A comment on the vinyl release itself, before I go into my revisit of the actual music. I believe it's a timely release. The nostalgic wave of the 90s is going to soon be going out (as have the hopes of many for The Sundays to release new music), so this was a critical time to release an album that was in high demand in the rejuvenated consumer market for the vinyl medium. Reading, Writing, and Arithmetic was given a successful 2024 re-release, so I suppose fans are now waiting on a Static & Silence re-issue? The albums playback has been relatively well received but by comparison to my 1992 pressing I feel the original pressing better captures the dynamics of the record. Some criticism has been poor care shown in the factory packaging (or dodgy logistics handling in some cases which is just 3PL risk) with many collectors having the misfortune of damage to the album artwork sleeves. Only a few users appear to have found the playback on some copies not up to standard, but I had no dissatisfaction with mine, even with an original pressing to compare it to.

The variations of the 2025 release to the 1992 original is two-vinyl's with "gold nugget" splash finish, a physically heavier vinyl, and a more refined cardboard album sleeve. The original was a slim fit sleeve, and a single, lighter, black vinyl LP which makes for a less disruptive listen for me with less record flipping. The lyric sheet is still enclosed, with one major difference being the addition of "Wild Horses" which closes the listening experience - a decision that was made many years back now for the USA compact-disc (CD) release to have it as a bonus track. I became used to the original album release which excludes this cover track, so it still presents itself as a slight surprise on listen. The quality on playback is just fine, and I was still able to quite happily get lost in the dynamics I've grown to adore from the musicianship of the band.

My favourite medium to listen to the album is actually, believe it or not, cassette. There's something I love about the hiss of a playback and on my system the low-end stands out so the rhythm sections get highlighted - notably the bass guitar. The vinyl captures better clarity of The Sundays "jangle-pop" high-end delights, so understandably cassette doesn't capture those overall dynamics The Sundays crafted in their music.

So, why is Blind my favourite from The Sundays?

Much like The Empire Strikes Back was my favourite movie of the Star Wars trilogy - I like the darker more menacing sequel, which Blind is. I also admire it if a band can muster up the courage to strike the balance between the sound that delighted their audience with a debut album, but also present a variation in sound by slipping into new enough creative territory - the latter often snuffed by record label personnel. Now in The Sundays case this achievement of theirs on Blind could be tipped as maturity in both lyrical content and creative structural approaches to the songs, notably how the bands dynamical (that word again) interplay around this structural approach. That tip would be correct. It was ambitious, and the more melancholic tone to it is perfect to me, knowing music history will often show you that a pop or rock groups follow up album is usually met with creatively stifling pressures, especially during the era of record label return-on-investment analysis with sometimes very big rosters of bands, largely held together by one or two anchor artists. This commonly lead to poor album sales, and "creative differences" burying many a band into the musical graveyard. Time is not a luxury bands typically have in a follow up, and while The Sundays by contrast had time due to label issues following the bankruptcy of Rough Trade Records during 1991, one year after their debut, there was still a big pressure the lack of a label, then shopping for one would have posed - all the while trying to write a new album. This would have been hard too knowing they'd had many label options on the table for their debut. Hindsight burden? The result of all the above is the actual environment surrounding Blind’s creative space. Far from utopia for a group where music really was the centrepiece. It would have all been far from ideal, so the "vibe" on Blind is appropriate as “darker”. Even the tour to promote the album once it was released was noted as being cut short due to members of the band suffering from home-sickness and the intensity of the prior 3-4 years taking its toll. Fans would wait even longer for 1997s follow-up, Static & Silence.

During the writing process, the band was able to sign up with Parlophone Records as a launch pad to get a UK release of Blind, and David Geffen records (DGC) for their growing audience of listeners in the USA. The band now had a home to distribute their next album out to the world - who had also been starved of live shows. Pre-internet, therefore pre-social media, magazines and television media were the key to finding out what was happening with a band. The Sundays already established low profile personas, so their slip into the dark well and truly cast speculation if they had disbanded already after just one album which had caught the attention and adoration of many a fan. So no media frenzy or teases? No, the band was just chipping away at a new album under a weight of creative pressure in silence.

So, the band is dealing with business pressures on the record label front, and working out how the hell to follow up a debut album that not only exceeded expectations, but also thrust you into the limelight out of nowhere so quickly that demand has grown out of your control? Well, if you're The Sundays you go into hiding, realise what you cannot control, and do the best a band can do to create an offering that will hopefully not succumb to the second album blues. What you can control.

The Sundays music is written by David Gavurin (guitar) and Harriet Wheeler (vocals). If this is news to you, the unique fact of this dynamic (again, that word) is they are husband and wife - at the time of The Sundays, not married but romantic partners. This relationship extended into their organic love for musical creativity and resulted in them being the core songwriters of the bands catalogue. Paul Brindley (bass) and Patrick "Patch" Hannan completed the line-up with no shortage of artistic delivery on their part, although underrated.

With the song writing falling on Gavurin and Wheeler (as well as band management) it meant added pressure that would have interfered significantly to their more carefree approach to music. An important thing to note about The Sundays too is they were self-described as very slow writers. Partly perfection for song writing itself, and partly the recording process - attention to detail. Gavurin had been vocal during the press-run for Blind that you can't force out songs as that is not how creativity works. The band had two and half years between albums which would have no doubt been laborious between writing and recording. The majority of the studio work took place in North London in early 1992 with Dave Anderson recruited as co-producer and engineer. This collaboration would also occur for 1997’s Static & Silence with Anderson providing musical contributions as well. While low key himself, he is best known for his work with The Fine Young Cannibals and an industry relationship with Andy Cox (guitarist for The Beat and of course The Fine Young Cannibals).
The songs on Blind find a balance between the undercurrent shoe-gaze movement of the early 90s, and the alternative scene at the time, but never venturing into the heaviness of the rock sub-genre. Pop sensibilities remain throughout the 11-track run (excluding "Wild Horses") but a major point of difference from debut to Blind is I always hear the atmospheric delivery. The mix of the album is a big credit to this too.

Heavy layers of reverb and chorus from both Gavurin's VOX amps and small pedal array glisten, swell, and washover his guitar parts. His work truly underpins the aura of Blind, never shying away from texture and creative interplay between his melody delivery matching Wheeler's vocals or his rhythm section of Brindley and Hannan. Then he also takes flight where need be to power the songs to climatic crescendos or elevating the intensity. I’ll comment now on Gavurin’s evolution as a guitarist. On the first album he is marked by critics as the protégé of Johnny Marr as he shines as the signature anchor to The Sundays shimmering sound. On their final album he comes full circle showing his diversity as a guitar player venturing into country and folk styles with ease, his band mates weaving around him with the interplay only The Sundays could do. On Blind, Gavurin finds the middle ground with an evolution following Reading, Writing and Arithmetic, but really conveys the emotion with Blind. Guitar playing needs feel, it needs a balance for the music of The Sundays between simplicity and, at times, detailed layers. Blind was the creative explosion that set The Sundays up to demonstrate continuation of their sound listeners were familiar with, but not to be alienated by. With the link between albums one and two they were then able to finish their career with confidence in a departure in sound for Static & Silence. A lot of this is owed to the guitar performances of Gavurin, and the incredible fortune he had as a song writer in having the one of a kind talent in Wheeler's vocals.

Wheeler's vocals were pulled down in the registry to that of their debut, but she showcases incredible self-control of her talent to sing for the songs, and does a beautiful job in aligning her harmonies to just layer the dynamics (again) that are coming at you. Her swooning vocals create such a phenomenal whimsical feeling that even when the lyrical content herself and Gavurin have penned treads into darker territories of the human condition, it still feels light enough to not drag the "darker feel" Blind offers that could be considered depressing or unnecessarily negative. It's a beautiful balance that is artistically created, and often at times cleverly not overstayed. In many songs Wheeler just hums melodies while her band mates craft passages of music that are so engaging it takes her away from centre-stage for a moment - something their debut album rarely demonstrates. And I mean that positively for the case of Reading, Writing and Arithmetic. Wheeler is the star of the album, and will forever be the focal point of the band. Blind is unlikely to be top ranked by the average punters against the other two bodies of work for this reason that her vocal persona is less front and centre on Blind but, like Gavurin, I believe she hit a sweet spot on Blind.

And lastly the rhythm section. The thing I love most is the departure from an 80s drum sound to a kit that, for the most part where electronic elements are absent, has the sharper cracking sound of a snare drum being hit inside a decaying 90s rehearsal studio, cutting through the cold air of a UK night. The kick drum sound breathes more too. Hannan still relies heavily on 16th note hi-hat work to drive the grooves with clever note placement between his kick, snare, and toms, using a cross-hand techniques with admirable consistency. This is key to ensure the sound of the album feels like it's in that wine barrel from 1992, ageing better than than their debut effort but holding up as something which feels like it's of The Sundays vintage. Yes, Wheeler and Gavurin may hold the key to the sound, but Hannan is the key to a certain feel. And this feel allows Paul Brindley to play with a lot of freedom on bass. Never overplaying, but also crafty as he holds the structures together as his work never interferes in Gavurin or Wheeler creating the memorable melodies or hooks that Blind offers. The Sundays rhythm section rarely gets the mention deserved. I actually liken a reason for Static & Silence being so different a sounding record from the band is due to the contrast in Brindley and Hannan's presence on that album, unlike the way it is showcased on their first two records. The feel was different and that isn't solely due to the departure from the pop-rock style to a folk-country feel. Partly, but not solely. Hannan and Brindley had more presence than many realise and on Blind they're superb in just the right performances.

