Phil Roberts Tv Mad Men Poster Concept Art Illustrations
- "A motion picture for a generation growing up without fairy tales."
- ―George Lucas
Star Wars: Episode IV A New Hope , originally released as Star Wars , and currently marketed as simply Star Wars: A New Hope [iv] is a 1977 moving picture written and directed by George Lucas. It is the first function of the Star Wars original trilogy and the first Star Wars moving picture released.
The film is gear up xix years afterwards the germination of the Galactic Empire and the events of Revenge of the Sith; structure has finished on the Expiry Star, a weapon capable of destroying a planet. Later on Princess Leia Organa, a leader of the Rebel Alliance, receives the weapon'southward plans in the promise of finding a weakness, she is captured and taken to the Death Star. Meanwhile, a young farmer named Luke Skywalker meets Obi-Wan Kenobi, who has lived in seclusion for years on the desert planet of Tatooine. When Luke's domicile is burned and his aunt and uncle killed, Obi-Wan begins Luke'due south Jedi preparation as they—along with Han Solo, Chewbacca, C-3PO, and R2-D2—attempt to rescue the princess from the Empire.
Inspired by films like the Flash Gordon serials and the samurai films of Akira Kurosawa, as well as such critical works equally Joseph Campbell'southward The Hero with a Thousand Faces and Frank Herbert'south Dune books, Lucas began piece of work on Star Wars in 1974. Ground-breaking in its employ of special effects, this is considered to exist among the most successful—and most influential—films of all time. Produced with a budget of US$11,000,000 and released on May 25, 1977, the film became one of the about successful of all time, earning $215 million in the United States and $337 million overseas during its original theatrical release, as well equally winning several movie awards, including 10 Academy Honor nominations. Information technology was re-released several times, sometimes with significant changes; the most notable versions were the 1997 Special Edition and the 2004 DVD, which were modified with CGI effects and recreated scenes. It was re-released in the Blu-ray format in September of 2011. The motion-picture show was selected to exist preserved by the Library of Congress as part of its National Motion picture Registry. The picture show was selected in 1989, the program'due south first year in being.
Contents
- i Opening crawl
- 2 Synopsis
- 2.1 Set on on Tantive IV
- 2.ii Luke's destiny
- 2.3 Rescue of the princess
- 2.iv Sacrifice and victory
- iii Development
- 3.1 Formulation
- 3.two Production
- 3.3 Music
- three.4 Audio
- 3.5 Sources and inspirations
- 4 Release
- iv.1 Merchandise
- 4.ii Re-releases
- 4.3 Home video
- 5 Reception
- vi Deleted scenes
- six.1 Aunt Beru'south Bluish Milk
- 6.2 Luke in the Desert
- 6.iii Tosche Station
- 6.4 Luke and Biggs
- 6.five Vader and Primary Bast
- half-dozen.6 The Search for R2
- 6.7 Stormtrooper Search
- 6.8 Darth Vader widens the Search
- vii Credits
- 8 Appearances
- 9 Sources
- ten Notes and references
- 11 External links
Opening crawl
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Synopsis
Set on on Tantive 4
19 years after the formation of the Galactic Empire and the events of Revenge of the Sith, the galaxy is in a state of civil state of war. The Insubordinate Alliance has won their first major victory by stealing plans to the Galactic Empire'southward secret weapon, the Expiry Star. Hoping that the stolen plans can salve her people and restore freedom to the galaxy, Princess Leia Organa, who is in custody of the stolen plans attempts to race dwelling house aboard the Tantive IV. Withal, her ship is intercepted past the Imperial I-form Star Destroyer Devastator over the desert planet of Tatooine.
Princess Leia is captured by the Galactic Empire.
Imperial stormtroopers manage to board the ship, and after defeating the modest number of guards defending the ship, the Sith Lord Darth Vader arrives to assess the damage. Vader is outraged and questions Helm Antilles, whom he eventually strangles and kills. Hiding on the ship, Princess Leia is spotted by stormtroopers. They shoot her with a stun boom and bring her earlier Vader. Nonetheless, before being detained, Leia was able to record a holographic bulletin with the help of R2-D2, and assigned the droid the responsibility of taking the message to a Jedi-in-hiding on Tatooine. Vader orders a bulletin be sent to the Imperial Senate, informing them that the transport was destroyed, with anybody on board killed. R2-D2 and C-3PO use an escape pod in guild to escape the send and reach the planet of Tatooine beneath.
Luke'south destiny
Luke Skywalker receives his father'southward lightsaber.
- "There's zippo for me here now. I want to acquire the ways of the Force and become a Jedi like my father."
- ―Luke Skywalker
The droids are picked up past Jawa traders and after bought by wet farmer Owen Lars and his nephew, Luke Skywalker, a young farmer who lost his parents as a baby and hopes to i 24-hour interval be a star fighter simply like his friends. While cleaning R2, Luke discovers the hologram, at the mention of Obi Wan, he wonders if she ways Old Ben his neighbor. Eventually R2-D2 escapes from the Lars' homestead in search of an Obi-Wan Kenobi, whom the droid claims to be the property of. Luke searches the desert merely the droid is nowhere in sight, so he and C-3PO notice R2 the next twenty-four hour period simply before they are attacked by Sand people. Luke and his droids are rescued by Obi-Wan Kenobi or, as Luke knows him, Ben Kenobi. Obi-Wan takes Luke to his home.
