With the holidays over, let’s ease back into the reviews. Two and a half years ago, Lost In Translation covered the audio drama adaptation of Star Wars. NPR and LucasFilm teamed up two more times, bringing The Empire Strikes Back and Return of the Jedi to radio. Today, we’ll examine the radio adaptation of The Empire Strikes Back.
When Star Wars was released in 1977, it could stand alone. The plot was resolved, though there were a few plot lines still left dangling. The end was satisfying, with the Empire’s planet-killing super-weapon destroyed. Sure, the Empire wasn’t completely defeated, but the Rebellion had struck a major blow against it.
In 1980, The Empire Strikes Back came out. The Rebellion was on the run. The base on the fourth moon of Yavin was known, thanks to Vader escaping after the Death Star’s destruction. The Empire is busy looking for the Rebel Alliance’s headquarters, sending out probe droids to planets in the Outer Regions, a sparsely populated part of the Galaxy Far Far Away that includes Tattooine. The Rebels have started making a new HQ on Hoth, a frozen planet with its own problems like hostile local lifeforms. Then the Imperial probe droid arrives.
The movie can be broken down into X main parts. The first is on Hoth, ending with the Rebel Alliance fleeing the planet with Empire in pursuit. The characters split up. Luke heads to Dagobah to learn from Yoda, a little green Muppet of great wisdom. Leia, Han, and Chewbacca are chased by Vader, through a dense asteroid belt. While Han, Leia, and Chewbacca try to figure out what’s wrong with the Falcon’s hyperdrive, Luke begins his training. Through shenanigans, the Falcon loses the Imperial pursuit and flies sublight to Cloud City on Bespin, where Han knows the Baron-Administrator, Lando Calrissian.
However, thanks to Boba Fett knowing the same shenanigan that Han used, Vader is alerted to where the Falcon is. Leia, Han, and Chewbacca are taken prisoner to be held to draw Luke out. On Dagobah, Luke’s training is intense as he has to unlearn his bad habits and relearn using the Force. A trip through a tree filled with the Dark Side of the Force warns that Luke may become his worst enemy, replacing Vader. However, he feels the pain of his friends and leaves to Bespin.
On Bespin, Han is handed over to Fett, Leia and Chewbacca make their escape, and Lando shows whose side he really is on. Luke arrives to have a lightsabre fight with Vader, who is trying to turn him to the Dark Side. The major revelation – Vader is Luke’s father – comes out, and Luke sees that there is a way out that doesn’t involve becoming Vader’s apprentice. He lets himself fall through Bespin’s ventilation system. Leia picks him up and the Falcon returns to the Rebel Fleet.
Empire ends with Han in carbonite in the hands of a bounty hunter, Luke missing a hand, the Rebellion on the run without a home. The movie is very much the middle of a trilogy, with the heroes on the edge of disaster, despite the previous win. The movie is also very tight in its plot. Luke has his training and Han and Leia are pursued by the Empire. The film keeps things personal for the characters. There is no massive climactic space battle. The final action scene is the heroes trying to escape.
The audio adaptation brings back Brian Daley to write the script, and the same cast for the returning characters. Mark Hamill and Anthony Daniels again reprise their roles as Luke and 3P0, respectively, and Billy Dee Williams joins the cast to play Lando again. Ann Sachs, Bernard Behrens, Perry King, and Brock Peters are back, and are joined by new cast members John Lithgow as Yoda, Peter Miachel Goetz as Admiral Ozzel, Gordon Gould as General Veers, Nicholas Kepros as Captain Needa, David Rache as Admiral Piett, Don Scardino as Wedge, and Alan Rosenberg as Boba Fett. The cast is interesting, almost an alternate universe dream cast for the film. John Lithgow at times sounds more like Cookie Monster, another of Frank Oz’s characters, than Yoda when being playful, but takes on the wisdom of the ages when Yoda turns serious.
The radio play starts earlier than the film, with the ambush of a Rebel convoy protected by Renegade Flight by the Empire, ending with the complete destruction of all fighters and freighters in the convoy. There’s more depth given to the Imperial officers, including Needa wishing to see some action before the Galactic Civil War is over and a rivalry between Ozzel and Piett. The format does require dialogue to paint the scene. The use of the Force gets narrated by the user. Luke calls his lightsabre to him, and Vader explains that he his channeling his anger when he chokes. Luke destroying an AT-AT single-handed was done through the point-of-view of the Command Centre.
Not all actions were explicitly narrated. Some were handled through an off-comment. One that worked well came from an interchange between the Deck Officer at Echo Base and Han when the latter was trying to find out if Luke had returned despite having 3P0 nattering about the Falcon‘s hyperdrive.