The musicians covered, what about the music?

The 11-track run has an unpredictable flow to it, yet the aura staying consistent throughout which is something I absolutely love about the album. The feeling it starts with is the feeling that carries you through as the listener, and the emotion conveyed and encapsulated so well from initial listen, to now many, many listens later.
The albums release came in the English autumn, shy of the cold winters that grace the country. October of 1992 came, with "Goodbye" being the debut single to break the bands public silence to build up the release a few months prior.

"Goodbye" is a song that I could really explore writing about from a musicians point of view, as I would argue it is certainly the best composition by The Sundays as the peak of their creative delivery, but maybe even of the 90s decade in the genres they were flirting with. At a run time of 4:46 minutes it is never ever overstayed and I love that the parts that really hit your emotional CPU linger. The track is once again unpredictable. The guitar drives with memorable hooks and a gut-wrenching final crescendo lead guitar melody, and very clever chord changes that heighten the emotion. I actually covered "Goodbye" on the guitar as I was fascinated by Gavurin's ability to craft such a song. Wheeler's performance is sublime and ethereal, especially during her vocal layers of melodic bliss from the 2:40 mark. And Brindley's bass work is just epic - so much low-end that it dips the song sonically into the alternative rock space of the era. Listening to this on cassette his bass work stands out and he does such a solid job structurally grooving and driving the song.

I could write about each song in detail, but why bother? You're better going away and just listening to it yourself.

Go and find the brilliance with a deep listen (and a glass of wine if you will as I have done many a time). That brilliance?

It could be found in the opener "I Feel" - a cool follow on if you listen to Blind back-to-back after hearing "Joy" as the album closer on Reading, Writing and Arithmetic.

The atmospherically haunting guitar/vocal songs "Life and Soul" and "24 Hours" have some of Gavurin's most fascinating guitar performances, and Wheeler filling the musical spaces perfectly - and I mean perfectly as only she could do.

The familiar comforts for fans hearing "Love" showcase the jangle-pop trademark of the band. Some even raise its likeness to the bands hit, "Here's Where the Story Ends".

The trippy shoe-gaze daydream one slips into hearing "On Earth". Listen to the live version - it's actually quite heavy .

The albums strong point is met right in the middle mark with "God Made Me" - a song with captivating intrigue.

"What Do You Think?" is a fun listen which would become a staple in the bands live shows until the end in 1997.

"More" and "Blood On My Hands" fittingly keeps that broody melodic feel of the album burning on Side A and B, with the intangible feel of 1992 being branded into what these two songs capture.

And lastly, "Medicine", a song that has the unpredictability, as each musician pours emotional conviction into their performance, the song itself reaching a soaring finale before fading out - the chorus and reverb quickly decaying. This allows for an immediate moment of quiet reflection for the listener - Blind concluded.

Some things I can't put further into writing without it seeming over the top or too articulative why something feels so special to me, or making a case why a piece of art (subjectively) stands out to as “better”. Yet light-headed, a few glasses of wine down, and enjoying the opportunity to actually just have time just to focus on listening to music, that profile of Blind is still strong and I stand by the way I look on it, and most importantly hear.

The words may give you the reader some idea what makes this album one that is simply brilliant for one or many a reason - but a reason that always strikes me is it is a lovely listen so many years on. An album that ages finely in a barrel from the year 1992 I can continue to extract, sip, taste, and appreciate many years on.

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Artist: The Sundays
Album: Blind
Released 1992
Parlophone and DGC Records. 2025 vinyl re-issue Interscope Records.
Written by David Gavurin and Harriett Wheeler
Vocals: Harriet Wheeler, Guitars: David Gavurin, Bass: Paul Brindley, Drums: Patrick Hannan
Produced by The Sundays and Dave Anderson

Over time as accessibility to music became easier (controversially) to download/obtain through the internet boom, I was able to get bits and pieces of their catalogue after the band was well and truly a graveyard-band by the time I was onto The Adventures of Pete & Pete.

As the nostalgia tide of the 80s era from the late 2000s-to-late-2010s subsided, the 90s nostalgia wave hit late 2010s, and is still at high tide - but I suspect soon to roll on out within the next 3 years.

As this hit, some bands that had largely been forgotten about, or only continued to have some pulse through cult-followings, all of a sudden were getting spoken about amongst wider audiences they previously would have never been exposed to. Say what you will about Spotify but it certainly has brought a lot of music to peoples radars and hearts, and Youtube too. One of the bands to benefit from this wave and wider reach through the internet and its by-product of music streaming has been the Drop Nineteens.

I will dabble more into the bands history if I get around to writing about their debut album Delaware, as the band does have an interestingly fractured history, but for now lets get straight into this album review and why I've given some background to my discovery of their music and the relevance of nostalgia.

The band re-united (with the exception of founding drummer Chris Roof) in 2022, and in late 2023 released their first album in 3 decades titled Half Light. And it was a very credible comeback album, that was not a cheap shot at making a quick buck with the music avoiding any forced creativity. It meant there was good spirit in the music and no hidden agenda. The band also dusted off cobwebs to hit the live music scene in 2024 playing a small series of shows in the USA.

On the back of this triumphant return, Greg Ackell (the groups vocalist and rhythm guitarist) dug out mostly forgotten music that was originally intended to be their debut album. The collective we hear was recorded across two-sessions. Half of the sessions would make up the EP Mayfield, and the rest completing the press-kit demos they'd dispatch in search of a record deal - getting out as far as the United Kingdom's music press.

The reason for these songs never seeing the light of day until now? Simply explained, upon their quickly earned opportunity of signing a record deal (to Caroline records) the demos were intended to be re-recorded/produced for their debut. However, as young ambitious musicians they decided to challenge themselves and write new music from scratch. This decision would create Delaware, and the collection of songs that had formed their initial impressions to get recognition? They were scrapped.

Until 2025.

The band committed to remixing, remastering, and releasing these "forgotten" songs as an album of its own titled, 1991. It is an origins album to the year scribed to the title, and comes at the perfect time for the group and upon an initial listen, a perfect time for yours truly to experience it.

I find the emotion that comes with listening to music that can trigger memories I've lived, or evoke daydreams of memories in moments I've actually never lived, quite overwhelming where I can be taken on a mental trip accompanied by a confronting list of feelings. 1991 did exactly that.

To immerse myself in the listening experience, I received physical copies of 1991 on vinyl and CD. With a new set of headphones I decided to go with the CD for an uninterrupted listen, and slouched back close to my combo cassette/cd/record player and began my listen of 1991. I also wanted to make sure I picked a calm summer evening as the shadows were growing across my backyard and another day in my life was drawing to an end.

When I listened to the bands vinyl re-issue in 2024 of Delaware it included a very detailed and well-written biography of the band that I finished reading as the record finished. It was fitting to read their journey, see it in my mind, as I listened to the album for the first time with an educated perspective on the history of it. For 1991, I just closed my eyes and experienced it as a whole listen and rolled with whatever would come to my mind.

It's surprising given the bands infancy stage how cohesive a listen the music was to me. This reflection of the band perhaps made the effort of bundling it worthwhile, as there is a distinctive sound that flows throughout 1991. All the members were indeed just teenagers, and the textures and approach to the style they were targeting is captured quite organically.

There's songs with shoegaze monotony following steady rhymical patterns as the music swells in and around it, and others with classic layers of reverb and chorus washed together that rinse through your ears making you feel like you're listening to the group playing it live in small rehearsal space track by track. I enjoy that feeling with this music, where there's imperfections in the overall delivery, and a hiss behind the recordings themselves, where it feels like maybe I've discovered a cassette tape by an unknown band - who I will never come to know. My judgement just subsides. There's an innocent approach I can take to the listen. That's also just the era of creating this music, that is how it was done. 1991 gets a massive thumbs up from me that even after whatever mixing and mastering has taken place, it still has that feel. It leads into a listen of Delaware soon after quite fittingly.

Does it have the hooks and immediate pull in songs like "Winona", "Delaware", or "Kick the Tragedy"? Perhaps not as captivating. So one could argue the band did some growth as song-writers following 1991 in the relatively quick creation of Delaware. For those who need a hook, there's definitely moments in tracks that I was quite eager to shoot a repeat listen on. And I do enjoy those "pop" moments in an album when it's hard to recall when it was on initial listen, but the seamless listen does grab you multiple times. It adds to that cohesive quality I wrote about earlier, and means I need to give it another listen. With those relistens an album has another opportunity for songs to grow on you, that on your initial listen maybe you weren't attuned to the emotion it could conjure.

Those songs that grabbed me on initial listen.

