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EPISODE VI: RETURN OF THE JEDI SOUNDTRACK (1983)
Revelation, revenge, redemption, resolve. These predominant themes made for a fast-paced, fulfilling conclusion to George Lucas's original Star Wars Trilogy. But the exotic locales, high-stakes drama, extraordinary action scenes of Episode VI--Return of the Jedi created unique challenges for the man who scored it, John Williams. Before he takes the baton, the twenty-two second "Twentieth Century Fox Fanfare" rolls on as it does before every SW film, courtesy of orchestral legend Alfred Newman. After the standard title crawl accompanied by the booming, never-tiring "Main Title," the music variates into a dark, conspiring spin on Darth Vader's theme. Following these towering shots of a second Death Star under construction, a short-lived break from cunning and battle occurs when "Han Solo Returns," restored to life by his fiance in disguise. Their reunion quickly fades, spoiled by the introduction of Jabba the Hutt, and a suitably deformed, slimy theme. This tuba/trombone solo defines the overgrown slug as only Williams could. The Jedi returns in track four, "Fight in the Dungeon," a frenetic, fitful brawl where victory means only capture. But Luke Skywalker proves his abilities to both foes and friends, in an escape that showcases the many Star Wars combat cues with brass, percussion, and woodwind flourishes. Row upon row of Imperial troops stand ready at attention as "The Emperor Arrives," likely the grandest entrance Hollywood has ever seen. War-weary and seasoned by years of instruction, the small-yet-immense master Yoda passes away in "The Death of Yoda," which touches on Obi-Wan Kenobi's theme using four-part strings harmony. Inspired by the rugged, cuddly Ewoks and their lush home on Endor's forest moon, "Parade of the Ewoks" is a balancing act of fanciful discovery and collective excitement (this concert arrangement is heard often on classical radio). While even casual fans of Star Wars can hum Han and Leia's theme, discerning listeners appreciate the standout instrumental of Return of the Jedi as much; "Luke and Leia," premiered during their evening conversation on the Ewok's wooden bridge, paraphrases other melodies, featuring soaring violins in a mature instrumental. When "The Emperor Confronts Luke," the restraint of Skywalker and the conspiring of Palpatine are dramatized with the greatest instrument--the human voice--as a male choir sings a chorus of dismal, dissonant "ooh's." There are then three full tracks of battle music, including a rousing Rebel Alliance anthem, accelerated Ewok music, and improved interpretations of other films' compositions. Past Lando's flight into the Second Death Star, Han's destruction of the shield generator, and the Skywalkers' (father and son) last lightsaber duel, Darth Vader reaches a crucial point in his destiny, resulting in "The Emperor's Death." The elder Jedi's final moments are handled with care, as falsetto strings take on an enchanting version of the Force theme that highlights "Funeral Pyre for a Jedi." Once the last story subplots are wrapped up, the most odd two minutes of Star Wars music ever come on. While this first part of "Ewok Celebration / End Credits" was rescored in the 1997 'Special Edition,' the original release has the scratchy, high-pitched voices of the furry things chanting in their own language. Obnoxious to be sure. Still, this film score succeeds in celebrating ambitions both notorious and noble, and Williams brings Episodes IV-VI to a smashing, epic close.
- Josh Shepherd
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