found here—which simply lists the unique individual story appreciations—this in-depth study details the actual encoding for each structural item. This also means it has been incorporated into the Dramatica Story Expert application itself as an easily referenced contextual example.

Story Dynamics

8 of the 12 essential questions

After years of following other people’s advice, Luke finally decides to ignore his superior’s commands to use the targeting computer and does it the way he (and Obi Wan) thinks is best.

Luke must stop testing his readiness and listening to others’ advice so that he may trust in himself.

Luke is frequently acting first, thinking later.  He chases after R2D2 into dangerous parts of the Tatooine desert and gets captured by the Sand People; he rushes to rescue Princess Leia without a plan of escape; he blasts the shield door closed and strands Leia and himself on a ledge without an escape route; etc.

Luke is extremely goal (and results) oriented.

It is the Empire’s creation of the Death Star that forces the Rebellion to confront the Empire directly; it is the Empire’s boarding of the Councilor’s ship that forces Leia to send the plans with R2D2 and C3P0; it is R2D2’s run into the desert with the vital holographic message that joins Luke and Obi Wan and convinces Obi Wan to end his days as a hermit; it is the Stormtroopers barbecuing of Uncle Owen and Aunt Beru that sways Luke’s decision to join forces with Obi Wan; it is the presence of the Stormtroopers in the Cantina that influences Han to take Obi Wan’s group to the Alderaan system; etc.

There are only so many places that the Rebel forces can be hiding.  It does not matter how long it takes the Empire to find the Rebel base, but once they do the showdown must occur.

The Death Star is destroyed by the Rebellion which allows the Rebellion to find another safe haven from the Empire (until the sequels).

Luke becomes a hero.

Overall Story Throughline

""Destroying the Death Star""

Star Wars is about a war between the Empire and the Rebellion.  There is not any set place where this needs to take place, but is an exploration of the feints, attacks, and battles that occur between the two forces.

The Empire is building the Death Star and searching for the location of the Rebels; the Rebels are attempting to keep their location secret and are trying to transport the plans of the Death Star to their home base; etc.

The entire war between the Rebellion and the Empire is a match between skills and experience.  The Empire has a great deal of experience in quashing upstart groups, but its skills at doing so are rusty.  The Rebellion, which has far less experience, is made up of great numbers of raw talent like Luke.  This is counterpointed by the conflict between Obi Wan Kenobi and Darth Vader.

Experience marks the true distinction between who can take care of themselves and who can’t—as when Han laughs at the idea of an inexperienced pilot like Luke buying his own spaceship to fly to Alderaan.  Experience is very advantageous in this story.

Although skills are important and no one can get by without them in this galaxy, there is no substitute for experience.  When skills become tempered by experience, either in tests by fire or in experience with the mystical Force, then those skills become even more effective.  A faith in Skills, for example the Empire’s faith in their own skill at designing the Death Star, will always be undermined if it comes into conflict with those who put their faith in experience.

The Empire tests its growing powers by attacking Senator Organa’s ship and abducting her after they suspect she is transporting stolen data about the Empire’s secret new planet-killing weapon. This causes trouble for the Rebellion, since Leia is an important ally and is transporting the stolen data to the Rebels. This causes trouble for the Empire because it forces the Empire to go public with its plans of domination earlier than expected. It is arguable that the Empire’s intent was to locate the rebel base and use their base as the test for their new weapon and to announce to the rest of the universe that they are taking over. All troubles seem to grow from that, including the need to destroy Alderaan while attempting to blackmail information from Senator Organa, completely destroying the secrecy of their new weapon. Rather than trusting in the design and efficiency of the Death Star, the Empire determines it must have a test run on Alderaan—this clues Princess Leia, Obi Wan and subsequently the Rebellion, as to the terrifying nature of what they are facing.  This also allows the Rebellion forces to prepare for the worst which is the Empire’s undoing.  The Rebellion, on the other hand, does not fully trust their information about the Empire’s secret weapon and tests its accuracy by waiting until they actually have the plans in their hands.  Had they trusted their initial reports they could have moved the base and remained out of the Empire’s reach.

The Empire finally trusts in the accuracy of the information about the location of the Rebel base and the power of the Death Star, and now that the Rebel base is within reach….  Meanwhile, the Rebel forces must trust in the accuracy of the Death Star plans, the skills of their warriors, and of course “the Force.”

What caused the emergency pod to eject from the Councilor’s ship?  What caused R2D2 to run away?  Who caused the death of the Jawas?  What caused the fight at the Cantina?  What caused the destruction of the Jedi Knights?  What was the source of the disturbance in the Force?  Where is the source of the tractor beam that is holding them captive on the Death Star?  Where is the power source for the Imperial trash compactor? Etc.

The efforts to find and destroy the robots and all that have had contact with them; making an example out of Alderaan by obliterating it; escaping after the tractor beam is cutoff; making the escape from the Death Star appear to be legit (but the Empire is tracking them); the effects of drugs and torture on the Princess to find the location of the Rebel base; the firepower of the Death Star as a deterrent; etc.