Deck Officer: “Why are you holding your hand over the protocol droid’s mouth?”
Han: “He’s got a cough.”
3P0: muffled complaints
With Luke’s training, Yoda is giving instructions on what to do, which is what is seen in the movie. The sound effects are straight from LucasFilm, with Ben Burtt supervising. Music is John Williams, and like the movie, the soundtrack is part of the storytelling of the audio drama.
Casting is again important. The non-film cast members may not sound exact, but they do have the proper delivery. What helps here is that the cast is familiar with playing the characters already and that they have the movie to work from. Han isn’t as flamboyant this time around, but he is still ready to go off to do what needs to be done, whether it’s paying off Jabba or escaping TIE fighters. Ann Sachs has Leia’s leadership; nothing is going to get in her way if she can help it. Brock Peters brings a new dimension to Vader. Lithgow does sound like Frank Oz, even if he’s not quite on point with Yoda. The character, though, can go from frivolous and curious to serious within the span of a few lines, and Lithgow can keep up with the change.
What does help with the adaptation is that the movie is personal. The plot hangs on the characters. There isn’t much room to branch off, unlike R2 and 3P0’s escapades while waiting for Luke and Ben at the Mos Eisley cantina. There still is added depth, like the Piett-Ozzel rivalry, but that comes from needing dialogue to carry the scene instead of visuals.
The radio adaptation of The Empire Strikes Back puts in an effort to recreate the movie into a medium that lacks the visual spectacle expected from Star Wars. This effort pays off as the radio play still keeps things tight and tense to the end, even when the ending is known.
The Empire Strikes Back getting the Shakespeare treatment.
William Shakespeare’s Star Wars did well enough to get the next movie adapted the same way. An educator’s guide is also available.
Neil Gaiman updates on American Gods TV series.
HBO is out. Freemantle Media is in. No network has been announced. From the same journal post, Anansi Boys will be made into a TV miniseries for the BBC.
Help put clues together with Sherlock LEGO.
LEGO is still reviewing the idea, but a set of Sherlock minifigs are making their way through the review process. Other sets being considered are the Macross VF-1 Valkyrie and a Back to the Future DeLorean.
Barbarella TV series sets up at Amazon Studios.
A pilot script has been written and is now waiting for a showrunner. Amazon Studios is run by the online bookseller. Gaumont International Television, the producing company, is also involved with NBC’s Hannibal and Netflix’s Hemlock Grove.
Gal Gadot to play Wonder Woman in three films.
Besides appearing in Batman Vs Superman, Wonder Woman will appear in two other movies, so far unnamed. Ideally, one of the other two movies will be a Wonder Woman movie, but this is Warner, who can shoot their own foot at a hundred paces.
Transporter: The Series to air in US in fall.
This slipped right by me. Season two of the series, based on the Transporter movies, begins filming in February.
The Astronaut Wives Club gets ten episode summer run.
Based on the book of the same name by Lily Koppel, ABC will be airing the drama over the summer. Both the book and the series follows the lives of the women who were suddenly elevated after their astronaut husbands on Project Mercury made history as the first Americans in space.
Redshirts to become a limited TV series.
John Scalzi’s Redshirts is being adapted by FX as a limited series. Casting has not started yet. It’ll be interesting to see how the novel is adapted.
Black Widow solo movie in the works.
The Marvel Cinematic Universe keeps going. The Black Widow will be played, again, by Scarlett Johansson. The movie will delve into the background of the character.
Speaking of Marvel… Which studio can use which Marvel character? An infographic.
The surprising one was Namor over at Universal. He started as a Fantastic Four villain, has fought the Avengers, has been an Avenger, and has had his own series. The overlap is Quicksilver and the Scarlet Witch, who are tied heavily to both Avengers and X-Men continuity. Fox could easily commit to a Cable & Deadpool movie, while Power Pack falls under Marvel Studios.
Raving Rabbids to invade silver screen.
Ubisoft has been busy, getting deals to have Assassin’s Creed and Ghost Recon adapted to film. The latest of the efforts is Raving Rabbids, who already have a TV series.
And an update! A month ago, I reviewed the Dragonlance: Dragons of Autumn Twilight animated movie and the problems it had at adapting the original novel. Over at io9 this past week, Lauren Davis posted an argument on why Dragonlance should be the next fantasy franchise to be filmed. She has strong arguments. The only thing that could hold back a new adaptation is the failure of the animated movie. However, if ninety minutes was only enough for a shallow adaptation, two hours isn’t going to be enough time, either. Will people go for a six-movie fantasy series based on three books? Going back, I argued that TV may be better for some works than movies; Dragonlance is definitely one of those works. The television format allows for the development of longer arcs, such as Laurana’s growth from elf lass to military leader.