Luke receives his father's lightsaber, as Obi-Wan recalls his own friendship with Luke's begetter. Luke is told that a Jedi named Darth Vader betrayed and murdered his father. Afterward discovering Princess Leia'south bulletin carried past R2-D2, Obi-Wan attempts to persuade Luke to accompany him to Alderaan. Luke refuses to go until he discovers that the traders who found the droids were killed past what they thought to be the sand people (though it was actually past stormtroopers searching for the droids). Realizing this, Luke hurries dwelling house just to find his aunt and uncle were brutally murdered by the aforementioned stormtroopers. Luke returns upset, merely Obi-Wan tells him if he was in that location, he would have been killed and the droids would be in possession of the Empire. With zero keeping him here, Luke, Obi Wan and the two droids travel to Mos Eisley to discover passage to Alderaan, Princess Leia's habitation planet.
For 17,000 credits, 2,000 in advance and 15,000 upon arrival, smuggler Han Solo and his Get-go Mate, a Wookiee named Chewbacca, agree to have the 4 of them to Alderaan aboard their ship, the Millennium Falcon. After brief scuffles with the Empire and henchmen sent by Jabba the Hutt, the Falcon escapes the Imperial Occludent at Mos Eisley and Han sets a course for Alderaan, unaware that the planet was about to exist mercilessly destroyed by the Empire.
Rescue of the princess
- "Here's where the fun begins!"
- ―Han Solo
In Alderaan's identify, they find what seems to be an asteroid field. The planet was destroyed past the dreaded Death Star, on the orders of Thousand Moff Tarkin, to gear up an instance of the power of the Empire. The Millennium Falcon is pulled aboard the Death Star by its powerful tractor beam.
Heroes en route to the Death Star
From subconscious smuggling compartments, Solo ambushes two stormtroopers of the Regal scanning crew. With Han and Luke now bearded as the ii stormtroopers, the group begins to figure out how to escape. Obi-Wan separates from the group to disable the tractor beam, leaving the others alone. While continued to the Majestic Network, R2-D2 discovers Princess Leia is aboard the station. Luke convinces Han and Chewbacca to rescue her with the vague promise of a thousand reward. Han and Chewbacca reluctantly concur. Luke plans to march into Detention Block AA-23, claiming that Chewbacca is function of a prisoner transfer. C-3PO and R2-D2 are instructed to remain behind, and the trio sets off on their rescue try. Luke's program works flawlessly in that they are quick to subdue the officers and guards in the princess'due south jail cell block. Unfortunately, no 1 thought to plan for their escape, and Leia takes charge, diggings a hole in a nearby grate and jumping through while Han and Luke hold off a squad of stormtroopers. Chewbacca, Luke and Han all dive after the princess into the unknown.
Unfortunately, the grate covers a chute that leads to a garbage compactor that is as well habitation to a resident dianoga. Soon after landing, the creature pulls Luke nether the surface, just releases him and is scared away when the Imperials realize where the heroes escaped to and actuate the compactor. As the walls shut in on the foursome, Luke desperately calls to C-3PO over his comlink asking for the compactor to be shut down. Leia struggles to get to the top and Chewbacca tries to unlock the door. R2-D2 manages to shut down the compactor only in time, although, amidst the deadened cries of joy over the comlink, C-3PO is briefly convinced that his master and friends accept been crushed.
After escaping from the trash compactor, the group hurries back to the Millennium Falcon, hoping that Obi-Wan has successfully shut down the tractor beam. They run into stormtroopers on their way to the ship, evading and blasting their manner by them.
Sacrifice and victory
"You can't win, Darth. If you strike me downward, I shall become more powerful than you lot tin possibly imagine."
- "This will be a day long remembered. It has seen the stop of Kenobi. It will soon see the end of the Rebellion."
- ―Darth Vader
Obi-Wan, on the other paw, was destined to run into with Darth Vader. Later on a short duel with his former Padawan, Obi-Wan sacrifices himself, thus becoming one with the Force and allowing Luke and the others to escape. Horrified and angered having witnessed Obi-Wan's demise at the hands of Vader, Luke takes his final blasts at the stormtroopers and dashes onto the Millennium Falcon.
Afterward fighting a squadron of Necktie fighters, the Millennium Falcon meets the Rebel Alliance on Yavin 4, and the information in R2-D2 is turned over. General Dodonna plans the attack on the Decease Star, an attack so audacious as to receive an unenthusiastic reaction from the pilots. To add to Luke's dismay, Han leaves after receiving his reward.
Rebel fighters approach the Death Star.
The Rebel strike force begins its attack on the Decease Star, as the infinite station approaches the Rebel base of operations on Yavin iv. A group of starfighters assaults a trench on the Death Star's surface to hit the station's vulnerable spot before information technology can destroy the Alliance's base. During this, most of the Rebel craft, including Luke'south friend Biggs Darklighter, are picked off by Regal fighters led by Darth Vader. Only every bit Vader opens fire on Luke from his personal TIE Advanced fighter, Han returns in the Millennium Falcon and attacks the Imperials, resulting in Vader'southward ship getting knocked out of the trench. Luke, aided past the vocalization of Kenobi and guided by the Force, accurately fires two proton torpedoes into a pocket-sized exhaust port leading to the Death Star's reactor, and the battle station explodes.
The few remaining ships (those of Wedge Antilles, Luke, Han, and a Y-wing Pilot) return to Yavin four and a victory commemoration commences, consummate with medals for the heroes, Han Solo and Luke Skywalker, presented by Princess Leia.