When the Gran Mof Tarkin understands that Princess Leia has the information as to the whereabouts of the Rebel base but cannot be tortured or tricked into revealing its location, he allows her to escape so that she can be followed; studying the plans of the Death Star reveals one potential Achilles’ heel which the Rebellion uses to guide its small attack force; etc.

Tarkin gives Leia time to think over his offer, which stalls slows down Takin’s efforts for a short time.

The Empire learns how to find the location of the Rebel base—intimidation, torture, and destruction of Alderaan do not get them any closer, whereas the appearance of a lack of skilled fighters (the TIE fighter attack) gets them what they want; the training of a Jedi Knight; etc.

Additional Overall Story Information →

Rebels have stolen the plans of The Empire’s new planet killing weapon, the Death Star.  The Empire will stop at nothing to recover the stolen plans, find the rebel base, and destroy it.

An evil Empire has won control of the galaxy, tightening its tyrannical grip until a popular rebellion is born.  Leaders in this rebellion live according to the old philosophy which used to be championed by the Jedi knights.  Now the Jedi are practically extinct and the rebellion is in dire straits.  The rebellion’s brightest ray of hope as Star Wars begins is that rebel agents have just stolen the plans to the Empire’s new battle station the Death Star.  The war has had an effect on both sides already as the story begins:  both the Empire and the Rebellion are feeling tested in the sense that their recent failures make them unsure of themselves.  This war is where the Objective Story problem comes from.

Main Character Throughline

Luke — Wannabe Jedi

Luke is a whiny farm boy who has tremendous amounts of unrealized potential because his father was a Jedi Knight.

Luke is constantly concerned with how things are going—“At this rate I’ll never get off this rock!”  He is impatient, never satisfied with how things are progressing.  Once he gets off of Tatooine, he then is concerned with how long it will take for him to become a Jedi Knight—the progress of his training.  When Obi Wan gets sliced by Darth Vader, he is bummed because his lessons are over (and, he cares about Ben/Obi Wan too).  When they get to the Rebel base, he is concerned about how preparations are going and eventually the Rebels’ progress in its attack on the Death Star.

Balancing fact and fantasy is a constant issue with Luke.  According to his Uncle Owen, Luke’s father was a freighter pilot—but Obi-Wan says his father was a Jedi Knight.  Uncle Owen says the Ben Kenobi is a crazy old man and that Obi-Wan Kenobi never existed—but Ben “Ob-Wan” did exist.  Obi-Wan purports the power of the Force, while Han shoots that down as a bunch of mumbo jumbo, etc.

The counterpoint to all of Luke’s interest in fantasy is the fact of the matter about which he fantasizes.  The facts of working with the Rebellion are boring, according the C3PO; the facts of life on the road to adventure always expose the limitations of Luke’s fantasies (e.g. the surprisingly high price for hiring Han Solo, the unexpected complications of flying through hyper-space, the fact that the Force lets you fight even without your eyesight, etc.).  There are also facts which support Luke’s interest in his fantasies, such as the fact that his father was a Jedi Knight, like Obi Wan.  Understanding the variety of these facts helps Luke become more what he wants to be.  Fact is advantageous for Luke.

Balancing fact and fantasy is a constant issue with Luke.  According to his Uncle Owen, Luke’s father was a freighter pilot—but Obi Wan says his father was a Jedi Knight.  Uncle Owen says that Ben Kenobi is a crazy old man and that Obi Wan Kenobi never existed—but Ben/Obi Wan does/did exist.  Obi Wan purports the power of the Force, while Han shoots that down as a bunch of mumbo jumbo, etc.  Fact and Fantasy fall into a nearly equal comparative value for Luke.

Luke is constantly driven to test his skills—as a wannabe Jedi, as a daring doer, as a marksman, and eventually as a pilot.  By constantly testing himself, he gets into situations that he would have avoided if he had confidence (or trust) in himself.  For example, he knew better than to go alone into the Sand people’s territory; the scuffle he created at the bar could easily have been avoided; the messy breakout of the Princess was partially motivated by his testing his limits; etc.

Luke must learn to “trust the Force,” or more accurately, trust in himself and his faith in the Force.  When he trusts his skills, it generally gets him out of the scrapes that his testing gets him into.

No matter where Luke is, he thinks his problem is that it will never end.  While on Tatooine, he thinks he’ll never be freed from working on the farm and he’ll be stuck on Tatooine forever.  Once he begins his Jedi training, he thinks that the training will never end and he’ll never be a Jedi Knight; at the Rebel base, he thinks that Han will forever be a self-interested, self serving mercenary only interested in the safety of his own hide; etc.

Luke believes that the solution to his problems is to bring an end to things.  He’ll only stay on for another season at the farm; he’ll only help Obi Wan as far as the space port; he’ll only train to be Jedi until he can reach and join the Rebellion; etc.