"Daymom" has a dreary feel and flow to it which starts the album off. It sets a good indicator on the production you can expect for the rest of the album. It was also one of the stand-alone tracks to be shared as promotion for this bundle. That dreary feel is not criticism either. It's fitting.

"Soapland" has the classic traits of what would have won over UK audiences. Alternative, Shoegaze, and Dream-pop. Paula Kelley's vocal melody pushed back in the mix with excessive echo and reverb circling around an alternatively unsettling monotonous passage of music slowly building up, before delightful opening into a bright space seeing a shift in the mood of the music - a dream-pop opening. This continues into a beautiful outro with her multiple vocal harmonies alone taking the track to fade out.

Songs that fans of heavyweight Shoegaze acts would quickly pin to their favourites playlists by ear-candy can easily identifiable in the tracks "Mayfield" and "Song for J.J". "Shannon Waves" is the other than falls into this space which to my senses was immediately triggering My Bloody Valentine, not that I think it's fair to always compare band-to-band, but they were an established outfit at this time and this track definitely slots into that UK scene. Steve Zimmerman's bass work sits prominent in the mix as its run-time concludes it as an instrumental.

"Kissing the Sea" was probably the highlight for me. I loved the transition at 1-minute 50-seconds, where it shifts from airy/ethereal guitars with Kelley's equally airy voice haunting back of the mix, to a driving floor-tom drum pattern dropping right in as Ackell takes on the lead vocals and the song just swells further around you. Small passages break away into that airiness making for a really fun listen. The tempo is engaging and dare I say the end result is quite a beautiful song at 3:31.

The album closes on a positive feeling, evoking summer optimism by the music alone, aptly titled "Another Summer". It reminded me slightly of the earlier works of The Sundays, with the jangle-pop guitars not shy on reverb/chorus combo, with a marching drum beat with a cracking snare, that trails into a contrasting low end swash following the primary passage of music. The songs near 6-minute duration ends with a 10 second ring out of the instruments. The resulting conclusion, for me, a very satisfying listening experience.

1991 never needed to be brought out of the vault. Sometimes bands egos validate their decisions unjustly which doesn't end up actually meeting expectations nor demand. However, I feel it's not the case with the Drop Nineteens who just seem to be enjoying their new lease on life. There's creative freedom in this era of their rebirth, so much so they may explore writing another LP. I won't reject that listen, just as I didn't reject 1991. A collection of dated songs from a band before they'd cut their teeth. It's part of their history and if credibility is to be served it actually showcases this band had more potential than was realised in their short lived career of the 90s, where they could have definitely run with the heavyweights of Ride, Slowdive, and even won over audiences of My Bloody Valentine or The Smashing Pumpkins, the latter who they'd even toured with but saw that short-lived with a wrecked fan-base growth opportunity due to a blizzard. By the mid-90s they'd dropped off the face of the music world, as did these songs. Then they returned, have been embraced, respected the embrace, and have presented these songs. A great release for all.
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1991 is released via Wharf Cat Records.
At the time of this article it has been released on CD, Vinyl, and Digital.

The band at the time of recording the music that comprises, 1991:
Greg Ackell (vocals, guitar),
Paula Kelley (vocals, guitar/keys),
Steve Zimmerman (bass)
Motohiro Yasue (lead guitar)
Chris Roof (drums)

Slater and Mathis had starred together in the turn of the 90s Pump Up The Volume! and here they were re-united in a different genre, but the chemistry between the two is still very much there. I have to admit at the end I was always waiting for the guy gets the girl moment sealing it with a kiss, before a burning train-wreckage at that too, but never to be. You know he gets the girl though.

The films plot is simple enough. In summation; two USA fighter pilots who have a history of rivalry and different approaches to authority, are assigned the task of flying a B3 stealth bomber (B3 was fictional as they were not cleared to reference the B2A Stealth Bomber) with two live nuclear warheads aboard to see if any radiation or jet heat-signals from radars is detected. Major Deakins uses the opportunity to plan an operation to steal the weapons, and with his cronies on the desert floor they attempt to move the stolen warheads to a secure location until their ransom money is paid. However, Captain Riley Hale (Christian Slater) interferes with the heist and as contingency plan continue to fail, Deakins crazed side continues to escalate as he becomes unpredictable in his efforts to get his money, until all is lost and he officially sees his mind "take a walk off the map", as Hale observes with grave concern. By the end Deakins crew is gone (dead) and all that remains is Hale. And the epic final showdown occurs. Good guy versus bad guy stuff.

The location is intended to be all played out in Utah, and while some principle photography took place there, it is also filmed in Arizona and California (the Mojave Desert). I enjoyed the arid setting, especially given it adds to the isolated intensity of the acts that play out before us, knowing Hale and Carmichael are on their own. We feel a sense of relief from the desert, when Hale and Terry Carmichael (Mathis) find themselves in an underground mine, which ends up in a river where they cool off unintentionally following the nuclear blast which reveals Travolta's character wacky excitement to shout, "I said goddamn, what a rush!"

Taking the setting as suitable, the plot workable, and a cast fit to the era, all that needed to go off firing were the action effects.

The beauty of this film is special effects in CGI world are reserved for the Stealth Bomber scene, which is a little date now on rewatch, but it's not distracting enough to take you out of the film, especially giving some grace for the decade of production. The tremor scene also took on CGI effects but was delivered quite brilliantly. Everything else we see is practical effects - the best way to approach effects! Watch Antoine Fuqua's 2007 film Shooter, a decade after Broken Arrow, to see what I mean.

Mini-sets were designed by the crew to produce the exploding Stealth Bomber, as well as trains and helicopters. The explosions are gloriously exaggerated, almost comedically, cause it's just so outrageous on Woo's vision. But they were practical even if using small-scale models. The crew really went all in and that's what I want to see in an action film! A running joke already mentioned is when you see a helicopter, you know that she is going down. The crew in this department spent approximately 6-weeks working on a 65km train line just to capture the final act on the train, including physical fight choreography(Slater doing his own stunts), bad guys falling off the train, and a helicopter hovering above the moving freight train - and bad guys getting sliced by the chopper blades too.

The sound effects for the action sequences are also top notch. The gun shots are loud, and the explosions of both aircraft and vehicle destruction is engaging. I even enjoy the raw sound of the fist fight scenes - notably the films climatic scene!

On the acting front - Travolta copped it a bit for being over the top. I disagree. I loved that approach and it was great to see his return to the acting A-List podium with a string of mid-90s action films. He'd been so eager to play an antagonist and Woo gave him his shot - and he got the reprise this in Woo's Faceoff. I liked the confident swagger he carried into the physical prowl of Deakins, as he goes from calm and in control, to finally being off the rails and a loose canon. He's crazy and almost happy to take his odds in standing before death and failure in his quest for riches due to his ego being shot down by the authority figures before him. Those bastards in Washington DC!

Christian Slater is one of my go-to actors of the decade. I am still a huge fan on "The Slatester" and it was awesome seeing him really commit to the character of

Riley Hale in Broken Arrow. Still with his cocky demeanour and smart-arse comments that we love about Slater in his effortless identifiable voice, he also physically immersed himself into the character of Hale doing as many of his stunts as possible (here's looking at your Mr. Tom Cruise), including the frantic train scene where he's trying his best to hold onto the bottom of the carriage with the ground passing mere inches by him, his character already bloodied and battered. I think his casting in an action film as our protagonist likely detracted his female viewers, so the film often is unspoken when his career credential highlights get mentioned.

Travolta and Slater play off against each brilliantly. Some humour, competitiveness, mentor versus apprentice switching, pilot and co-pilot, and also rage also felt quite authentically. Mathis' character, a local park ranger, finds herself in the most unfair of circumstances being caught up in the chaos. Mathis still has her very cute charm about her, and does well to portray a character wanting to contribute to the in strife Hale, but is so out of her depth she's only just hanging in there and probably causing Hale more strain than anything. However, they start to establish a healthy bond knowing they're in it together no matter what the outcome as Hale takes his duty of service seriously to protect an innocent person. She's not quite the damsel in distress, but she's the character in a situation beyond her scope of training.

I actually enjoyed former-NFL player Howie Long is this film. He's giving it his absolute best and it's amusing how his character goes from praising Deakins and being the best right-hand man possible, eventuating to the dire point where even he realises how cuckoo Deakins is and that it's gone too far out of control. And then we get the Howie Long scream as he’s kicked off the moving train - not the infamous Wilhelm Scream! Long had another crack as the lead man in 1998s Fire Storm but that was mostly a wrap on his Hollywood stint.

There's some solid sequences in this film that I believe adds some brilliance setting up the film. Many think it's just being spelt out - but before we have the confirmed knowledge that Travolta's character is a menace and Slater is our hero, there's some clever film play that subconsciously sets it up.

The film has a very cool opening sequence, slowly fading in Hans Zimmer's exhilarating score, where the camera slowly pans in on a small grey box - with quick intercuts with punches being thrown. As the the zoom continues we see our two main characters boxing. And then the film logo shoots into frame...

BROKEN ARROW.

