The Force That Drives: The Narrative in New Hollywood Cinema The Star Wars franchise has arguably proven to be the most profitable movie franchise in all of cinematic history. Through the extensive franchise that ranges from t-shirts to coloring books, Star Wars has managed to accomplish what few other blockbuster movies have: keeping its narrative alive, even after the end credits have rolled. By creating novelized versions of the movie, Star Wars has succeeded in extending its narrative and fictional universe in ways normal cinematic storytelling could never hope to accomplish. Even though the novelizations are not crucial for the understanding of a singular movie, the novels provide the reader with an in-depth look at the history of the Star Wars universe and its secondary, and sometimes tertiary, characters. Due to the expanded stories, Coruscant and Dagobah become more than a backdrop for a lightsaber fight between Luke and Darth Vader, but turn into actual planets that contain a thriving, fictionalized history and a reader can learn about and become acquainted with. While the opening frame in Star Wars asks one to suspend their disbeliefs and become entrenched in the fictional tale from "a long time ago in a galaxy far, far away", the franchise roots a reader in an imaginary history that is continually being updated. In short, while the plotlines that are created for the ‘blockbuster movie’ in New Hollywood cinema become individual films in their own right, the New Hollywood format of storytelling ensures that standalone narratives never stand alone. To begin, critiques of the New Hollywood claim that storytelling has become obsolete in favor of overly saturated special effects and flashy, action sequences. Thomas Schantz defines the New Hollywood blockbuster as "a ‘pre-sold’ spectacle… with top stars, an excessive budget, a sprawling story and state-of-the-art production values" (11). It is due to all the glitz and glamour of the blockbuster, that Schantz argues that the blockbuster narrative has, "been reduced and stylized to a point where, for some observers, it scarcely even qualifies as a narrative" (33). Schantz further quotes Richard Schickel and says, "Hollywood seems to have lost of abandoned the art of narrative… [filmmakers] are generally not refining stories a all, they are spicing up ‘concepts’" (33). While there is no denying that blockbuster movies heavily rely on lengthy action sequences that are drenched in special effects, to say that they lack or have "abandoned the art" of narrative, is a stretch (33). Schantz continues his argument by claiming that one cannot look at a New Hollywood film as a singular, fluid movie, but as a series of scenes that are loosely connected by the outrageous and over the top action scenes (33). Yet, what Schantz overlooks is the depth to which the blockbuster films ‘sprawl’. When looking at blockbusters like the Star Wars trilogy, one must look at all three individual films, as one continuous film. The narrative from Star Wars: Episode IV: A New Hope is not contained in that one singular movie, but sprawls across Episode V: The Empire Strikes Back and Episode VI: The Return of the Jedi as well as all the tie-in novels and memorabilia. Moreover, Schantz claims that, "Star Wars is so fast-paced… and resolutely plot-driven that character depth and development are scarcely on the narrative agenda" (23). Yet, diehard Star Wars fans will disagree and quickly point out the gradual maturity of the young hero, Luke Skywalker, as he struggles with the knowledge and epic responsibility of mastering the mystical Force and freeing the rebels from the tyranny of the evil Lord Vader. Luke becomes a perfect example of a blockbuster character. During Episode IV: A New Hope, Luke’s youthful rebellion and somewhat whiny nature reflected the youth market that Star Wars was aiming for and ultimately achieved (Schantz 15). Luke begins his journey as a brash teenager and through the twists and turns of the trilogy, grows up to become a levelheaded and skilled Jedi Master. In a sense, Luke is the stereotyped teenage character, as well as a role model for responsibility and maturity. From his eagerness to help the rebels and save Leia in Episode IV: A New Hope, to his crushing defeat and revelation at the hands of Darth Vader in Episode V: The Empire Strikes Back, to his triumphant defeat of the Empire in Episode VI: The Return of the Jedi, Luke becomes a fully developed character. With that being said, the level to which Luke’s character is developed could never be contained in one film. While it realistically takes years for a child to mature, Star Wars spends films maturing its characters at a steady rate that does not become contrived or clichéd. While one singular film offers just a fraction of character growth, the combined trilogy presents fully aged and wizened characters that are still iconic, even thirty years later. As well, Schantz asserts that there is a "lack of complex … plot in Star Wars" (23). Star Wars, if anything, is one of the most complicated movies ever created. The universe in which Star Wars exists is so intricate and vast that it required three more movies, twenty year later, and an entire series of novelizations to fully elaborate on even the most offhanded remarks. In Episode IV: A New Hope, there is a brief reference to the Clone Wars that have taken place years before. To the average moviegoer, the comment goes unnoticed and the narrative continues. Yet, to the Star Wars fan, the Clone Wars signify over fifty separate attacks that primarily occurred on twenty-three of the major planets in the Star Wars universe. In later years, the Clone Wars will develop into the second installment (or episode) of the Star Wars franchise, as well as a highly popular cartoon that depicts a more comprehensively telling of the wars. Furthermore, the amount of detail that goes into creating the novelization versions of Star Wars rival those of most high-school history books. The novelizations themselves offer a privileged look into the characters that are not even mentioned in the original Star Wars trilogy, yet play a pivotal role in shaping the outcome of the series. These characters, like Count Dooku or Qui-Gon Jinn, exist solely to the Star Wars fans, but not the general movie going audience. Much like any event in history, the plethora of information and extensive details that go into even the smallest of actions, in say, a World War, become whitewashed and forgotten by the general public. With Star Wars, the sense of profundity that is required to create the multiple universes that exist can only be truly appreciated by the fans that buy into the merchandizing franchise and purchase the novels. Overall, the cinematic experience is enhanced by the franchise. Like most American