There is a single fact about Luke that makes him most suited to achieve the goal—he is a natural Jedi Knight. His father was a Jedi Knight and it appears to be something that can be inherited—like eye color. It is his natural proclivity with the Force that keeps him safe from Darth and the Imperial TIE fighters long enough to blow up the Death Star.

Not only is it Luke’s sense of low self-worth that undermines his use of his natural skills, but other people’s evaluation of his lack of worth does so as well.  He physical appearance as a wimpy, whiny, backwater farm boy does nothing to enhance his apparent worth.  Only when his worth is properly evaluated is he able to get past it and employ his Jedi talents.

Luke looks to his present situation to determine how things are going.  Is he closer or further from leaving Tatooine?  Learning to be a Jedi?  Joining the Rebellion?  Destroying the Death Star?

Additional Main Character Information →

A whiny farm boy, athletic, somewhat attractive, who dreams of excitement and glory.  Now, if only he can get out of his familial responsibilities and join the Rebellion…

Luke Skywalker’s backstory explains why he never developed much trust and instead constantly tests himself and everything around him.  Luke is a young man who was separated from his parents as a baby and raised by his aunt and uncle.  His father was a famous Jedi knight who died mysteriously.  Luke’s aunt and uncle kept the circumstances of his father’s death a secret from Luke, hoping to raise him in a way that would protect him from a similar fate.  His boring desert-farm life on Tatooine, however, caused Luke to grow up dreaming of the exciting wars raging around the galaxy.  Luke’s foster parents vehemently discouraged this interest.  With the secrecy around Luke’s warrior inheritance and the scolding he received for his natural interests, Luke became a person afraid to trust his own inclinations.  Thus, when Star Wars begins, Luke Skywalker is a farm boy afraid to do anything without other people’s permission—even though he is quite capable of taking care of himself.

Influence Character Throughline

Obi-Wan — Jedi Master

Obi Wan lives in the world of the Force.  His attitude about the Force’s power and impact, the existence of the Light and Dark sides of the Forces, and the importance of the Force is unshakable.

In order to be truly “one with the Force,” a person must completely let go of themselves and let the Force act through them.  This allows the Force to guide unthinking responses and reflexes—to become an unbeatable power for good or evil.

Obi Wan represents an ongoing exploration of the balance between worth and value.  He appears to be old and feeble and of little worth, but his skills and abilities to invoke the Force prove to be of great value: he gets them by the Imperial Stormtroopers; saves Luke from the alien in the Cantina; turns off the tractor beam; distracts Darth Vader long enough for the rest of the group to escape; etc.

Obi Wan, the old Jedi, appears to be old and feeble and of little value, so having to deal with him leads other characters to look anywhere else, other than toward the ways of the Jedi, to find Value.  Even when people pay homage to the Force, it is just lip-service as they go about putting their real faith in the Value of their targeting computers.  People who meet Obi Wan generally don’t want to hear his message about the Worth of the Force, they’re more concerned with immediate, practical Value.  As in the example of the first x-wing to get a shot at destroying the Death Star using his targeting computer only to miss the target, Value is shown to be advantageous, but only to a limited degree.

Obi Wan represents an ongoing exploration of the balance between Worth and Value.  Although Value can take you so far (“Nothing compares to a good blaster by your side,”) we are shown through Obi Wan’s impact that Worth is what’s really needed to get the job done.  Understanding the true Worth of the Force makes considerations of Value take care of themselves, as when Obi Wan gets Luke and the droids past the Imperial Stormtroopers, turns off the tractor beam, delays Darth Vader long enough for the others to escape, and finally, as Luke uses his trust in the Force to out-do his own targeting computer.

Due to his devout faith in the Force, Obi Wan is driven by the idea that everything remains unproven—even if “common sense” might dictate otherwise.

If and when that time may come when Obi Wan can see things as proven, he would become completely satisfied.  However, it is not in THIS chapter of the Star Wars story.

Obi-Wan’s focus on Darth Vader as the cause of Luke’s father’s death makes it difficult for Luke to justify not helping Obi-Wan on his quest;  Obi-Wan’s observations as to the reasons Uncle Owen misled Luke about Luke’s father undermines Luke’s trust in his uncle; Obi-Wan’s focus on the Force as the source of all things material and immaterial makes Luke the brunt of Han’s jokes and skepticism; etc.

By training Luke to become a Jedi Knight, Obi Wan hopes to directly effect Luke’s chances to join the Rebellion and impact the Empire.

Without Obi Wan around, Luke might run off to join the Rebellion before he is ready.  Obi Wan’s obvious value to Luke as a protector and teacher holds Luke back.  But Obi-Wan’s value to the Empire makes them a target and almost gets Luke killed.

Obi Wan Kenobi (versus Ben Kenobi) is identified as some mystical wizard from times past that may or may not have ever existed.  That reputation, combined with a general unfamiliarity with “fantastical powers” of the Force, puts serious strain on Obi Wan’s credibility.

Conscious thought is an impediment to using the Force.  The less thinking (especially in Luke’s case), the closer one can become one with, and of, the Force.