Development
Conception
During post-production on his previous movie, American Graffiti, Lucas repeatedly discussed the concept of a "space opera" with producer Gary Kurtz.[5] In January 1973 Lucas began piece of work on this, and past May had prepared a 14-folio story outline for distribution amongst film studios.[five] He had originally envisioned the film as being a continuation of both American Graffiti and Apocalypse At present (the latter of which he helped make before Warner Bros. Studios shut down his studio of American Zoetrope and thus forced him to manus over development to his compatriot, Francis Ford Coppola). His note for the basic plotline for the motion picture, which was intended to be a response to the Vietnam State of war era, was that it involved "a technological empire going subsequently a small ring of liberty fighters."[vi] [7] According to Walter Murch, a former associate of Lucas when the latter was filming Apocalypse Now, the space opera setting was conceived in large function considering, due to the Vietnam State of war still going on, the audiences would not have been receptive to a direct attack on American involvement in Vietnam.[8] [9] Because of its outer space setting, the story was viewed as science fiction, an unpopular genre at the box office. Lucas after proposed that terms like "space fantasy" or "scientific discipline fantasy" better fit the story.[v] He brought the outline to Universal Studios and United Artists; both rejected the project (the former refused direct, while the latter withheld their answer until after the 10 day expect flow ended).[6] [7] He also turned to Walt Disney Studios Motion Pictures, though they also turned him down.[6] [seven] Lucas disliked the studio system because his previous 2 films, American Graffiti and THX 1138, had been re-edited without his consent.[10] However, aware that studios were unavoidable, he pursued Alan Ladd, Jr., the head of 20th Century Flim-flam. Although Ladd did non grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd "invested in me, [but] he did not invest in the movie."[5]
Production
Lucas finished a typhoon of the screenplay in May 1974. As the draft developed, the characters evolved significantly. Early in development, Luke Skywalker's graphic symbol changed from a threescore-yr-quondam general to a member of a family unit of dwarfs;[five] [11] the Corellian smuggler, Han Solo, was envisioned as a large, green-skinned monster with gills.[11] Chewbacca was inspired past Lucas' Alaskan malamute dog, Indiana, who often acted as the director's "co-pilot" by sitting in the passenger seat of his car.[11] The Forcefulness, a mysterious energy field, was initially conceived as the Kyber crystal, a "galactic holy grail."[12] [5] The completed script was besides long for i movie; even so, Lucas refused to condense it. Instead, he expanded the first third of it into ane flick and left the rest for 2 futurity films, effectively creating the original Star Wars trilogy.[13] [v]
Lucas hired conceptual creative person Ralph McQuarrie to create paintings of certain scenes during screenwriting. When Lucas delivered his screenplay to the studio, he included several of McQuarrie's paintings.[fourteen] 20th Century Fox approved a budget of $eight,250,000; American Graffiti 'due south positive reviews allowed Lucas to renegotiate his deal with Alan Ladd, Jr. and asking the sequel rights to the picture show. For Lucas, this deal protected Star Wars ' unwritten segments and most of the merchandising profits.[5] [15]
A storyboard panel depicting Imperial stormtroopers searching for R2-D2 and C-3PO
In 1975, Lucas founded the visual effects company Industrial Low-cal & Magic (ILM) after discovering that 20th Century Fob's visual effects section had been disbanded. ILM began its work on Star Wars in a warehouse in Van Nuys, California. Most of the visual effects used motility control photography, which creates the illusion of size by employing small models and slowly moving cameras. Model spaceships were constructed on the footing of drawings by Joe Johnston, input from Lucas, and paintings past McQuarrie. Lucas opted to abandon the traditional sleekness of science fiction by creating a "used universe" in which all devices, ships, and buildings looked aged and dirty.[5] [xvi] [17]
When filming began on March 22, 1976 in the Tunisian[18] desert for the scenes on the planet Tatooine, the project faced several problems.[source?] Lucas fell behind schedule in the first week of shooting due to a rare Tunisian rainstorm, malfunctioning props, and electronic breakdowns.[19] When thespian Anthony Daniels wore the C-3PO outfit for the first time, the left leg piece shattered down through the plastic covering his left pes, stabbing him. Subsequently completing filming in Tunisia, production moved into the more than controlled surroundings of Elstree Studios, nigh London.[xix] However, significant problems, such as a crew that had little involvement in the film, nonetheless arose.[5] [xix] Most of the crew considered the project a "children'due south film," rarely took their work seriously, and frequently constitute it unintentionally humorous.[twenty] Actor Kenny Bakery afterward confessed that he thought the flick would exist a failure. Harrison Ford institute the moving-picture show "weird," in that at that place was a princess with buns for hair and what he called a "behemothic in a monkey suit" named Chewbacca.[source?] Ford as well found the dialogue difficult, saying, "You can type this shit, George, but you sure tin't say it."[21]
Lucas clashed with Director of Photography Gilbert Taylor, whom producer Gary Kurtz called "old-schoolhouse" and "crotchety."[5] Moreover, with a background in contained filmmaking, Lucas was accepted to creating nigh of the elements of the film himself. His camera suggestions were rejected past an offended Taylor, who felt that Lucas was over-stepping his boundaries by giving specific instructions. Lucas eventually became frustrated that the costumes, sets and other elements were not living upwards to his original vision of Star Wars. He rarely spoke to the actors, who felt that he expected too much of them while providing picayune management. His directions to the actors normally consisted of the words "faster" and "more intense."[v]