history, it does not irrevocably alters ones life if they do not know Martin Van Buren’s nickname was Old Kinderhook, but the fact alone that Star Wars has the same sense of extensive history as North America, goes to show just how complex the plot truly is. Finally, Schantz further describes the blockbuster narrative as, "precise and effectively pace, with each stage building to a climactic peak, then dissipating, then building again until the explosive finale" (19). This point ties into Warren Buckland’s point that blockbuster cinema can be read as "episodic narratives" (167). For Schantz, the one of the main faults of the blockbuster is the highly stylized, ‘all action/no substance’, method of propelling a plot. However, Buckland wishes to disavow the commonly held notion that "complex character traits and character development…have been replaced by one-dimensional stereotypes, and plot-lines are now devised almost solely to link one action sequence to the next" (167). As Buckland compares, blockbusters spread their narratives out over the course of several movies, much like a television series (169). While individual episodes are entertaining, the final episode of a television season ties together loose ends while simultaneously setting up the plotline for the next season – exactly like the Star Wars franchise. Buckland claims that it is in the dissection of the individual ‘episodes’ that the true narrative of the blockbuster is revealed (171-72). The intricate action sequences that Schantz condemns blockbusters for relying on, according to Buckland, work coherently with the plot, emphasizing the characterization and drive the movie forward. First and foremost, Buckland states that New Hollywood narratives "transcends individual episodes, and is dependent for its very existence on the presence of a feature-length story…we think of narrative as a ‘process of integration’ in which smaller units, like episodes and scenes, are absorbed into, and generate, larger patterns" (172). This is the quintessential argument for blockbuster cinema’s never-ending ‘sprawling’. By expanding a story over several movies, directors are allowed to add in elaborate details to individual movies, knowing there is leeway in the story arc. Star Wars focuses on many different plots at any given time and often cuts back and forth between characters very quickly. The quick scene changes act as a way in which filmmakers continually remind the audience of the multiple storylines that are taking place at the same time. In Episode V: The Empire Strikes Back, Han, Leia, Chewbacca and C-3PO escape rebel headquarters in the Millennium Falcon after Imperial walkers destroy the rebel army. Once in space, Darth Vader tells Stardestroyers to obliterate the Millennium Falcon. During this time, Luke is traveling to Dagobah with R2-D2 to train with the infamous Jedi Master, Yoda. For the entire duration of Luke’s journey from Hoth to Dagobah, Han and his crew are evading Stardestroyers by entering a deadly asteroid field. But, before the audience can settle with the Millennium Falcon storyline, the camera cuts back to Luke and R2-D2 who have landed on the Dagobah and begin their quest to find Yoda. Both plotlines are incredibly crucial to the overall plot, for on Dagobah with Yoda, Luke begins his training to become a Jedi Master and after narrowly escaping the asteroid field, Han has to seek refuge in Cloud City where he will be ultimately betrayed by Lando Calrissian and frozen in carbonite. Both plotlines play pivotal roles in Episode VI: The Return of the Jedi, as well as being an example of how action plays into narrative. Also, Buckland maintains that plot lines are not "devised almost solely to link one action sequence to the next" (167). Buckland claims, "a single plot-line" links the "antagonistic relationship between the hero … and the villain" … and links each of the seemingly unconnected actions sequences together (172). In Episode V: The Empire Strikes Back, this idea is captured in the heroic showdown between Darth Vader and Luke Skywalker. For the first time, the hero, Luke, comes face to face with the villain, Darth Vader, and they engage in a lightsaber fight. Throughout the action sequence, Darth Vader tempts Luke to join the Dark Side, promising him power unlike which he has ever seen. Luke, up to this point, is fighting to avenge the death of his father, which Obi-Wan mentioned in Episode IV: A New Hope. Buckland furthermore says that with "the spectacular rendering of [a] fight, the scene is replete with narrative interest and significance" (174). In a climactic test of his character, Luke refuses the Dark Side, and vows to defeat Darth Vader while continuing their lightsaber battle. It is during this action scene that one of the most crucial pieces of information concerning the Star Wars universe is revealed: Darth Vader is Luke’s father. Suddenly, with devastating revelation that Luke’s greatest enemy is the father he thought lost to him, the Star Wars universe feels tighter and more intricate. The dramatic tension is only furthered when Darth Vader cuts off Luke’s hand and Luke seemingly plummets to his death. Of all the twists that are revealed in the Star Wars saga, Darth Vader’s admission to Luke is without a doubt the crowing glory and happened during one of the most memorable action sequences from the trilogy. Additionally, Darth Vader’s revelation not only impacts the current movie, but Episode VI: Return of the Jedi, as well as placing a different weight on Episode IV: A New Hope when re-watching. The ways in which the narratives all intertwine become clear in hindsight and seep into each other like one fluid, if not very long, movie. For the most part, blockbuster cinema does what few movies can. By engaging the audience in a movie’s history and emotionally involving them with the characters, blockbuster cinema proves to be a complex and incredibly successful method of filmmaking. The characters become fully rounded, interesting people that audiences can easily associate with and come to love, for if the characters were not likeable, then a film franchise would not be successful. As well, the plots of blockbuster movies are exceedingly multifaceted and appealing narratives that are able to change not only the future of the film’s history, but also alter the way in which audiences look at past films. It becomes impossible to watch Episode IV: A New Hope and not feel the impact of Darth Vader being Luke and Leia’s father. Star Wars, in particular, brilliantly manages to integrate their audience into the narrative while tempting them to the dark side of movie going. Yet, as time as proven, the Force is strong with Star Wars and the multibillion dollar franchise continues to reinvent the way in which blockbusters are viewed.