More Influence Character Information →

Once a formidable Jedi Teacher, he is now old, eccentric, and reclusive.  His non-Jedi name is Ben Kenobi.

Obi Wan Kenobi’s backstory explains how he developed the impact he makes when he meets Luke Skywalker.  Obi Wan is a Jedi knight, an inter-stellar champion of the now dead republic which once governed the galaxy.  He was a very respected Jedi, exceptionally well trained in the Force, a religious source of power that Jedi knights draw from.  Obi Wan became an outlaw and an antique when a new, dark empire destroyed the republic and wiped out the Jedi. Once outlawed, Obi Wan became a hermit living in the deserts of Tatooine.  He knew that Luke Skywalker, the son of a most respected Jedi, was living there and might one day need his tutoring.  Obi Wan is afraid that appreciation for the power of the Force will only lie in the hands of the evil empire if a new Jedi is not trained.  Thus, Star Wars begins with Obi Wan hiding from the empire on Tatooine and waiting, perhaps, for Luke to call.

Relationship Story Throughline

""Training a Young Jedi""

Obi Wan clearly manipulates Luke through psychological means.  He attempts to coerce Luke to help him get to Alderaan, which Luke resists, yet does not reveal the fate of Luke’s aunt and uncle to Luke—even though he is clearly not surprised at the news; Obi Wan purposely keeps Luke in the dark about his resources while bartering with Han Solo, hushing him up when Luke can barely contain himself; Obi Wan keeps Luke under his thumb by doling out information about the Force, the Empire, the Past, everything; he’s whispering into Luke’s head at several critical moments…“Run, Luke, run!” and “Use the Force, Luke!”

Obi Wan wants Luke to be the faithful Student, while Luke wants to be a Hero.

As representatives of the old guard versus the new guard, Obi Wan and Luke’s relationship often conflicts over their natural abilities and their basic desires.  Obi Wan, though highly skilled and experienced, is getting on in years and doesn’t have the stamina and abilities he once had.  Nor are his desires as fresh as they may have once been.  Luke, on the other hand, is young and vital (though fairly green in certain areas), and his desires are hot and driving.  He definitely has the hots for Leia.

The counterpoint in the relationship between Luke and Obi Wan is desire, the motivation to change one’s situation or circumstances.  From this point of view, their relationship is a little problematic at first because Luke won’t allow himself to have what he wants.  Obi Wan speaks directly to Luke’s desires and basically starts trying to teach him how to be a galactic hero.  Since Obi Wan is a hero from a by-gone age, though, no one sees any of the desires in this relationship as very realistic.  Han and Chewie start laughing at the relationship between these two characters whenever they talk about their desire to explore the Force and help the Rebellion.  At the same time, however, this relationship wouldn’t be going anywhere without these shared desires.  Desire in this relationship is advantageous.

As representatives of the old guard versus the new guard, Obi Wan and Luke’s relationship often has conflicts over their natural abilities and their basic desires.  Obi Wan, though highly skilled and experienced, is getting on in years and doesn’t have the stamina and abilities he once had.  Nor are his desires as fresh as they may have once been.  Luke, on the other hand, is young and vital (though fairly green in certain areas), and his desires are hot and driving.  He definitely has the hots for Leia.  The relationship these two have is constantly exchanging these two currencies, until it comes down to Luke driving toward the target on the Death Star enhancing his abilities with a targeting computer.  Obi Wan’s voice comes from beyond the grave to encourage Luke to, one last time go with his heart (“trust your feelings”—desire).  The best point of view on their relationship is thus revealed as this tip leads to the destruction of the Death Star and to Luke’s becoming a hero.  In this relationship, Desire is better.

Obi Wan’s secrecy and misleading comments to Luke keeps their relationship off balance.  Obi Wan attempts to lure Luke away with him to Alderaan, then feigns indifference when Luke wimps out; Obi Wan marginally warns Luke to be careful at the Cantina without giving Luke a real idea of the dangers within; Obi Wan’s vagueness about the necessary “pains” associated with Luke’s Jedi training (like getting zapped by the trainer robot) jostles their relationship; etc.

When Obi Wan is specific about what he wants Luke to do and how to do it, there is little conflict between them.  Whining and complaining, maybe, but not much conflict.

Luke is the cause of the ruckus at the Cantina that forces Obi Wan to use his lightsaber which draws the Stormtroopers’ attention; Luke is the reason the troops are alerted on the Death Star (in response to the rescue of Leia) which threatens the escape and forces Obi Wan to confront Darth Vader directly to buy time; etc.

Obi-Wan shows Luke the effects the Force has on people and objects.  Luke is drawn to the effects of the Force, which motivates Luke to be an eager student.

The identity of Luke’s father revealed to him by Obi Wan gets Luke interested; the identity of the Jawa killers alerts Luke to check the well (or “well done”) being of his aunt and uncle; the knowledge of their death allows Luke to go with Obi Wan; etc.