Ladd offered Lucas some of the only support from the studio; he dealt with scrutiny from lath members over the ascension budget and complex screenplay drafts. Later production fell two weeks behind schedule, Ladd told Lucas that he had to cease production within a week or he would be forced to close down production. The crew split into three units, led by Lucas, Kurtz, and production supervisor Robert Watts, respectively. Nether the new organization, the project met the studio's deadline.[five] [nineteen] ILM ended shooting on April 22, 1977 with shot 110P, that of a Star Destroyer.[22]
Star Wars was originally slated for release in Christmas 1976; however, delays pushed the film'due south release to summer 1977. Already anxious nearly meeting his deadline, Lucas was shocked when his editor's starting time cut of the film was a "consummate disaster." After attempting to persuade the original editor to cut the film his manner, Lucas replaced the editor with Paul Hirsch and Richard Chew. He as well allowed his then-wife Marcia Lucas to assistance the editing procedure while she was cut the film New York, New York with Lucas' friend Martin Scorsese. Richard Chew found the film had an non-energetic pace; information technology had been cut in a by-the-book manner: scenes were played out in main shots that flowed into close-upwards coverage. He establish that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously; whoever finished commencement moved on to the next.[5]
During production, the cast attempted to brand Lucas express joy or smile equally he often appeared depressed. At one point, the project became so demanding that Lucas was diagnosed with hypertension and exhaustion and was warned to reduce his stress level.[five] [nineteen] Post-production was equally stressful due to increasing pressure from 20th Century Play a joke on. Moreover, Mark Hamill'southward face was injured in a car accident, which fabricated reshoots incommunicable.[19]
Meanwhile, ILM was struggling to achieve unprecedented special effects. The company had spent one-half of its budget on 4 shots that Lucas deemed unacceptable.[nineteen] Moreover, theories surfaced that the workers at ILM lacked subject area, forcing Lucas to intervene frequently to ensure that they were on schedule.[5] With hundreds of uncompleted shots remaining, ILM was forced to finish a year's work in six months. Lucas inspired ILM by editing together aerial dogfights from old state of war films, which enhanced the pacing of the scenes.[5]
During the chaos of production and post-product, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an "organic soundtrack." For Chewbacca'south growls, Burtt recorded and combined sounds fabricated past dogs, bears, lions, tigers, and walruses to create phrases and sentences. Burtt created the robotic vocalisation of R2-D2 by filtering his voice through an electronic synthesizer. Darth Vader's breathing was accomplished by Burtt breathing through the mask of a scuba tank implanted with a microphone.[23] Lucas never intended to use the voice of David Prowse, who portrayed Darth Vader in costume, because of Prowse'south thick English language West Country accent. He originally wanted Orson Welles to speak for Darth Vader. However, he felt that Welles' phonation would be too recognizable, and then he cast the lesser-known James Earl Jones.[24] Nor did Lucas intend to use Anthony Daniels' voice for C-3PO. Thirty well-established voice actors, such as Stan Freberg, read for the vocalism of the droid. Co-ordinate to Daniels, one of the major voice actors recommended Daniels' voice for the office.[5] [eleven]
When Lucas screened an early cut of the motion picture for his friends, amidst them directors Brian De Palma, John Milius and Steven Spielberg, their reactions were disappointing. Spielberg, who claimed to have been the only person in the audition to have enjoyed the film,[five] believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas after said that the grouping was honest and seemed bemused by the moving picture. In contrast, Alan Ladd, Jr. and the rest of 20th Century Play a joke on loved the movie; one of the executives, Gareth Wigan, told Lucas, "This is the greatest film I've ever seen," and cried during the screening. Lucas establish the experience shocking and rewarding, having never gained any approval from studio executives before.[v] Although the delays increased the upkeep from $8 million to $xi million, the film was still the least expensive of the Star Wars saga.
Music
Lucas'due south intentions for Star Wars involved a grand musical sound, with leitmotifs for unlike characters and important objects, an approach used to great issue, for case, in the operas of Richard Wagner. Toward this finish, Lucas put together a drove of classical pieces for the composer John Williams to review, every bit an idea of what effects Lucas desired for the films. The music Williams composed was oft distinctly reminiscent of the original classical pieces. In particular:
- The music associated to the opening capture of the blockade runner is very similar to Mars, from Holst'southward The Planets. In the liner notes to the original soundtrack recording, Williams implicitly acknowledged the connection past explaining why he didn't only utilise Holst's The Planets. He said that he felt he could give the music a more unified experience if he wrote it all himself.
- The "Strength Theme" (or "Ben'southward Theme") has been compared to parts of the ballet Swan Lake.
- The music for the awards ceremony at the end of the pic begins with "the Force/Ben'south Theme," and and so transitions into a theme that, in the liner notes, Williams says is reminiscent of "The Coronation," which probably refers to Elgar'southward, or, more likely, William Walton's Coronation March.
- The opening championship (the "theme from Star Wars," or "Luke's Theme") has been said to resemble John Barry'south theme from Born Gratuitous, but has a similar facade to the opening strains of the 1942 motion picture Rex'south Row, scored by Erich Wolfgang Korngold. Subsequently John Williams themes, such equally those from E.T. the Extra-Terrestrial, have been said to resemble information technology. Listening to them together, i observes that none is identical to any of the others, merely they use many of the same musical intervals to achieve similar, or at to the lowest degree related, emotional effects.[source?]
