hile we're all enjoying the re-release of the Star Wars trilogy in theaters across the country over the next few months, let's consider some issues that have erupted as a result.
Not only has Writer/Director George Lucas (and his intrepid band of visual magicians) gone back to the original negative of Star Wars and restored it for optimal theatrical screen presentation, he has also reworked 100 to 150 special effects shots and restored a scene or two, thus extending the film's running time by about four minutes.
The Empire Strikes Back and Return of the Jedi are also undergoing some buffing, but not as extensively as Star Wars, because this was the film that Lucas felt needed the most work. It was, after all, made for only $10 million in 1976.
The controversy
The controversy revolves around the addition of new special effects and images to a film that we all know by heart, right down to the dialogue. For example, in the special edition Star Wars, Han Solo encounters Jabba the Hutt -- a scene that was filmed for the original but cut before the movie was released because Lucas couldn't afford the cost of making Jabba.
One view among fans is that film is forever, so leave Star Wars alone and just re-release it the way we remember it. Reworking it won't necessarily make it better, and it will be confusing to have two different versions floating around. Was that weird animal in the background or not? The original edition contradicts the new version!
Another camp says "Hey! It's George's film! He can do what he wants! We'll get a chance to see some new special effects and unseen footage. It'll bring something fresh to the movie!"
While acknowledging that alternate versions of feature films today are not uncommon, and in fact are sold as premium editions on laser discs for die-hard collectors, Lucas's special edition films are a unique situation that can set a dangerous precedent. Yes, there are director's cuts to The Abyss, Aliens and, of course, Terminator 2: Judgment Day. Yes, sometimes we see extended footage added for television broadcasts of Back to the Future, Dune or Star Trek II. But all of the above are merely restoring existing footage to make a film longer.
A bold initiative
Lucas's bold initiative to go back 20 years after the fact and "fine tune" his crown jewels for a new generation to discover on the big screen is certainly exciting, because it gives us an opportunity to explore that universe a little deeper. But he opens a Pandora's box that could spell disaster for the way other classic films are treated.
The revamped Star Wars's astounding $36.5 million take over its opening weekend will encourage a lot of studio chiefs to look upon this event as the license to examine their libraries and ask, "What classic film can we improve on with today's special effects?"
Imagine the horror of film purists everywhere if the current owner of the 1956 film Forbidden Planet decided to strike a new negative and say, "Great! Now we show all the unseen depths of the Krell chambers!" No. Nein. Nyet.
Restorations and special editions of a classic -- or any film -- should be reserved in the honor of the filmmaker, not whoever happens to own the property at the moment. So, if Steven Spielberg wants to rework Close Encounters of the Third Kind -- sure! If David Lean wants to fine tune a restoration of his magnum opus, Lawrence of Arabia -- wonderful! (And both filmmakers have, of course, done that.)
But no one should touch a single frame of film in order to "restore" or "rework" if the directors who made the movies are not available or are opposed to such a project. That George Lucas has decided to go back and create a special edition of his galactic trilogy, therefore, should be fully supported. It's his vision. Let his vision come forth. But if someone decided to do this for the 40th anniversary of Star Wars without Lucas or the consent of his estate, then we're in trouble.
Frank Garcia is a journalist who writes entertainment, business and
computing features. He's a 10-year freelance veteran of Starlog magazine and has recently completed -- with his partner Mark Phillips -- a book on the history of science fiction televisions series from 1959-1989.