Luke wants to be a hero and is an action oriented person.  Enlightenment about the Force (as delivered by Obi Wan) takes time to listen to and even more to absorb.

As Luke begins to get an idea of what it means to be a Jedi, the distance between Luke and Obi Wan narrows.

Additional Relationship Story Information →

A young man, named Luke Skywalker, has grown up on a remote desert planet completely unaware that his missing father was really a famous Jedi Knight.  Luke’s foster parents are afraid he has “too much of his father” in him and this fear has instilled a sense of self-doubt in young Luke.  Luke’s foster parents also discourage Luke from learning anything about the legendary hermit named “Ben Kenobi” who lives on their planet.  When his droid R2D2 runs off into the desert, Luke is forced to come face to face with this hermit.  This meeting unravels many mysteries about Luke’s past. Ben admits to also being known as “Obi Wan” Kenobi, the Jedi Knight sought by R2D2.  When R2D2 delivers a message from the rebel alliance begging Obi Wan to come to their aid once more, he asks Luke to join him.  He explains to Luke that Luke’s foster parents have hidden his true heritage from him by not admitting that his father was a Jedi.  Obi Wan offers to teach Luke about the ways of the Jedi, especially the ways of the Force.

Luke refuses the offer out of consideration for his foster parents.  He soon discovers, however, that the evil galactic empire is hunting his droids and have already murdered his foster parents during this search.  Although saddened by their death, Luke feels their restrictions lifted by this loss.  Suddenly free, Luke joins Obi Wan as his apprentice, training to become a Jedi.

Obi Wan begins teaching Luke to trust the Force.  He demonstrates its power and plays games to help Luke experience it on the way to Alderaan.  On Alderaan, Obi Wan intends to deliver the plans hidden inside of R2D2.  This journey is interrupted, however, when Alderaan is suddenly destroyed by the Empire and Luke and Obi Wan are captured on the Empire’s new battle station, the Death Star. Obi Wan begins instructing Luke in the value of understanding where one’s own destiny lies.  Obi Wan tells Luke that Luke cannot help him turn off the tractor beams to allow them to escape because they have different destinies.  The two of them are split apart.

Luke discovers he is in a position to rescue a captured Rebel Princess and organizes an attempt to free her.

Obi Wan turns off the tractor beam but finds himself face to face with an old enemy, the evil Jedi Darth Vader.

Luke manages to free the princess and return to the ship in order to escape, but there he finds Obi Wan and Darth Vader fighting with their light sabers.  When Obi Wan sees Luke he drops his guard and lets Darth strike him down.  Obi Wan understands this memory will affect Luke and he will be able to continue his relationship with Luke, even after death. 

Obi-Wan’s spirit encourages Luke to run so he can meet with the rebellion and launch an attack on the Death Star.  When a strategy is devised, Luke confidently joins the battle and finds himself rocketing toward the target in the Death Star trench. At this point, Luke is the Rebellion’s last hope.  He has his computer turned on to help him lock onto his target.  Suddenly Obi Wan’s voice rings in Luke’s head, encouraging him to trust the Force.  He takes a leap of faith and decides to trust the force, turning off his computer and letting his actions be guided by his trust in the Force, and therefore in himself.  This trust is well placed.  Luke’s shot hits its mark and destroys the Death Star.  Luke wins a hero’s award from the Rebellion while Obi Wan’s voice comes from beyond to remind him (and us) that, “the Force will be with you, always.”

The backstory of the relationship between Luke Skywalker and Obi Wan Kenobi explains how their two points of view came to be so opposed and center on the problem of Accuracy (especially in their communication with each other).  Luke’s father was a good friend and fellow Jedi to Obi Wan.  This link has made Obi Wan obliged to deliver certain teachings to Luke which he knows others will hide from him (e.g. his father’s light saber).  Luke has grown up knowing of a “hermit” named “Ben Kenobi,” but has always had the truth of his father and Obi Wan’s past kept secret from him.  Because Luke has had so much hidden from him which only Obi Wan is willing to relate, their relationship has a lot of potential.  Obi Wan is also interested in making sure Luke becomes a Jedi like his father.  This hidden agenda means revealing facts to Luke in particularly delicate ways that are intended to keep him aware of the true nature of the Force.  Obi Wan’s manipulations create the problems in their relationship when Luke just wants to know simple facts without having to grasp any deeper meaning.  When Obi Wan gets to the point of giving Luke simple, accurate instructions, (“Run, Luke, Run!” and “Trust the Force, Luke”) their relationship works fine.  But their relationship has problems at first, because of Obi Wan’s inaccurate descriptions as Star Wars begins.

Additional Story Points

Key Structural Appreciations

The Rebels are transferring important data about the Death Star and fighting back when possible;  Princess Leia is misleading the Empire as much as possible; etc.  Ultimately, the rebels fight and destroy the Empire’s ultimate weapon, the Death Star, radically reducing the Empire’s fighting power.