During this scene we see Travolta (Deakins) on one side, Slater (Hale) the other - the divided sides. Deakins is in black and towering Hale. Hale is in light grey and being dominated in the aggressive sparring sequence. Deakins is laying on the mentorship and provoking Hale, while Hale quips back where he can with some dry-sarcasm too as he defends himself to learn in the heat of the moment - as he will have to do in the life or death moments to follow him. Once Deakins has taken the win, Hale lies there. Deakins holds out his glove, full in frame leaning over Hale, asserting his dominance with an uneasiness of distrust. Hale looks up apprehensive but signals the defeat as they bash gloves in brotherly bonding.

In the scene that follows having seen the two pilots suit up for their mission briefing, a sombre piece of music plays as Hale looks at his bashed face. We then cut to Deakins and get his theme song ("Deakins Theme") - a Western style guitar line with some tremolo effect for the villain, which perfectly plays throughout the film when Deakins is in the mix - even when you think he must surely be history! We know by the filming within the scene it's made clear that something is amiss with Deakins, and Hale is going to trialled throughout the film.

The films conclusion has a fun tie-in to the opening sequence where Hale gives Deakins 20 dollar bill for winning their boxing match. Deakins refuses to accept that Hale gave it his all, and it's not an honourable win. Hale then rejects his ethical stance and says to him it really is his - he merely stole the cash out of Deakins wallet when he was in the shower. Showing Deakins that maybe he can be a step ahead!

After their epic fist fight showdown in the final act has come to a conclusion with Hale the victor, the train (and Deakins) blows up and spectacular climatic effect. And as Hale stands before the blaze he finds the slightly burnt 20 dollar bill note that we assume is the same he gave back to Deakins in that opening sequence. A fun full-circle moment. And as the smoke begins to build around him, Carmichael (Mathis is full of sass in this scene) walks to him in slow-motion through the smoke. To Hale's relief they have both survived a phenomenal ordeal. And with that they formally introduce themselves having room to breathe from gunfire, and as the camera zooms on them holding hands and pulling each other in close, Carmichael flirtatiously comes back full circle too when her initial intent to arrest Hale. "You know, you're still under arrest Captain!" she says, softer in tone this time. "Oh yeah, well I guess you better take me in then". Maybe an unintended innuendo there but as they embrace - sharp cut to black - credits and epic music!

A satisfying ending after an almightily ambitious final act.

Lastly, the music needs to be mentioned as always. What a score! Hans Zimmer has so many blockbusters to his name and still to this day he carves them out. I rank this films score up there with his work on Gladiator (2000).

It's a guns out score, bold and present with keyboard stabs hitting your ears as big as the explosions hit your eyes. It really stands out audibly, well adapted to the visuals. I actually have a copy of the 2011 limited edition double-CD for the entire film (3,000 copies were printed). It has some excellent liner notes for fans of the film, with details what is happening scene-to-scene as the music plays out. The most disappointing thing with the score is Zimmer licencing out the music so some of the most iconic music ended up in other films, notably Scream 2. I'd preferred it to have been exclusive for this film. It is great to listen to a soundtrack and be able to visually here the queues of the music triggering the visual sequences and dialogue in your mind.

Hans Zimmer also echoed what I think many miss with this film, that it's a fun, action-packed explosive ride. To conclude his approach to the score, "My intent was just make the film fun, when there's no real story to tell. Well, I guess there was a story about betrayal between two men who've been friends forever. But that's not really what the movie was about. It was about blowing up a lot of things."

Not much more needs to be said. I feel the film is a perfect portrayal of action films from the decade, and one of the best. I saw it in the summer of 1997/98 and ever since it's been a regular viewing for me and I still never tire. It's fun to watch with a few good mates over drinks and pizza. I wish we saw more films made in this style, and that blokey aura. Ambitious and going for the action - exploring practical effects and wild action sequences that could be reality, but may be farfetched, that was the approach of John Woo. And let's not forget a time when actors good at serving their skill could simply draw in an audience by their name on the poster alone.

And in conclusion I think if viewers back in 1996 had just strapped themselves in for the fun action ride of Broken Arrow, and understanding the mind of John Woo without knowing the man, they too could have shared Deakins' delight by exclaiming, "I said goddamn, what a rush!"

————————————————————————————————————
Broken Arrow was released in February 1996 and is a 20th Century Studios Picture.
Directed by John Woo.
Music by Hans Zimmer.
Starring John Travolta, Christian Slater, and Samantha Mathis.

The title change was Lucas feeling it was inappropriate, as a Jedi shouldn't be following the path of revenge. The change directive came after promo material had already begun circulating. This would also become part of the belief from some that it was also to soften the film to being more child/family friendly a film, which was met (and still is) with criticism following the darker theme and delivery of The Empire Strikes Back. I can honestly say, I was aware of this even as a child where it certainly did feel an intensity lack in what was to be an "epic conclusion to the saga". However, I was only a child myself and still feel the conclusion is satisfying for the journey of our heroes against the Galactic Empire.

By the time my cinema viewing of Return of the Jedi rolled on in, I had quickly become an evangelical Star Wars fan, with a lot of excitement to see the conclusion. I'd avoided the temptation to go hire the film from the local video store, and instead kept my eyes peeled to the local newspaper to see when viewing times were released. And soon they were.

That Saturday my mum took me down to watch the conclusion to the Star Wars trilogy, and by further good fortune I did not see a Special Edition, so was not subjected to the appalling Jabba Throne Room CGI vomit fest musical number - showcasing poor music and distracting alien character CGI. Got to sell IL&M right? What a detractor from the magic of John Williams' work and the power of the music. This would become my sour serving of a viewing when I would purchase a Star Wars boxset...the Special Edition bundle. My local video store didn't stock these until the DVD revolution came into town. I consider my initial viewing of all the films to be the good will of The Force!

The initial impression of Return of the Jedi is that it did not meet that of the first two films with the electric feeling - but I never disliked or hated the film at all. I did get absorbed into the opening scenes on Tatooine, seeing the Rebels bizarre tactics to rescue Han Solo unconventionally play out, as well as the grotty underworld of Jabba The Hutt's gangsters "paradise". It was a little bit of a shock to then see our heroes split after this scene, as Luke goes to finish his training with Yoda on the surreal world of Dagobah, while Han, Leia, Chewbacca, and the new recruit Lando Calrissian, plan an assault to surprise attack the Empire on a new Death Star being built in secrecy.

The Death Star 2 has been slammed as lazy writing and a lack of imagination. I guess my justification of this always was the Empire had the resources to do this, they learnt their flaws and wanted one final almighty effort to dominate the Rebels. This time a bigger battle station (it will be better), built in secrecy (they won't know what hit them), and the Emperor (Palpatine) himself overseeing it ("Everything is going to plan as I have foreseen it", Palpatine reveals during the films final act). I can get behind the idea and the arrogance of the Empire, ultimately leading to their downfall - right before the mastermind himself.

Our return to Dagobah with Luke is brief but has beautiful exchanges between the alien and human, the master and apprentice, as one ascends to his ultimate challenge and the other, Yoda, ascends into the spirit world of The Force. I always found it odd how Yoda in that moment gives himself over to death. He seemed quite chirpy in the initial moments of the scene. I guess in his old age and believing Luke could bring balance to the force (we know Darth Vader's death and the return of Anakin Skywalker does this) allowed him to no longer hold onto life, no need to stay in the physical world. Either way, it is sad as our wise and quirky character from The Empire Strikes Back passes on, his old fragile body fading away. The character's impression in Empire is realised.

We then get the interaction with Obi-Wan Kenobi. So, what we did get in this scene is some glimpses into Lucas (not alone in this) treading into Star Wars prequel world here. Laziness. Lots of talking, not enough "show, don't tell", and comically even Obi-Wan Kenobi's force ghost decided to take a seat on a log and continue telling Luke all about Darth Vader actually being his father, the real-story how that came to be, and confirming that Leia is indeed his sister. I get the criticism. A ghost sitting down, or the late-great Alec Guiness just being over it. Again, in that moment I would say I could roll with this story by this point. To be honest, I was just on edge to see the master of Evil, Darth Vader, have another crack at Luke Skywalker and see how powerful Luke had become since their last battle. This time though I realised The Emperor would be there - who'd been very elusive a character by this point in the stories.

The film then sees the plot take us to the forest moon of Endor, where we see the film break off into three stories - not two. In this potentially messy formula we do get a mixture of thrill and fatigue - the thrill being the speeder bike chases and AT-ST walkers in the Rebels vs Imperial battle. However, the fatigue? Well, my stance to this day is that I wanted many of the Endor forest scenes to pass.

I was disappointed Han Solo was not flying the Millennium Falcon and taking the battle to the Empire in space, and the primitive little bears, Ewoks, while cute and giving comic relief did take me out of the intensity. I had mentioned that I do recall the lack of intensity in Jedi. I also think an actor of Ford's calibre and skill at that point was a massively missed opportunity. Ford wanted Solo's character killed in a heroic moment. Instead he got stuck by a bunker for most the films climatic finale. He did get the girl though.

Fortunately, there were two of the three stories that didn't lack intensity which kept me engaged and locked on the screen.