- The music for C-3PO's and R2-D2's inflow on Tatooine is very similar to the beginning of the second office, titled The Sacrifice, of Igor Stravinsky's,The Rite of Spring,.
Major musical themes include:
- Star Wars Chief Title
- Princess Leia's Theme
- Binary Sunset
Sound
A New Promise was originally presented in monaural sound in many theaters, though the start-run 70mm prints were some of the primeval broad-release examples of surround sound—something not seen in the commercial cinema since the Cinerama and Cinemascope experiments of the early 1950s.
Sources and inspirations
The film drew inspiration from a number of sources. This was conscious and has been best-selling by George Lucas in interviews. It is characteristic of much myth-building.
Lucas has stated that Akira Kurosawa'due south 1958 film The Hidden Fortress (USA release 1962) was a stiff influence. The resemblance between the two buffoon farmers in The Hidden Fortress and the two talkative droids in A New Hope is credible. Indeed, when the droids find themselves alone on Tatooine, even the music and the fashion of "wipe" cuts are a clear homage to Hidden Fortress. When Motti is criticizing Darth Vader, he is most to mention the Rebels' "hidden fortress" before Vader cuts him off in the middle of the final give-and-take.
The climactic scene in which the Death Star is assaulted was modeled after (including some of the same dialogue) the 1950s film The Dam Busters, in which RAF Lancaster bombers fly along heavily defended reservoirs and aim "bouncing bombs" at German homo-made dams in a bid to cripple the heavy industry of the Ruhr. (A New Hope cinematographer Gilbert Taylor had previously worked on the special-effects sequences for that film.)
Lucas has made mention of the picture "633 Squadron" directed by Walter Grauman when citing movies that inspired themes or elements in A New Promise. The "trench run" in A New Hope wherein Luke flies his X-wing through a "trench" on the Death Star and destroys the ship was inspired, at least in small-scale part, by the finale of 633 Squadron, which involves several Royal Air Force planes flying at low level up a fjord confronting heavy, ground-based anti-aircraft fire, to set on a manufactory located at the base of operations of a cliff at the coulee's end.
Release
Wary that Star Wars would be beaten out by other summer films, such as Smokey and the Bandit, 20th Century Fox moved the release appointment to Wednesday before Memorial Day: May 25, 1977. However, few theaters ordered the film to exist shown. In response, 20th Century Play tricks demanded that theaters order Star Wars if they wanted an eagerly anticipated movie based on a best-selling novel titled The Other Side of Midnight.[5] The New York Times published the first advertisements for the film on May 15, merely ten days earlier its premiere.[25]
Star Wars became an instant success upon release; within three weeks, 20th Century Pull a fast one on's stock cost doubled to a tape high. Before 1977, 20th Century Fox's greatest annual profits were $37,000,000; in 1977, the company earned $79,000,000. Although the motion picture's cultural neutrality helped it to gain international success, Ladd became anxious during the premiere in Nihon. Later the screening, the audience was silent, leading Ladd, Jr. to fearfulness that the film would be unsuccessful. He was later on told that, in Nihon, silence was the greatest honor to a film. Meanwhile, thousands attended a ceremony at Grauman'southward Chinese Theater, where C-3PO, R2-D2 and Darth Vader placed their footprints in the theater's forecourt.[5]
During the picture show'south original theatrical run, there were a number of at present-iconic idiot box promotions:
- A re-creation of the cantina gear up for The Richard Pryor Evidence (September 13, 1977)
- The Making of Star Wars TV special (September 16, 1977)
- A Star Wars–themed Donnie and Marie episode (September 23, 1977)
- Mark Hamill on The Bob Hope All Star Christmas Comedy Special (December xix, 1977)
- Bill Murray's "Nick The Lounge Vocalizer" singing the Star Wars Main Theme on Sat Dark Live (January 28, 1978)
- The Star Wars Holiday Special (November 17, 1978)[26]
- Carrie Fisher on Sabbatum Night Live (November 18, 1978)
Merchandise
Charles Lippincott was hired by Lucas' production company, Lucasfilm Ltd., equally marketing director for Star Wars. Because 20th Century Fox gave piddling support for marketing beyond licensing T-shirts and posters, Lippincott was forced to expect elsewhere. He secured deals with Stan Lee, Roy Thomas and Marvel Comics for a comic book adaptation and with Del Rey Books for a novelization. Although Star Wars merchandise was available to enthusiastic children upon release, only Kenner Toys—who believed that the movie would be unsuccessful—had accepted Lippincott's licensing offers. Kenner responded to the sudden demand for toys by selling boxed vouchers in its "empty box" Christmas campaign; these vouchers could be redeemed for the toys in March 1978.[5]
The novelization of the pic was published in December 1976, six months before the moving-picture show was released. The credited author was George Lucas, simply the book was revealed to take been ghostwritten by Alan Dean Foster, who later wrote the first Expanded Universe novel, Splinter of the Mind's Eye. The book was first published as Star Wars: From the Adventures of Luke Skywalker; later editions were titled but Star Wars and, afterwards, Star Wars Episode IV: A New Hope, to reflect the retitling of the motion picture. Certain scenes deleted from the picture (and afterward restored or archived in DVD bonus features) were present in the novel, such as Luke at Tosche Station with Biggs and the encounter between Han and Jabba in Docking Bay 94. Other deleted scenes from the flick, such as a shut-upwards of a stormtrooper riding on a Dewback, were included in a photo insert added to later printings of the volume. Smaller details were also inverse; for example, in the Expiry Star assault, Luke'south callsign is Blue Five instead of Red V every bit in the motion-picture show. Lippincott secured the deal with Del Rey Books to publish the novelization in November 1976. By February 1977, a one-half million copies had been sold.[5]
A radio drama adaptation of the flick was written by Brian Daley, directed past John Madden, and produced for and broadcast on the American National Public Radio network in 1981. The adaptation received cooperation from George Lucas, who donated the rights to NPR. John Williams' music and Ben Burtt's audio blueprint were retained for the bear witness; Marker Hamill (Luke Skywalker) and Anthony Daniels (C-3PO) reprised their roles as well. The radio drama featured scenes not seen in the last cut of the film, such as Luke Skywalker's ascertainment of the space battle above Tatooine through binoculars, a skyhopper race, and Darth Vader'southward interrogation of Princess Leia. In terms of Star Wars canon, the radio drama is given the highest designation, G-catechism.[27]
Over the years, several comic adaptations of the picture show have been produced:
- Marvel Comics launched their Star Wars series with a half-dozen-part adaptation of the film written by Roy Thomas and illustrated by Howard Chaykin.