The Rebels that survive will be under the power of the Empire again and will have to pretend to be “proper citizens” until they grow in numbers and power.

Han is forced to hide in his ship when all of his natural instincts are to come out fighting; Chewie must wear the handcuffs even though his natural response is to fight off restraints of any kind; etc.

While trying to destroy the Death Star, the Rebel forces gain valuable, new members; while trying to locate the Rebel base, the Empire rids itself of the pesky council which gets events moving in a positive direction for them, politically speaking; Han is able to begin paying back his debt to Jabba the Hut; the Jedi Knights and belief in the Force is resurrected which bodes well for the Universe; etc.

The Gran Mof Tarkin must learn how to extract the location of the Rebel base from the Princess; the Rebels must learn how to use the data about the Death Star most effectively; Luke must learn the Jedi skills; etc.

Princess Leia has to come up with an idea as to how to get the secret plans to the Rebellion; the Gran Mof Tarkin must come up with different ways to try and get Princess Leia to reveal the location of the Rebel base; Obi Wan must give Luke the idea that he should become a Jedi Knight; etc.

At Tarkin’s demand, Darth Vader must consciously curb his use of the Force on senior members of the Death Star staff; while a captive of the Empire, Princess Leia makes a conscious effort to be as obnoxious and disrespectful as possible;  Tarkin makes a conscious effort not to lose his temper when he discovers that the information given by Princess Leia was a red herring—especially after how much he enjoyed torching her home planet; etc.

Princess Leia, a key player in the Rebellion and Council member with vitally important information, is imprisoned by the Empire on the Death Star; the present readiness of the Death Star, as shown in the Alderaan test, indicates that it can easily destroy the Rebel base once it is discovered; the present size of the Rebel forces and the seemingly impenetrable defenses of the Death Star do not bode well for the survival of the Rebellion; etc.

Plot Progression

Dynamic Act Appreciations

Overall Story

The Empire begins to understand just how much of a threat the Rebellion is after the rebels steal the plans to the Death Star.  The senators understand the Empire’s ambitions after the Senate is disbanded and Senator Organa’s diplomatic ship is attacked.  The populace of Tatooine are slow to understand how far the Empire will go to recover the stolen plans.  The hermit, Ben Kenobi, begins to understand that it is time for him to come out of retirement.  Gran Mof Tarkin, the leader of the Empire’s efforts to destroy the rebels, begins to understand that the dark lord, Darth Vader, may have his own agenda when Vader comes into conflict with one of the Empire’s officers.  The farm boy, Luke Skywalker, begins to understand that the war between the Empire and the Rebellion has come to Tatooine when his group discovers the dead Jawas.

The farm boy understands his life on Tatooine is over when he discovers his murdered aunt and uncle.  The farm boy chooses to join the crazy old wizard (former Jedi Knight), Obi-Wan Kenobi, in order to be trained to use the Force.

The old Jedi wizard and farm boy learn that that the Empire has put a bounty on them.  The smuggler, Han Solo, learns that Jabba the Hut is after him and he must get off planet as soon as possible.  The Empire leans of the small groups whereabouts and attacks them as they depart in the starship, Millenium Falcon.  The farm boy begins to learn how to use the Force.  Tarkin learns that the Death Star has become operational.  Senator Leia Organa learns the full capabilities of the Death Star when it is used against her home planet, Alderaan.  Tarkin leans that Senator Organa lied about the whereabouts of the rebel base.

The group on the Millenium Falcon learn that Alderaan has been destroyed.  They also learn that the Empire has the Death Star, which is the size of a small moon.  The Millenium Falcon is captured by a tractor beam and into the Death Star, when the group then has to figure out how to escape.

Obi-Wan leaves the group to find and disable the tractor beam.  Han Solo, Luke and company rush to save Senator (Princess) Organa from termination, and engage in a battle with the Empire’s stormtroopers.  The group escapes and is chased all over the Death Star evading capture several times.  Obi-Wan disables the tractor beam, but runs into Darth Vader, a former pupil gone bad.  Obi-Wan and Vader duel with lightsabers, and Obi-Wan appears to be killed by Vader.

The group escapes from the Death Star in the Millenium Falcon, but are pursued by stormtroopers in Tie Fighter space craft.  An “aerial” battle ensues in which the Millenium Falcon is victorious.  They head for the rebel base with the Death Star plans.  Unbeknownst to them, they also take a tracking device with them secretly placed on the Millenium Falcon by the Empire.

The rebels find a weakness in the Death Star design.  The Empire finds the rebel base and gets it within their sights.  Han Solo takes his reward for transporting the group to the rebel base.  The farm boy joins the rebels and is given his own X-wing fighter to fly in the attack against the Empire forces.  As the battle ensues, both the Empire and Rebels lose many fighters.  Ultimately, the Empire loses its greatest weapon, the Death Star, when it is destroyed.

Main Character

Luke is stuck on Tatooine because his uncle Owen does not want him to follow in the father’s footsteps.  Luke gets excited when he finds out more about his mysterious father from Ben “Obi-Wan” Kenobi.