Before these break-off we see Luke and Leia share their moment where it is revealed by Luke they are siblings, and the revelation she has The Force flowing through her as known and advised by Yoda in his dying moments. "There is another Sky-wal-ker". This initially excited me knowing there was going to be a new Star Wars trilogy, thinking it would continue to adventures of the Jedi under Jedi Master Luke Skywalker. However I learnt shortly after seeing in Star Wars Insider magazine this would not be the case. What an opportunity missed if ever there was one.

So after their moment under the night sky of Endor in the oddly quiet Ewok village before the final battles take place, we see the break off into three different stories of the final act.

The first was the space battle. I loved the special effects and visual "blink and you miss it" delivery of the battle - quick and intense, and visually just outstanding.

Imperial Tie Fighters screeching by the hundreds in consistent formation firing lasers at the inconsistent numbers by star fighter class in our Rebel Alliances final showdown to hold their ground before they can get into the unfinished Death Star 2 and blow it up at the core. We also see a character get a redemption I don't think gets talked about enough - Lando Calrissian. Lando betrays his friends in Empire, but does his best to remedy the situation. He doesn't gracefully get an open ticket to join the struggle, and sure he could have just pushed off into hiding. Instead as the Empire takes over his city and world, he decides to build a new one and must join the struggle. He takes responsibility for his actions and puts himself on the front lines leading the space battle at the controls of the Millennium Falcon (once his pride and joy) and see him successfully destroy the Death Star 2 core. As he fly's out of the erupting station with a joyful "Yeeha!", I love that moment! It's a cinematic moment I absolutely rate and his character arc showing bravery and selflessness for the greater struggle is on point. It added emotional depth to the battle, also seeing Wedge Antilles from the previous films right there as well to see victory, as many of the X-Wing fighter pilots had not been so fortunate to experience who flew alongside him.

The second story was the one everyone was waiting for. Luke Skywalker vs Darth Vader. However, no longer is Luke fighting the villainous monster we came to assume Vader truly is. Instead we now know this is a man with remnants of his former human self, where he was a Jedi, and had also been the father to Luke. There's emotional conflict now, all the while we know Vader and Emperor Palpatine must be defeated, not just for Luke to become a true Jedi, but also eliminate the power of the dark side both of them possess. Maybe even Luke?

"Quick is the path to the dark side", Yoda warns Luke in The Empire Strikes Back.

When Palpatine taunts Luke, we feel the taunt too. It feels personal. We feel the wrath rising in Luke, the anger, the fear even! Yes, the Dark Side of The Force is being worked into his being in a sinister way by the force user more powerful than Luke or Vader. The trigger for Luke to activate his lightsabre and go for the Emperor is when he accepts he can't just stand there. His friends are being taken out, and he has no control over what their fate will be. Only his own. The lightsabre is used in an offensive manner - not defensive - and the battle has begun in the darkest of ways.

The fact you feel the intensity shift so consistently every time the battle moves to the throne room shows the imbalance there was between the three scenes in the final act of the film. I love the contrast of the lightsabres, the dominant presence of shadow and black, Luke himself becoming the evil incarnation of the man who brought him into existence, and the spike in heightened emotion with John William's musical score sensationally driving Luke's rage as he dominates Vader. As he brings Vader to his knees you feel the exhaustion of the moment, and as Luke towers over Vader this time the Emperor makes him realise the path he just took. Vader's robotic hand is gone - Luke looks at his own hand, a robotic one. Both dressed in black. No doubt he'd be thinking back to his failure in the cave on Dagobah. And with that he sighs, and turns, vulnerable but valiant as he declares to the master of the dark side, "No. I'll never turn to the dark side". And announcing he is a Jedi, like his father before him, the true wrath of the dark side is unleashed by Palpatine!

Before the savage attack on Luke, we see the shield generator explode down on Endor, where Han Solo has lead the ground attack, and the Starfighter battle lead by Lando Calrissian is coming to mission completion. Then we return to the throne room between quick cuts of the beforementioned scenes. Luke gets burnt alive by Palpatine - getting shocked by lighting...shot from Palpatine's hands! It was a power I did not expect. Thinking a lightsabre would get whipped out? No. Instead a wizard of sorts, an evil one, presents his own powers and does so brutally and clinically. We see Luke crumble to the floor, smoking and burning, pleading his father to come to his aid. He under-estimated the Emperor as Yoda had warned and is paying the price for different reasons as stated by Palpatine as he continues to fry the life out of him. And in the most important of moments in Star Wars, Anakin Skywalker's spirit returns into the body of Darth Vader, taking back what was his, as he hoists up the caught off guard Palpatine and throws him down into the depths of the incomplete Death Star. In a ferocious explosion of force lighting and energy, the Emperor dies (I don't regard the Star Wars sequels as "canon" or officially accepted story lines - Palpatine does not live!).

Vader, now Anakin, lies there as his mechanical vessel begins to shut down as a result of the attacks from Luke and Palpatine against him. He begins to die, again, just as he returns from redemption.

In a powerful moment before the Death Star explodes and the Rebels have their official triumphant blow to the soon-to-be crumbling Galactic Empire, Luke pulls his father into the hangar where Imperials race around desperate to flee - oblivious their fallen leader is being dragged across the hanger bay floor. Luke takes this moment to bond with his father as we see the mask of Vader removed. A helmet of mystique, menace, authority, beauty of evil personified in this galaxy far, far away. And when removed all that fades as we see Anakin Skywalker in the human form. A man aged beyond his years, scarred all over his face, faded features, ghostly white, and frail with a hint of sadness and relief. In the novelisation of the book it reads of Vader feeling Luke's tears fall on his face as he tastes the sweet saltwater and finds a further final moment of connection to the human experience as he looks upon his son. A Jedi, his hero, his son.

And then both Darth Vader and Anakin Skywalker die. The sinister wielders of dark side of the force perished from the living galaxy. And Luke sobs. Bittersweet victory as our heroes journey in the saga is concluded.

As the Death Star 2 explodes in as equally impressive cinematic magic as Star Wars, the Rebels (and Ewoks) secure victory on the ground battle (seems unlikely, but it happened), and Luke escapes to join his friends and soldiers in solidarity as they both celebrate and grieve. We see Luke Skywalker finish his lone story by cremating his father, but also disposing of the suit, the physical evidence of the Dark Lord of the Sith, Darth Vader. And as Luke looks on, the fire raging before him in the soft wind on Endor, the camera pans up to show celebrations around him for the battle and war which has been won.

The original musical score, versus the Special Edition, is a more primitive conclusion in the original film, alongside the Ewok villagers as our heroes unite to celebrate their victory - the security of galaxy at reach from the stronghold of the now fallen Galactic Empire. And as the victory resonates throughout the galaxy and other arms of the Empire falls (and will fall), Luke Skywalker walks away one last time from his friends - only a few paces to see through The Force, the ghosts of Yoda, Obi-Wan, and lastly that of his father, Anakin Skywalker. And as Luke looks upon with pride, his sister, Leia, daughter of Anakin Skywalker walks over to reassure Luke all will be okay. And the film concludes with our band of heroes triumphant at last and together as one.

And the film ends.

I often think the childlike joy that comes from the conclusion is fitting. Lucas has often said Star Wars was always meant for kids. I don't believe everything that comes out of Lucas' mouth, so I always thought that was him justifying his decisions for fan criticism of Ewoks, then later comic-relief character failures of the Star Wars prequels. And his toy empire where he negotiated industry changing contract agreements - and coined it! Return of the Jedi is deemed the weaker of the films, which I agree with as an adult but I managed to basically view all three films as one story and never really tipped one as better than the other. They just served different roles to the greater story.

I always saw the movies as escapism for any viewer, child or adult. Sure, in my opinion Return of the Jedi did not match the intensity of the first two films, which don't feel or play-out like children's adventure films. But all three films of the trilogy share a common theme - they strongly feel like science-fiction adventures in an alien world far removed from our own earth - yet something we feel part of on a human level as if we were there. We journey with Luke Skywalker as if we are experiencing that journey with him. And with that, it brings childlike joy - remembering being 10 going on 11 and all the joy and imagination immersed in the experience over those 6 weeks brought me as the winter of 1997 set in. And yes, even then the special effects and visuals wowed me and I still respect what was achieved across the trilogy.

I would soon start to regularly hire the trilogy from my local video store. Comically this was to such an excessive point over 12-months that the video clerk one day said to me during 1998, "you know that your parents could have bought the movie already on video with the number of times you've hired it?"
In an unusually cocky fashion (channelling my inner Han Solo?) I replied, "so do you want me to hire it, or not?"
And he handed over the video. To break it up I regularly hired the Indian Jones films, and other films of the nature of escapism, adventure, and action.

Shortly after the video clerk exchange I would get a box set of the films which turned out to be the Special Editions. When DVD's came around I secured a rare release that had both the original cinematic release and a separate disc of the Special Edition. Another stroke of good fortune for yours truly.

It's strange looking back on this 28 years later though. Writing about the Star Wars world being open to me has brought back some wonderful feelings - nostalgia presenting what it does, sadness and charm.