- In 1978, Al Williamson worked on an adaptation in comic strip class that was never released.
- Concurrently with the release of the 1997 Special Edition, Dark Horse Comics released a new four-part adaptation written by Bruce Jones and illustrated by Eduardo Barreto.
- A manga adaptation illustrated by Hisao Tamaki was released in Nippon in 1997 and in the United States in 1998.
Re-releases
The film was originally released every bit—and consequently often called—Star Wars, without Episode IV or the subtitle A New Promise. The 1980 sequel, Star Wars: Episode Five The Empire Strikes Dorsum, featured the episode number and subtitle in the opening crawl. When the original moving picture was re-released on April 10, 1981, Episode IV: A New Hope was added above the original opening crawl.[28] Although Lucas claims that only six films were ever planned, representatives of Lucasfilm discussed plans for nine or 12 possible films in early interviews.[29] The film was re-released theatrically in 1978, 1979, 1981, 1982, and 1997.
Official poster for A New Hope Special Edition release
Afterward ILM used computer generated effects for Steven Spielberg's Jurassic Park, Lucas concluded that digital engineering science had defenseless up to his original vision for Star Wars.[v] Equally part of Star Wars ' 20th anniversary celebration in 1997, A New Hope was digitally remastered and re-released to theaters, along with The Empire Strikes Back and Render of the Jedi, nether the campaign title The Star Wars Trilogy: Special Edition. The Special Edition versions contained visual shots and scenes that were unachievable in the original release due to financial, technological, and time restraints; one such scene involved a meeting between Han Solo and Jabba the Hutt.[five] Although almost changes were minor or cosmetic in nature, some fans believe that Lucas degraded the movie with the additions.[xxx] For instance, a controversial alter in which Greedo shoots commencement when confronting Han Solo has inspired T-shirts brandishing the phrase "Han shot outset."[31]
Home video
A New Hope was released on DVD on September 21, 2004 in a box fix with The Empire Strikes Back, Render of the Jedi, and a bonus disc of supplemental cloth. The movies were digitally restored and remastered, and more changes were made by George Lucas.
The DVD features a commentary track from George Lucas, Ben Burtt, Dennis Muren, and Carrie Fisher. The bonus disc contains the documentary Empire of Dreams: The Story of the Star Wars Trilogy, three featurettes, teaser and theatrical trailers, TV spots, however galleries, an sectional preview of Star Wars: Episode Iii Revenge of the Sith, a playable Xbox demo of the LucasArts game Star Wars: Battlefront, and a "Making Of" documentary on the Episode III video game. The set was reissued in December 2005 as part of a iii-disc "express edition" boxed set without the bonus disc.
The trilogy was re-released on split up two-disc Limited Edition DVD sets from September 12, 2006 to December 31, 2006; the original versions of the films were added as bonus material. Controversy surrounded the release (often referred to as "George's original unaltered trilogy", or "GOUT" for short) because the so-called "unaltered" versions were from the 1993 non-anamorphic laserdisc masters, and were not re-transferred to modern DVD standards.[32]
Information technology was re-released in the Blu-ray format on September xvi, 2011.[33]
On Apr 7, 2015, the Walt Disney Studios, 20th Century Play a joke on, and Lucasfilm jointly announced the digital releases of the half dozen released Star Wars films. Play tricks released A New Hope for digital download on April 10, 2015 (while Disney released the other five films).[34]
Despite the Walt Disney Company'south 2012 purchase of Lucasfilm Ltd. and the release rights to all futurity Star Wars films, Pull a fast one on was to retain original distribution rights to A New Promise, which they co-produced and co-financed, in perpetuity in all media worldwide. Fob was also to retain theatrical, nontheatrical, and home video rights worldwide for the franchise's v subsequent films, which Lucasfilm produced and financed independently, through May 2020, at which fourth dimension buying was to transfer to Disney. This complex relationship between Fox and Disney, specially in regards to Trick's perpetual rights to Episode Iv, was to create an obstacle for whatever hereafter boxed set up comprising all 9 films.[35] On December 14, 2017, The Walt Disney Company announced that it was acquiring most of Fob'south parent visitor, 21st Century Fox, including the picture show studio and all distribution rights to A New Hope.[36] On March xx, 2019, the bargain was officially completed.[37] On Apr 12, 2019, a Blu-ray box prepare containing the ix main installments of the Star Wars saga remastered in 4K was reportedly announced to be in development for a 2020 release.[38]
Reception