Luke goes from being someone with a mysterious heritage, to a Jedi in Training.  Unfortunately for him, his progress is not nearly as fast as he would like it to be.

Luke is impatient with his training.  He sees how Obi-Wan can manipulate Stormtroopers’ minds and wield his light saber with expertise.  On the other hand, Luke can barely keep himself from getting killed or fend off a training droid.  Even his rescue of Leia ends with them nearly crushed with the Garbage.

Luke goes from Jedi Training and Princess Rescuing, to a future without Jedi Master Obi-Wan and poor prospects for surviving long enough to find anyone else to train him.

Though somewhat excited at finally joining the Rebellion and being a junior Jedi, Luke is concerned that there might not be much of a future left for them.  Han and Chewbacca are no longer part of the effort to save the Rebel base, so his future prospects look grave.  With Obi-Wan gone, it doesn’t look like he will ever be a full Jedi Knight like his father.

Luke puts aside his concerns about the future, even as his friends and fellow rebels are slaughtered by the Empire, to concentrate on using his Jedi powers.

Luke lets go of his personal baggage and concentrates on the hear and now in the best way he knows how.  He turns off the targeting computer, and finds himself in the moment and at one with the Force.

Influence Character

Obi-Wan asks Luke to consider joining him on his trip to Alderaan.  When Luke makes excuses, Obi-Wan accurately points out, “That’s your Uncle talking.”  He also gives Luke something to think about when he tells Luke about Luke’s father, especially when he introduces Luke to the Force.

The shift is quick and happens in the Jedi training session.  Obi-Wan gives Luke a helmet with its opaque blast shield down.  “This time, let go your conscious self and act on instinct.”

Obi-Wan wants Luke to use the Force.  Obi-Wan tries to make a point and asks Luke to do the exercise again with his eyes blinded.  “This time, let go your conscious self and act on instinct,” he says.  When Luke balks, Obi-Wan says, “Your eyes can deceive you.  Don’t trust them.”  “Stretch out with your feelings,” he tells Luke.

Obi-Wan’s training of the young Jedi, Luke, ends abruptly when he allows himself to be defeated by his former, dark pupil, Darth Vader.  Luke witnesses the “death” as Obi-Wan’s voice blasts in his mind, “Run, Luke!  Run!” which Luke does without thinking.  Later, Luke thinks he has nothing left of Obi-Wan but memories.

As the Millenium Falcon carries Luke into space, he remembers Obi-Wan and wonders what he’s going to do without his mentor.

Before boarding his X-wing to attack the Death Star, Luke laments, “I only wish Ben were here.”  Not too much later, Obi-Wan reaches out from the beyond and reminds Luke to “Use the Force, Luke,” and, “Let go, Luke.”

Inside his ship during the final attack run on the Death Star, Luke doesn’t seem to be alone.  The voice of Obi-Wan comes to him again and urges him to use the Force and let go.  The message finally connects with Luke and he switches off his targeting computer.

Relationship Story

Ben Kenobi must come out of retirement and take up the mantle of Master Jedi Knight Obi-Wan again.  As such, he recruits the son of a former Jedi Knight, Luke, encouraging him to take up his father’s mantle and join forces with Obi-Wan.  Luke resists Ben’s attempts to manipulate him into joining the crusade, but agrees to take Ben to Mos Eisley.

Obi-Wan does much to show the strengths and limitations of the Force to Luke, but often hides its powers from Luke to keep Luke out of trouble.  Luke is slow in getting the idea of what the Force is, and his ignorance gets him into trouble.  First there is the conflict at the bar in the cantina, then Obi-Wan holds Luke back as Luke reacts to Han’s cockiness. Obi-Wan uses the training droid to help Luke get a better idea of how the Force works and what what a Jedi is.

Luke slowly begins to understand what the Force is and what it can do as Obi-Wan explains it to him.  Luke sees how Obi-Wan reacts to the disturbance in the Force when Alderaan is destroyed.

Knowing that a physical death is immaterial to his continued influence on Luke, Obi-Wan knows that defeat by Darth will motivate Luke far more rapidly than the current rate.  BEN: “You can’t win, Darth. If you strike me down, I shall become more powerful than you can possibly imagine.”  Ben sees Luke looking at him and lets Vader bring his sword down.  Luke sees Obi-Wan cut in half and cries out, but he doesn’t notice that Obi-Wan’s cloak is empty.  Obi-Wan’s disembodied voice tells Luke to run, and he does.  Luke is left to figure out how to go on without Obi-Wan.

Though their relationship began with Obi-Wan acting as mentor and protector, his absence forces Luke to take on the role of sole remaining Jedi to oppose the Dark Side of the Force.

Plot Progression Visualizations

Dynamic Act Schematics

Dramatica Story Expert

the next chapter in story development

Professional Dramatica® Story Consulting

Home — Essay Samples — Entertainment — Movies — Star Wars

Essays on Star Wars

Analysis of jedi from the star wars, han solo - a star wars story, made-to-order essay as fast as you need it.