Beyond my own Star Wars bubble, so much has happened in the Star Wars commercial world since, mostly not for the better as far as I am concerned and it would be hard to sway me otherwise. I did enjoy discovering the Expanded Universe books that I could read and see what adventures independent authors imagined for the Rebels at different passages in the Star Wars timeline. They were regular Christmas or Birthday gifts. I also got great joy out of the video games, Rebel Assault, Dark Forces & Dark Force II (Jedi Knight) which introduced me to Kyle Katarn. Maybe an article on that game one day? I also felt nagged by the oddness how 7 dark Jedi seemed to exist during Palpatine's reign? Big galaxy I guess? I just rolled with it - the Star Wars community was a lot more easy going back then and truly geeky. It's different now and isn't for me.

What I do hold value in 28 years later is that the films continue to feel special to me. I've protected what they mean and embrace the geekiness or nerdiness that comes with that territory cause it went beyond the movie screen. And I know there's many other Star Wars fans young and old who found themselves being stunned by this alien yet familiar world, where we followed the adventures of Luke Skywalker, a moisture farmer stuck on a desolate, dull, and dangerous planet where fate took him down a journey he never could have imagined. Right to the point the fate of the universe was in his hands - more than once. And he rose to the occasion despite failures. Nothing came easy.

We never know where life will take us, what adventures we may endure. And even if it lacks the excitement, danger, adrenaline, or great fortune others may experience, or what we'd hoped for as children in our worlds of fantasy and dreams that we can't go back to; the magic of Star Wars is that the escapism is always there to be experienced, entertained and moved by in a galaxy far, far away.

And one thing I still like to ponder all these years on, no longer a child and seeing first hand the staying power of this film from childhood to adulthood is simply my daydreams about what adventures our heroes got up to after the fall of the Empire.

I walked out of Star Wars feeling my world forever changed. Then I saw the posters on the exit ramp wall leaving the cinema grounds. In one of them it showcased a silhouette of a smaller man fighting a tall figure - who looked like Darth Vader. "Return of the Jedi" it read. Then my eyes narrowed in on the small font bordering the film title. "Star Wars". On the next poster it had Han Solo? Yes, Han Solo holding Princess Leia. Wait there's Luke, the Droids, and Darth Vader. This one read in larger letter too, The Empire Strikes Back. Wait, there's more than one film? My mum confirmed the posters authenticity which then lead to the barrage of questions I vaguely remember throwing her way as we made our way to one of the department stores that was still open.

Interestingly, the wait wasn't something that I was sort of counting down to see the follow up film. Star Wars had left an impression on me like no other film had, but I wasn't pining to go see it in a rush. I was enjoying the films aftermath wash over me and my mind every so often escaping to the visuals playing in my mind, recalling the scenes that resonated with me. It didn't take long though for a Thursday morning to roll in where I looked at the local paper and saw the session for the "next Star Wars film" had been released. My mum wasn't able to take me to that Saturday morning's sessions come the weekend, but my old man was around to haul me down to the cinema for the viewing. He didn't share the excitement my mum had for the Star Wars films, but he was at least willing to sit through the film whether he loved or hated it. Turns out he'd just fall asleep instead if it didn't appeal to him. Interestingly, I noticed my dad didn't nod off during Empire and was relatively engaging when the film had concluded, entertaining my questions which he had zero answers for or, understandably, zero desire to find out.

When the cinema lights dimmed, the film had the same trance-like set up as the previous did. The THX logo and loud music sample. Then the 20th century fox opening - progressively louder. And after the Lucasfilm Ltd. logo shimmer away - it was time. "A long time ago in a galaxy far, far away". "OK, here we go again!", I thought. And...hello again John Williams and the London Symphony Orchestra and the film logo I'd quickly grown to adore filled the screen. Star Wars!

The opening crawl had returned, this time a different film name and story being set up for me. As the first film had done, the pattern repeated. The camera pans down focusing into deep dark space, the stars shimmering into sight as the Imperials immediately make their presence known to me as the viewer. A Star Destroyer cruises into frame as several probe droids are launched into the reaches of outer space.

We are then taken to our first planet of the film - a contrast to the hot, sandy baron wastelands of Tatooine. This time it was Hoth, a cold, icy and equally hostile terrain. This time we don't wait long to see our hero, Luke Skywalker, make his entrance. The difference with this film is very quickly we see him subdued by a creature in the snow, a Wampa, where he is dragged unconscious to its lair. Wasn't expecting that! Once again, I was captivated and engaged in every second of the films run time until the lights were turned back on in the cinema. This film's tone was very different though. I mean, it felt like Star Wars but...

The thing that was almost brutal with Empire was that it was the first film I'd ever seen something where the heroes of the film are constantly being beaten down, they're barely coming out of the acts as the victors, and it concludes in a very confronting manner with an unfamiliar mix of depression and optimism, despair and hope, confusion and clarity all rolling into one as the final scene sees Luke Skywalker and Princess Leia arm in arm, with their droid duo of R2-D2 and C-3PO alongside. The Millennium Falcon zooms away without Han Solo as pilot, and we feel exhausted after what everyone has endured. That's my one feeling I recall - exhaustion. I was so engaged with Empire, especially Luke Skywalker's struggles throughout the film - it felt like I was right there alongside him experiencing the trials that faced him right from that opening scene in the snow, until the scene on the medical frigate looking out to the stars knowing the Rebels are well and truly in for the greatest battle they never saw coming. Again, I never saw this film coming but what a delight it was knowing there was one final battle to be had against the Galactic Empire to restore peace and justice in the galaxy far, far away.

And that's what made this film so powerful. It was not the norm. But it wasn't pretentious or alienating in bucking the trend. It was enhanced by the beauty of the world building before me, the mystique and tension that moved into each scene, but again that key thing that made Star Wars great. A solid story and characters whose plight we sympathised alongside. The heroes journey continued.

I truly loved the darker approach the film took and seeing Luke Skywalker struggle, and feeling confronted that the hero of the first film was really struggling in his quest to become a Jedi Knight and truly feeling the weight of the war on his shoulders, as just one young man prone to the same failings of any other being. Only the consequences were far greater. Had the destruction of the Death Star just become a burden rather than a shining light of hope in a crushing blow to the Empire?

One could always argue that Star Wars could have been but one standalone film that was forever left in 1977. I have never felt the need to challenge that discussion. It's interesting but George Lucas claims (not that I believe everything that comes from Lucas' ramblings) it was always intended. So taking his word for it, Empire is a valid follow-up story. Taking it as it is I still love it and stand by it being one of the greatest films of all time.

What's not to love? You don't have to wait long to see a ground assault battle between the Rebels and Imperials in the snow of Hoth, as Snowspeeders sweep and weave around AT-ATs (All Terrain Armoured Transport vehicles), as Rebel ground forces take on Snowtroopers. And it isn't long until Darth Vader is gracing our screens with his imposing presence of evil and tyranny. The Rebels also take their first hit in the guts too! It may not be a logical battle how it is staged, but it really continued the innovative film techniques of the crew to bring digital and practical effects to the viewers in a truly breath-taking manner.

Following this we have Han Solo, Chewbacca, Leia, and C-3PO on their own mission aboard the Millennium Falcon trying to outrun the Imperial star-fleet in cinematic outer space flight magic! The asteroid scenes are truly a marvel. Cut into this plot was the beginning of Luke Skywalker's training on the muggy, swamp planet of Dagobah which has so much aura and energy that would be felt in many an 80s film to follow. Mystery, eeriness, hauntings, dim lighting, dense vegetation, and aliens. Let's not forget one of the greatest subversions of our expectations and that is the introduction to the great jedi master, Yoda!

Yoda was not a strong, tall, valiant warrior. He was not a man as many of us expected. He was not in a castle, or a stronghold. No, he was a small alien with large ears, of elderly age, and living in a mud hut. Luke's astonishment and shock when the jedi master reveals his identity was a moment I was not anticipating - no one would have. I loved it. And then we got to see the power of The Force as ones ally. All the atmospheric setup of Dagobah, and the tension between Luke and Yoda really came together in harmony as Yoda lifts Luke's X-Wing out the water - again John Williams score whimsically setting the cinematic moment of brilliance up for us.

As Luke's training and personal struggles play out before us, we see the next hit in the guts - and more to follow. Han Solo is taken prisoner after being portrayed by his mate, Lando Calrissian, on the charming city in the clouds, Bespin, on aptly named Cloud City. He is frozen in carbonite and taken by a bounty hunter named Boba Fett. Darth Vader brutally calls the shots as Luke Skywalker is lured in by a sinister plot as his friends are used as bait to reveal the wildest of cinematic reveals.
The thing that made Empire perfect viewing for me was I was not aware of the spoilers. I was not across all the Star Wars references that had been made in countless movies I'd seen - so when the lightsabre duel between Luke Skywalker and Darth Vader took place, I was watching it play out before me as a blank canvass. Hoping to see Luke clean the floor with Vader - this did not happen. It was the other way around. Luke had been impatient, had not completed his training, and was not ready for a further weight of burden on his shoulders.