Star Wars debuted on May 25, 1977 in 32 theaters, and proceeded to break house records, effectively becoming ane of the commencement blockbuster films.[39] It remains one of the well-nigh financially successful films of all time. Some of the bandage and coiffure noted lines of people stretching effectually theaters every bit they collection by. Even technical crew members, such as model makers, were asked for autographs, and cast members became instant household names.[5] The film's original total U.S. gross came to $307,263,857, and it earned $6,806,951 during its get-go weekend in wide release. Lucas claimed that he had spent about of the release day in a audio studio in Los Angeles. When he went out for lunch with his and then-wife Marcia, they encountered a long queue of people along the sidewalks leading to Mann's Chinese Theater, waiting to see Star Wars.[19] The moving-picture show became the highest-grossing film of 1977 and the highest-grossing film of all fourth dimension until Eastward.T. The Extra-Terrestrial bankrupt that tape in 1982. (With subsequent re-releases, Star Wars reclaimed the title, but lost it again to James Cameron's 1997 blockbuster Titanic.) The picture earned $797,900,000 worldwide, making information technology the start film to reach the $300 million marking.[twoscore] Adjusted for inflation it is the second highest grossing picture of all time in the U.s., behind Gone with the Wind.[41]
The New York Times described Star Wars: Episode Four A New Hope as "the most cute pic series ever made." Roger Ebert called the moving picture "an out-of-body experience," compared its special furnishings to those of 2001: A Space Odyssey, and opined that the truthful force of the film was its "pure narrative."[42] Vincent Canby chosen the picture show "the movie that'southward going to entertain a lot of gimmicky folk who accept a soft spot for the virtually ritualized manners of comic-book adventure."[43] Pauline Kael of The New Yorker criticized the picture show, stating that "in that location'south no breather in the flick, no lyricism," and that it had no "emotional grip."[44] Jonathon Rosenbaum of the Chicago Reader stated, "None of these characters has whatever depth, and they're all treated like the fanciful props and settings!"[45] Peter Keough of the Boston Phoenix said, "Star Wars is a junkyard of cinematic gimcracks not unlike the Jawas' heap of purloined, discarded, barely functioning droids."[46] Stanley Kauffmann of The New Republic as well responded negatively, noting, "His work here seems less inventive than in THX 1138."[47] According to rottentomatoes.com, of the 54 critical reviews of the moving picture provided on that site, 51 responded favorably (95% of the reviewers), stating in consensus that "the activeness and special effects are first rate."[47]
In 1989, the U.S. National Pic Registry of the Library of Congress selected the moving picture every bit a "culturally, historically, or aesthetically important" film.[48] In 2006, Lucas' original screenplay was selected past the Writers Guild of America as the 68th greatest of all fourth dimension.[49] The American Picture show Found (or AFI) listed it 15th on a list of the summit 100 films of the 20th century;[fifty] in the UK, a poll created by Channel Four named A New Hope (together with its successor, The Empire Strikes Back) the greatest film of all fourth dimension.[51] The American Film Found has named Star Wars and specific elements of it to several of its "elevation 100 lists" of American cinema, compiled equally a part of the Institute's 100th anniversary celebration. These include the 27th virtually thrilling American film of all fourth dimension;[52] the thirty-ninth most inspirational American film of all-time;[53] Han Solo as the fourteenth greatest American film hero of all time and Obi-Wan Kenobi 30-7th on the same list.[54] The often repeated line "May the Force be with you" was ranked every bit the eighth greatest quote in American film history.[55] John Williams' score was ranked every bit the greatest American film score of all time.[56]
Star Wars won multiple awards at the 1978 University Awards, including Best Art Direction-Fix Ornamentation, which went to John Barry, Norman Reynolds, Leslie Dilley and Roger Christian. Best Costume Pattern was awarded to John Mollo; Best Film Editing went to Paul Hirsch, Marcia Lucas and Richard Chew; John Stears, John Dykstra, Richard Edlund, Grant McCune and Robert Blalack all received awards for Best Effects, Visual Effects. John Williams was awarded his 3rd Oscar for Best Music, Original Score; the Best Audio went to Don MacDougall, Ray Westward, Bob Minkler and Derek Ball; and a Special Achievement for sound effects went to Ben Burtt. Additional nominations included Alec Guinness for Best Actor in a Supporting Part, George Lucas for All-time Screenplay and All-time Manager, and Gary Kurtz was nominated for his producing duties in All-time Flick. At the Gilded Earth awards, the film was nominated for All-time Motion Picture - Drama, Best Director, Best Supporting Actor (Alec Guinness), and Best Score. It simply won the accolade for Best Score. It received half-dozen BAFTA nominations: All-time Film, All-time Editing, All-time Costume, Best Production/Fine art Design, Best Sound, and All-time Score; the film won in the latter two categories. John Williams' soundtrack album won the Grammy accolade for Best Album of an original score for a motion movie or television set program, and the film was awarded the Hugo Award for Best Dramatic Presentation. In 1997, the MTV Movie Awards awarded Chewbacca the lifetime achievement award for his work in the Star Wars trilogy.[source?]