Each essay is customized to cater to your unique preferences

+ experts online

The Original Trilogy Star Wars

An analysis of identity in half-life and star wars: the force awakens, the issues of the trash compactor in the movie series star wars, let us write you an essay from scratch.

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Relevant topics

• Miss Representation
• Film Analysis
• Freedom Writers
• Documentary
• Ready Player One
• Supersize Me

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Star Wars Essay Examples

We have 34 free papers on star wars for you, essay examples, essay topics, star wars vs. star trek essay paper.

I have read so many different comments in the past that highlightedthe cult following that both of these space series have, that I felt Ireally needed to cast my spin on it. Throughout the past 20 plus years, two science fiction cult classicshave tried and failed on several occasions to out do each other on…

Star Wars : A New Hope Essay (2884 words)

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…

Otherworldly Spaces in Star Wars and Watchmen Essay

Films play an important role in defining the similarities and differences between various societies. With increased globalization, the cultural divide between various societies can be well brought out through film and literary presentations. With advancements in technology, modern films have effectively represented the leaps in technology behind making the outer space happen. This paper seeks…

Star wars Return of the Jedi book paper Summary Essay

Luke Jaywalker is the son of the Empires evil enforcer Dart Evader and favors alongside his new friends to defeat him. The Empire has a mighty weapon that must be destroyed and the only way to do that is to attack a small moon that shields the Death Star. Initially they are sidetracked and captured…

Star wars Episode I Summary Essay

Goon senses a strong presence of the Force within Nanking and is convinced that e is the “chosen one” of Jed prophecy who will bring balance to the Force. When Quiz-Goon brings Nanking to the Jed senate to ask for their permission for Nanking to be trained as a Jed, Nanking shows that he’s brave…

George Lucas’ Star Wars: A New Hope Essay

American epic space opera film[S] written and directed by George Lucas. It is the first film released in the Star Wars saga and is the fourth in terms of the series’ internal Groundbreaking in its use of special effects and science fiction/fantasy storytelling, the original Star Wars is one of the most successful and influential…

Archetypes in Star Wars Essay (692 words)

Community service: help in the community performed as part of a sentence, such as assisting with a community cleanup or food bank Criminal record: a armament record of breaking the law, which is public information. A criminal record can bar you from jobs Sentence: A consequence for a crime, such as imprisonment, determined by a…

Compare And Contrast Star Wars Essay

Compare And Contrast Essay

In the images shown in class we can see that the first is about Dorothy being alone in a cornfield with mountains in the background, you see that one day is quite sunny, where she has long hair in pigtails hairstyle braid half ending with a blue ribbon bow shaped, this can represent youth and…

Beowulf v. Star Wars Compare & Contrast Essay

Beowulf and Luke both had a boon, a timely blessing or benefit, from Which they were given. The goal Of the two heroes was to save their part of the world. Though they saved their part of the world successfully, they too reached a nadir. Although Beowulf and Star Wars are dissimilar stories, both hold…

Why is Luke Skywalker from Star Wars an archetypal hero? Essay

The Same Story? The story of an archetypal hero has been told and written various times throughout history by unique and unrelated cultures. We have all heard the story about “Superman,” “Indiana Jones,” and other stories of an archetypal hero. What makes these stories alike? Joseph Campbell defines an archetypal hero in his book “The…

Check a number of top-notch topics on Star Wars written by our professionals

Han Solo – a Star Wars Story

The Original Trilogy Star Wars

The Issues of The Trash Compactor in The Movie Series Star Wars

Analysis of Jedi from The Star Wars

An Analysis of Identity in Half-life and Star Wars: The Force Awakens

Hi, my name is Amy 👋

In case you can't find a relevant example, our professional writers are ready to help you write a unique paper. Just talk to our smart assistant Amy and she'll connect you with the best match.

Home / Essay Samples / Entertainment / Star Wars / The Story Of Star Wars, And Its Impact On Society And Culture

The Story Of Star Wars, And Its Impact On Society And Culture

• Category: Life , Sociology , Entertainment
• Topic: Impact , Society , Star Wars

Pages: 3 (1174 words)

Views: 1520

• Downloads: -->

--> ⚠️ Remember: This essay was written and uploaded by an--> click here.

Found a great essay sample but want a unique one?

are ready to help you with your essay

You won’t be charged yet!

Ready Player One Essays

Hotel Rwanda Essays

Forrest Gump Essays

A Beautiful Mind Essays

Good Will Hunting Essays

Related Essays

We are glad that you like it, but you cannot copy from our website. Just insert your email and this sample will be sent to you.

By clicking “Send”, you agree to our Terms of service  and  Privacy statement . We will occasionally send you account related emails.

Your essay sample has been sent.

In fact, there is a way to get an original essay! Turn to our writers and order a plagiarism-free paper.

samplius.com uses cookies to offer you the best service possible.By continuing we’ll assume you board with our cookie policy .--> -->