Of course I think you'd know by now, Darth Vader reveals himself to be Luke Skywalkers father. Formerly Anakin Skywalker, a Jedi Knight and friend to the late Obi-Wan Kenobi - Luke's mentor from Star Wars who appears as a spirit through The Force to Luke in Empire.

And during the lightsabre duel in the last act of the battle in the strong gusty winds of a tunnel within the depths of the city, where on a catwalk Darth Vader absolutely dominates a crawling Luke with brutal strength, power, ferocity, and rage - it hit me! I'd seen part of this scene!

And the seed that had been planted back in 1992 was now sprouting. In my Star Wars article I wrote the following, "In my Empire Strikes Back review I'll actually share that the seed of Star Wars fascination had actually been planted 4 years prior, and would no longer be dormant come the significant lightsabre duel between Skywalker and Vader."

My grandfather had been watching it on the tele during daytime viewing, and when I came down stairs I caught a glimpse of Luke and Vader battling it out - blue and red lightsabres clashing with brutal execution. My attention was then dismissed with a change of the channel. I had no idea what he was watching but it looked epic! All I can assume was my grandfather didn't think it was appropriate a scene for me to be watching, or it was too violent, or he knew exactly what was about to happen - a human hand getting cut off. Either way, I am grateful my grandfather did turn it off as the great reveal of Darth Vader being Luke Skywalker's father, Anakin Skywalker, remained irrelevant to me. How funny though in that cinema experience 5 years later that moment just came right into my conscious.

Back to the movie in that 1997 viewing, when Luke tries to combat Vader's lunges he realises with absolute terror he is well and truly overpowered and despite his efforts, Vader in a split second changes his life physically, mentally and emotionally. He severs Luke's hand with his red lightsabre. Woah!

Yes. I remember being in the cinema and hearing people actually gasp at the scene. It is a shocking visual. Not only is it something you wouldn't expect to happen so late in the film - but surely our hero is going to be heroic and come out the victor? No. The physical blow is served.

The mental blow comes as his confidence is obliterated having been punished and severely beaten by Vader. The dark side of the force overshadowing and overpowering the light side. Visually too the scene is dominated by darkness. And as Luke crawls away confronting the physical presence of Darth Vader - taunting him in return Vader then delivers the emotional sucker punch.

"No, I am your father!"

Luke looks on like a ghost. White and sickly. And with the battle well and truly lost he gives in and falls to his demise - the will of The Force sparing him as exhaust vents open allowing a slide of safety - if only for a moment. No. It doesn't take long for Luke to be hanging on weather vane at the depth of the city where Obi-Wan nor Yoda can intervene through The Force to aid him. He is well and truly alone - until a tease of another Force wielder is gracefully revealed. Princess Leia - and so they come to Luke's rescue. And we are there with him, as shocked that this creature Darth Vader is not a robot, nor a machine, nor a twisted creation. He is a fallen Jedi, once a man, now a dark Jedi and key leader in the Galactic Empire. And he is also our heroes father. What a turn of the page!

Luke is rescued, and in a final desperate attempt our heroes manage to escape the mighty onslaught of the Empire and can regroup in hiding for a few years before they return with a plot to rescue Han Solo, for Luke to continue his Jedi training, and how the Rebel Alliance will well and truly ensure they end the reign of the Galactic Empire by severing their military strongholds, including the figures at the top. Those being Darth Vader and mastermind, Emperor Palpatine.

When the film concluded I remember just breathing, realising I'd held my breath for so many scenes throughout the film. I'd just been totally captivated. And I was tired afterwards - but not with the same optimistic feeling I'd had after Star Wars. I think that's added so much to the power of Empire.

And it shows what a wild ride Empire is. After seeing Empire, my birthday was shortly before I saw Return of the Jedi. I received a book, set after the events of the film, but also got an action figure of Luke Skywalker in Dagobah fatigues (the Kenner Power of the Force range which made each character a buff G.I Joe equivalent) and a micromachines (remember those?) Escape Pod with mini-figures included in it of R2, C-3PO, Darth Vader, Obi-Wan, a Gonk Droid, and a Sandtrooper. It set my excitement up perfectly for the final film of the saga. Return of the Jedi.

Empire lingered with me far longer than Star Wars did. It was more so questions I had. Was Vader really Luke's father? Why would a father do that to his son? How can they save Han? What will the Rebels do to overpower the Empire? What else can Yoda teach Luke? What happened to Darth Vader that lead to his robotic physical appearance? So many questions, and again I only had to wait a fortnight to find out in the finale.

There is a lot to love about Empire but on reflection writing this it really was the atmosphere and aura of the film. It just looks so dreamy and unsettling at the same time. That escapism and fantasy was truly captured in this film and opened up a film-tunnel I would learn to dive into with many other films to follow where I could escape and feel how I needed to feel, see what I wanted to see, and dream how I wanted to dream. It's for that reason I believe it is an incredible film, and not one just associated to the Star Wars universe.

It was the film I never expected to exist. It was not the story I expected to experience. It was not the conclusion I expected. But my God was it a spectacle to behold. And it still is.

At this stage of my life movies were more a time filler, than the escapism and fascination it would become (and still is). The sports field was more my calling or playing with action figures in my room. Yes, I had seen my dinosaur obsession taken to new heights after seeing Jurassic Park in 1993, my intrigue with martial arts had begun with The Karate Kid (1984, which I first saw in 1994) and started digging into the world of comedy through Rowan Atkinson and Richard Curtis' Mr. Bean, and the overtop physical comedies of Ace Ventura (1994/5), the start of the animation CGI innovation through toys with a life of their own in Toy Story (1995), but my rabbit hole into the pop culture spectacle of the late 70s and 80s was about to be opened. What a treat I was in for!

As I type this I have my copy of the Star Wars soundtrack playing - the brilliance of Mr John Williams about to well and truly take cinematic score to a place beyond our world. It reminds me of the way the opening theme blasted into my ear drums with the cinema's surround sound and being captivated to George Lucas' story. But let's go back to the moments that autumn leading up to the first time I saw Star Wars.

Now, late Autumn where I was living puts the month of the year at May 1997. I'd had my mate and his little brother over to the house for a hang out, and when their mum came to collect them a short while after lunch my mum proposed to them to join her and I to see a film that evening. She referred to the film as Star Wars. I was surprised as the suggestion was out of the blue. My friends could join and would meet us at the cinema by our one and only local shopping mall that evening. I had no idea what I was about to witness, remembering we had no internet access for a quick-read up on what the film would be all about, or my mum kindly giving zero plot points away (now known as spoilers).

Shortly before leaving the house, my friends mother called to say they'd been misbehaving and as punishment could not come with us to see the film. My mum hadn't booked tickets over the phone yet with the local cinema so it was no loss, and just the two of us went to go see Star Wars.

The next 2 hours were to become one of the most memorable parts of my childhood chapter. There was a real energy in the cinema. Mum had told me it had been 20 years since Star Wars had been released at the cinema, and many people were only experiencing that for the first time - me included. The Star Wars universe was, mostly, in pristine condition.

Now, an important thing to clarify here is this release was for the most part due to George Lucas using ILM (Industrial Light & Magic) to leverage digital enhancements and CGI a a pitch to the industry - thereby taking the Star Wars trilogy and creating the Special Editions to sell what could be done. Sure, he stated there were things he wanted to do then that he could do in the now, but there's more to it. This was really the major start to the controversy that would continue to burden Star Wars to this day as many saw this move as unnecessary and purists disgusted an original "art piece" was being meddled with - for the sake of further monetary gain and pitching to new audiences. The other businessman spin-on this move from Lucas, was because Lucasfilm was due to shortly announce the pre-production of a new Star Wars trilogy telling the origin story of Darth Vader. I'd read about this shortly after in Star Wars Insider magazine. So, to maximise the appeal Lucas awakened the original fans and reeled in some new ones for market penetration. I was that new target audience. Point is, there was controversy and excitement, an imbalance that would never leave the Star Wars fandom.

The beauty for me though was our local cinema was staging both the original cinematic release and the special editions. By the grace of good fortune every viewing for me was an original cinematic release - so you can imagine my confusion when a short while after my cinema experience I saw a VHS release showcasing the special editions wondering where the heck all these additional scenes and CGI effects had come from? Either way, I consider my viewing experience VERY fortunate in hindsight.

Let's revisit that 2 hour moment. The cinema goes quiet and dark. I had mentioned that energy. Even my mum seemed excited assuring me I was in for a treat. The THX score and visual enters the large cinema screen - the sound was loud! Another product of Lucas. Then follows the 20th Century Fox logo and score which also plays...loudly. And finally it goes eerily quiet. The screen reads "A long time ago in a galaxy far, far away..."

STAR WARS.