Originally, if the film did poorly at the box office, Lucas planned to turn the novel Splinter of the Mind's Eye into a low-upkeep sequel to the moving-picture show. According to an interview with Alan Dean Foster in Empire magazine, the book was written to be filmed as a low-budget sequel if Star Wars was not a huge success. Harrison Ford was not signed for the sequel as of the writing of the book, which is why Han Solo does non appear in the novel. Nevertheless, with the success of A New Hope, Lucas was free to brand The Empire Strikes Back.[source?]
Deleted scenes
There are many brusque alternate takes throughout Star Wars where Luke appears in his poncho: Luke in the desert, in the Tusken Raiders' canyon, Luke finding the destroyed homestead, and in the hangar on Yavin four. The but poncho scenes that made the final cut were in Docking Bay 94, on the Millennium Falcon flying from the Death Star, and on arrival on Yavin 4.
Aunt Beru's Bluish Milk
Beru is in the homestead, pouring a blue liquid into a jug.
Luke in the Desert
Luke with his macrobinoculars
Luke Skywalker is in the Tatooine desert repairing a wet vaporator, assisted past a Treadwell droid, when he notices shining objects in the sky. With his macrobinoculars Luke sees two ships engaged in combat across the atmosphere. He jumps into his landspeeder. The malfunctioning Treadwell blows a fuse and is unable to follow. Luke speeds off into the desert to find his friends. The scene originally occurred after the Tantive IV is boarded, only before Darth Vader'southward start appearance in the film. It is thought that at that place is no longer whatsoever articulate footage of this scene available. Existing footage has been degraded by poor film storage weather over the years. Before the picture show was cut, this was the audition's start sight of the young Luke Skywalker, much earlier than in the final cut. It was removed along with subsequent scenes of Luke and his friends in Anchorhead. George Lucas had originally written the scenes and shot them at the suggestion of his manufacture friends who thought that audiences wouldn't understand the story strictly being told from a droid'southward point of view. Upon realizing that the story was really about the droids' adventures and it was them leading things to Luke and Obi-Wan, etc. Lucas took the footage out.
Tosche Station
Luke's landspeeder races into the town of Anchorhead, nearly running over an old woman. Luke rushes into Tosche Station excitedly telling his friends about the battle above their planet. He is overjoyed to be reunited with his friend Biggs Darklighter who is on planet leave from the University. Deak, Windy, Camie, Fixer and Biggs all follow Luke outside to encounter the boxing with Luke's macrobinoculars. The battle appears to accept ended and Luke's friends ridicule him for making it all upwardly. This scene was to come up just later on R2-D2 and C-3PO eject from the Tantive IV in an escape pod, and before the scene where Princess Leia is led captive before Darth Vader. This scene establishes Luke's difficult relationships with his peers, and gives a picture of life on Tatooine. Storyline pacing may accept been the deciding gene, simply it should also be borne in mind that subsequently Lucas'south first screening of the rough cut of Star Wars in 1977, a swain filmmaker jokingly accused him of producing "American Graffiti in space." This jibe probably influenced Lucas to cut the scenes set up in Anchorhead. The sequence where Luke nigh runs down an old adult female was an furnishings shot that was never completed.
Luke and Biggs
Luke says goodbye to Biggs
This scene is a conversation between Luke and his oldest friend, Biggs Darklighter. Biggs has left Tatooine and is on planet leave from the Royal University where he is preparation to exist a space airplane pilot. Luke's envy of Biggs's success conflicts with his duty to his uncle and his reasons for remaining on Tatooine. Biggs quietly tells Luke that he has decided to bring together the Rebellion against the Empire. In a tense and emotional conversation, the ii young men say their final farewells. This scene was to come in between the scene where C-3PO spots a distant Jawa sandcrawler in the desert, and the capture of R2-D2 by the Jawas in the canyon. The Luke and Biggs sequence was part of the whole Anchorhead backstory on Tatooine, and was cut along with the other early scenes on Tatooine, probably for reasons of story pacing.
Vader and Chief Bast
In this short scene, Darth Vader and Chief Bast walk along a corridor on the Decease Star. Bast reports that the search for the missing droids has extended to Mos Eisley spaceport. Vader observes that Princess Leia is resisting interrogation, and Bast boldly criticizes Tarkin'southward plan to break her as "foolish." The scene would have appeared between the scene where Han Solo encounters Jabba the Hutt in Docking Bay 94 (also cut), and the scene where Luke and Ben find the Millennium Falcon in Docking Bay 94.
The Search for R2
C-3PO pilots the landspeeder
R2-D2 has absconded from his new primary, Luke Skywalker. Early on in the morning, Luke and Threepio rush off in the landspeeder to search for R2, with Threepio driving the landspeeder. They talk near Artoo, Ben Kenobi, and how aroused Uncle Owen is going to be. The scene belongs at the first of the sequence where Luke and 3PO search for R2, before the set on of the Tusken Raiders. The moment was scored with a low-cal version of Luke's theme; the music tin be heard at the beginning of the cue "Land of the Sand People" on the original LP and CD configurations, or "Landspeeder Search" in the Special Edition album. Before the days of CGI, scenes similar this landspeeder cockpit sequence had to be filmed confronting a rear-projection screen. The scene was dropped due to poor quality.
Stormtrooper Search
Various alien creatures are seen walking around a narrow street in Mos Eisley, and some Stormtroopers walk past.
Darth Vader widens the Search
This is a scene with Darth Vader and another Imperial officer on the Death Star.
Credits
Appearances
Sources
Notes and references
External links
Source: https://starwars.fandom.com/wiki/Star_Wars:_Episode_IV_A_New_Hope
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