Mythology and inspirations
Critical analysis has suggested various inspirations for Empire, particularly the early 1930s Flash Gordon serials that include a cloud city similar to Bespin. Film critic Tim Robey wrote that much of Empire's imagery and narrative can be connected to the 1975 film Dersu Uzala, directed by Akira Kurosawa—whose work inspired Lucas.[289][290] Muren described the Empire's assault on Hoth with AT-AT vehicles as an analogy for the Vietnam War, specifically an invading military employing equipment inappropriate for the local terrain.[291]
Clarke identified Luke as the heir to mythological heroes, such as Prometheus, Jason, and Galahad. He is guided initially by a traditional aide, Obi-Wan, who offers the promise of destiny until he is replaced by Yoda.[292] Anne Lancashire wrote that the Yoda narrative is a traditional mythological tale in which the hero is trained by a wise old master and must abandon all his preconceived notions.[293] Clarke described Luke's journey as the hero who ventures into the unknown to be tested by his own dark impulses but eventually overcomes them. He believed this represented the human ability to control irrational impulsiveness to serve love, order, and justice.[292]
Lucas wanted Yoda to be a traditional fairy-tale or mythological character, akin to a frog or an unassuming old man, to instill a message about respecting everyone and not judging on appearance alone, because he believed that would lead the hero to succeed.[294] The New York Observer's Brandon Katz described Yoda as deepening the Force through philosophy. Yoda says they are all luminous beings beyond just flesh and matter, and presents the Jedi as Zen warriors who work in harmony with the Force. Kasdan described them as enlightened warrior priests, similar to Samurai.[280][294]
Religion
In developing the Force, Lucas said he wanted it to represent the core essence of multiple religions unified by their common traits. Primarily, he designed it with the intent that there is good, evil, and a god. Lucas's personal faith includes a belief in God and basic morality, such as treating others fairly and not taking another's life. The Presbyterian Journal described the film's religious message as closer to Eastern religions such as Zoroastrianism or Buddhism than Judeo-Christian, presenting good and evil as abstract concepts. Similarly, God or the Force is an impersonal entity, taking no direct action. Christianity Today said that the film's drama is caused by the absence of a righteous god or being creating a direct influence.[280]
Lancashire and J. W. Rinzler described Luke's journey as based purely on Christianity, focused on destiny and free will, with Luke serving as a Christ-like figure and Vader as a fallen angel attempting to lure him toward evil.[295][280] Kershner said any religious symbolism was unintentional, as he wanted to focus on the power of an individual's untapped potential instead of magic.[280]
Duality and evil
Anne Lancashire contrasted the first Star Wars film's message of idealism, heroics, and friendship with the more complex tone of Empire.[296] The latter challenges the former's notions, primarily because Luke loses his innocence in coming to perceive people as neither entirely good nor evil.[297][298] The scene in which Luke enters the dark side cave on Dagobah represents where his anger will lead him and forces him to move beyond his belief that he is completely on the light side of the Force.[292][293] Kershner said the cave tests Luke against his greatest fear, but because the fear is in his mind, and he brought his weapon with him, it creates a scenario where he is forced to use it.[299] After defeating the avatar of Vader, the mask splits open to reveal Luke's face, suggesting he will succumb to the temptations of the dark side unless he learns patience and to abandon his anger.[300]
The darkness is similarly presented in Han, a self-interested smuggler struggling with his growing feelings for Leia and the responsibility associated with her cause. The film represents his two sides in Leia and Lando, a representative of his smuggler life.[301] Empire questions the cost of friendship. Where Star Wars presents traditional friendship, Empire presents friendship as requiring sacrifice. Han sacrifices himself in the frigid cold of Hoth to save Luke's life.[297][302] Similarly, Luke abandons his Jedi training, something he has longed for, to rescue his friends. This can be seen as a selfish choice, as he does so against Yoda and Obi-Wan's instructions, potentially sacrificing himself for his friends instead of training to defeat the Empire, a cause his friends support.[297][302] According to Lancashire, characters are shown to be heroic through sacrificing for others instead of fighting battles.[303]
Lancashire believed that Luke's impatience to leave for Bespin exemplifies his lack of growth from his training.[300] There, Vader tempts him with the power of the dark side and the revelation that he is Luke's father.[280][292] Vader wants Luke's help to destroy the Emperor, not for good, but so that Vader can impose his own order over the galaxy.[280] This admission robs Luke of the idealized image of his Jedi father, reveals Obi-Wan's deception in hiding his parentage, and takes the last of his innocence.[297][304][305] Gerald Clarke suggests Luke is not strong or virtuous enough to resist Vader during this confrontation, and so allows himself to fall into the airshaft below, showing the antagonist does sometimes win.[292][297] The concept of a character having a good father and an evil father is a common story trope because of its simple representations of good and evil.[280] At the film's finale, Luke has a greater understanding of the relationship between good and evil, and the dual nature of people.[306]