The film title blasts into view, full frame flying away from us, as John William's Main Title collaboratively blasts with the London Symphony orchestra following his conduct. The text scrolls before my eyes, giving me a summary for the story I am about to experience. I have some context but still no idea what I am about to see. The camera in the galaxy far, far away pans down. The stars in space become visible and only seconds later a small spaceship flies into frame, followed by lasers firing, and then a colossal ship. Very quickly I am shown the smaller ship is that of the Rebel Alliance, the heroes of the film, dwarfed in their struggle by the far more significant Imperial Star Destroyer pursuing them - and barraging them too. Very quickly we're introduced the comic relief of R2-D2 (Artoo) and C-3PO (See-threepio). We see the Rebel Soldiers struggle - showing their faces, we identify with their fear and bravery. The Stormtroopers enter, masked and menacing - we don't identify with them. We see a Princess in peril (Princess Leia Organa), but not with the aura of the damsel in distress. She has a will to survive through her urgency. There's desperation. And then the force of evil, the master of menace and unsettling dominance enters. Darth Vader, referred to as Lord Vader by his troops. Laser battles in space, and in the tight corridors with opponents brandishing blasters as smoke blinds the Rebels. What an opening!

Shortly after the dark of space is replaced by the blinding lights of a world we can relate too, with sand and heat. Tatooine is the planet as William's score for "The Dune Sea of Tatooine" plays out. It shows the desolate and isolated wasteland of despair before our eyes as these two robots (I soon learn are Droids) show human emotion and struggle with their situation. This was certainly the point where I saw an incredible connection between music and movies, and upon some research the week that followed my Star Wars viewing experience I'd learn two other films I'd seen, Jaws (1975), E.T (1982) and Jurassic Park, were also scored by John Williams and filmed by Steven Spielberg - who I'd learn was a creative comrade and friend of George Lucas. A special discovery that was!

The film never let me go during those 2 hours. Now I am not going to summarise the whole film as there's no need for that, but I was hooked. Finding myself uncertain who our protagonist was, I was further intrigued by this alien world. Were the droids the characters I am struggling alongside? Am I relating to the story of two droids?

No. Enter Luke Skywalker. A local farm boy working for his uncle on this desolate world of sand and pessimism, yearning for adventure and purpose. Misfortune and tragedy occurs shortly after the droids come into Skywalker's care, but not before we get the beautiful scene of the binary sunset (again elevated by Williams score) where he feels the adventure and destiny he wants and longs for, will just never be.

It is certainly one of the top scenes in cinematic history, and one I hold closely.

This misfortune of loss that occurs the next day essentially enables him to be free of the ties to Tatooine, and fate brings him into the path of Obi-Wan Kenobi. A Jedi Knight who Luke can learn the ways of "the Force" from, and find his place as part of the Rebel's struggle against the atrocities at play in the hand of the tyrannical Galactic Empire. His mentor he needs to start the journey has come into his path, one who also knew Luke's father - Anakin Skywalker.

We then meet the dashing rogue smuggler, Han Solo (played by Harrison Ford who'd become my next film fascination in the form of Indiana Jones), his odd-looking Wookie side-kick, Chewbacca, as they join the adventure. This continues into space again on their ship, the Millennium Falcon. "You've never heard of the Millennium Falcon?", Solo asks in disgust before Skywalker and Kenobi get an expensive ride with them to try help the Rebels in the fight. Well, I hadn't heard of the Millennium Falcon. And I kept nagging myself as each scene of brilliance played out before me, "How had I never even heard of Star Wars before?"

In my Empire Strikes Back review I'll actually share that the seed of Star Wars fascination had actually been planted 4 years prior, and would no longer be dormant come the significant lightsabre duel between Skywalker and Vader. More of that in a later article!

The films action, suspense, and creative world continues to reveal layer after layer. After our heroes escape the Death Star, and before the final battle is fought there is a retreat to the Rebel's hidden base on Yavin 4. I felt a reprieve in this jungle world, where I could have a breather before the unbelievable finale between the Rebels and the Empire - a dog fight in space fighter jets! I'd learn the main aircraft in this battle consisted of X-Wings, Y-Wings, and Imperial Tie Fighters. And the tension and suspense would accelerate to lightspeed for this final showdown where I felt myself holding my breath! I was right there with Luke Skywalker, call sign "Red-5", in the cockpit of his X-Wing, days after leaving Tatooine to being at the centre of heroism and purpose - or doom. The Rebels have a limited window to fly through a trench and fire into an exhaust port to trigger a chain reaction to destroy the ginormous battle station, The Death Star. The Imperials intend to use their battle station super laser weapon to blow up the planet of Yavin 4 (where the Rebel's hidden base is located) and snuff out the Rebel's stronghold for good!

Darth Vader pursues Luke Skywalker - "The Battle of Yavin" score plays as Obi-Wan talks to Skywalker through The Force, as he turns off his targeting computer and now with the Force as his ally ready to take the shot it seems Vader has the last laugh with his will and power of the Dark Side of the Force. But no, Han Solo comes swooping in the Millennium Falcon to obliterate Vader's wingmen and send him into a spin. He returns valiantly to his friends in their most desperate moment, announcing to Skywalker, "You're all clear kid, now lets blow this thing and go home!" It's a real fist-pump moment. With that, Skywalker takes the shot and the Death Star explodes as the musical crescendo ensues. A special effects sensation as the giant battle station merely turns to space dust with sparks fading out.

The Rebels celebrate as the film ends with no spoken-dialogue as Princess Leia presents our heroes Luke Skywalker, Han Solo, and Chewbacca with their medals of bravery. Our cast turn to the screen as "The Throne Room" triumphantly plays out, the musicians delicately play with the final notes of the musical piece as we then see the screen cut to black as the End Title plays with the credits coming on the screen in outer space.

I stayed with mum until the end credits finished rolling (something we always did so the cinema going crowds back then could exit the cinema), the final passage of music ending in a powerful marriage of strings, percussion, and horns. If I listen to this particular passage now it can move me to tears recalling that emotion as a child. Then, it's over. Lights come back on.

What had I just seen? It was like nothing I'd well and truly ever experienced. I was elated and in that moment I became a Star Wars fan, and also now in hindsight a significant moment too where I connected music and movies as one.

I still remember my mum asking me what I thought of the film when it ended and saying I couldn't believe I'd never seen it before and how great it was. I probably annoyed her with many questions. She even took me afterwards to one of the clothing stores that was still open, where to my surprise they had Star Wars clothes (yes, I was naïve not realising the reach of the galaxy far away into a consumers pocket). It was a winter pullover with green sleeves, and black torso with the Star Wars logo on the front, and an X-Wing blueprint on the back. I wore that top a lot over the new couple years!

You can imagine my thrill when I realised there was more than one Star Wars film, and it had been a trilogy. And being a promotion of the franchise in anticipation for the Special Editions and pending new trilogy, I only had to wait 2 more weeks until The Empire Strikes Back (1980), then Return of the Jedi (1983).Memory serves I saw the latter just days before my 11th birthday. What a privilege.

That birthday was classic. My fascination lead to an introduction to the expanded universe with a copy of Tales of Bounty Hunters, written as a collaboration between different authors, set during The Empire Strikes Back, with a tale of each of the Bounty Hunters we briefly meet in that film. I still have a copy of it, and loved the tale of IG-88. The gift of some action figures that meant a lot to me, and a few years later the toy collector sentiment in the film Toy Story 2(1999), lead to an interest in collecting the action figures I had happy memories attached to. I enjoyed hours of escapism in my bedroom creating my own Star Wars battles with the figures. I have always enjoyed the packaging of figures, the details of the figures, and intrigue over the pull many of us have to these plastic representations on fictional characters that sit deep in our minds.

I have included a photo of showing part of my Star Wars collection, which is very much original trilogy specific. On display is the main pieces that mean something to me.

On the mention of the original trilogy, maybe I'll do an article one day how I only view Star Wars as a spectacular journey of 3 films? I am not passionate or invested in any other works afterThe Return of the Jedi, as I do not view these as fitting to the Star Wars galaxy that lives in my head.

What has been a wild realisation as I've written this is Star Wars turns 50 in just 2 years time - 30 years in my own life since I first had the experience shared. Both my children have seen the films and share an interest in the movies as well, all 3 films being regular features in our Friday Pizza Night viewings, closely met by the Indiana Jones trilogy, or Jurassic Park. No doubt I will write about many of these films - but for now I'll leave it here.

Star Wars. A 1977 cinematic masterpiece that left as big an impression on me at 10 years of age, as it would have on a 10 year old back in 1977, as it seems to have on a 10 year old in 2025. Who'd have thought? Lucas and his crew pushed the boundaries with visual & sound effects, a cohesive soundtrack with one of the greatest composers of all time, excellent editing from Paul Hirsch, Richard Chew, and Marcia Lucas (Lucas' ex-wife), but most importantly (what many forget in this day and age) a solid story that most people relate to on the most fundamental of levels. Lucas pushed himself to absolute exhaustion directing Star Wars, and even though I think his legacy has been slightly tarnished with embers of self-destruction from the prequels, and then his Disney sale essentially removing himself from the galaxy, I will never dismiss the vision he had set the foundation for tin he 1977 film, and what followed.

Star Wars is described as the heroes journey. The adventures of Luke Skywalker. A pop culture hero with his friends and enemies still giving us an escapism to this galaxy far, far away.