Below are my reviews of four more sountracks from Star Wars films, including Episode IV -- A New Hope, Episode V -- The Empire Strikes Back, Episode VI -- Return of the Jedi, and Episode VII -- The Force Awakens.

Episode IV – A New Hope (1977) *****

While I admire John Williams’ fanfare from Star Wars, it remains controversial. Why? Because in 1942, composer Erich Wolfgang Korngold wrote music for the drama Kings Row. Coincidentally or otherwise, the opening bars from Korngold’s main theme crop up again in John Williams’ Star Wars: A New Hope and every sequel/prequel. Although the latter creates an original score, can I forgive his blatant reference to Korngold? Of course. Several highlights more than compensate.

SPOILER ALERT!

For anyone who hasn’t seen A New Hope, I recommend skipping to the next paragraph. As Luke Skywalker (Mark Hamill) races home to warn Aunt Beru (Shelagh Fraser) and Uncle Owen (Phil Brown) regarding the Imperial Stormtroopers, Williams forecasts the worst possible outcome. In “Burning Homestead,” desperation turns to tragedy as Luke spots the charred remains of his relatives. Quite frankly, this masterpiece cue invests the entire score with added poignancy.

Also, “The Death Star/The Stormtroopers” brims with steely suspense. On the Millennium Falcon, Luke joins mercenary Han Solo (Harrison Ford), Jedi master Obi-Wan Kenobi (Alec Guinness) and Chewbacca (Peter Mayhew) in a quest to reach the planet Alderaan. They leave hyperspace only to discover their planet has gone, while a moon-shaped space station hovers nearby. The latter turns out to be the Death Star. Within seconds, the Millennium Falcon gets caught in a tractor beam, luring it closer to this terrible fortress. Action soon leads to suspense as the orchestra plays magnificently.

Like “Burning Homestead,” Williams tugs at the heartstrings during the opening of “Ben Kenobi’s Death/TIE Fighter Attack.” At 1:32, the action resumes as Luke and Han strap in, man the cannons and fend off several enemy fighters. Also, it’s worth citing William Walton’s “Battle in the Air” from Battle of Britain as a kindred spirit. Ultimately, both compositions share a gargantuan scope inside a fleeting encounter.

The selling point behind A New Hope arises through melodic action. For example, “The Battle of Yavin” offers nine minutes of peerless construction. The words “score highlight” seem apt given the strengths of Williams’ writing here. At 1:11, the brass section reprises the main Star Wars identity, and it only gets more exciting from there. The tone does feel relatively optimistic at first as the resistance conducts a strafing run on the Death Star.

Meanwhile, the second half reveals a darker flavour, yet this contrast serves to heighten suspense. At 5:46, violent tremors stir a feeling of impending fate. Appropriately, this moment brings to mind the penultimate cue from Williams’ The Towering Inferno (“Planting the Charges”).

Episode V – The Empire Strikes Back (1980) ****

Following the traditional 90 second fanfare in “Main Title/The Ice Planet Hoth,” discord envelopes the listener. Early nods to Darth Vader’s “Imperial March” beckon, while unsettling timbres signify an imminent mission. As the heroic Force Theme struggles against this tide of darkness, Williams introduces some major action writing. It’s a thrashing, chaotic assembly brimming with contrapuntal tensions.

Sadly, “The Wampa’s Lair/Vision of Obi-Wan/Snowspeeders Take Flight” ponders a rudderless course. In short, I found my attention wandering well before the end. By comparison, throbbing uneasiness defines “The Imperial Probe/Aboard the Executor.” Around 1:20, the bleakness fades, yet it’s a ruse as Darth Vader’s “Imperial March” inches closer. At 2:45, the brass section establishes evil in a dominant mode.

Meanwhile, we hear a classic with “The Battle of Hoth.” When placed alongside “The Battle of Yavin” from A New Hope and three-part “The Battle of Endor” from Return of the Jedi, the excitement builds. Gone are the early signs of timidity. In “The Battle of Hoth,” I found myself overwhelmed during the first playback. Nevertheless, these instrumental vibes, strikes and general barnstorming caused me to rethink what I’d hear prior. Therefore, this particular cue remains something of a marvel.

The greatness persists during “Yoda’s Theme.” There’s replay value to this track that goes beyond the running time. Crucially, one can draw parallels with Williams’ “The Flying Sequence” in Superman. Both carry exquisite melodies that touch the heart in heartwarming ways.

However, The Empire Strikes Back would work better without “Attacking a Star Destroyer,” “Yoda and the Force” and “Imperial Starfleet Deployed/City in the Clouds.” Why? Because all three cues feel emotionally restrained… to a fault. Reassuringly, business picks up with “Betrayal at Bespin.” Such heightened feelings of heroism and horror remind us how Williams’ soundtracks have passed the durability test. Also, his talent for darker textures informs “Deal with the Dark Lord.” While the latter sounds weighty through a minimum of gestures, only a brief bombastic flurry near the two minute mark disturbs this tense, cerebral atmosphere.

Initially, gorgeous strings convey optimism during “Carbon Freeze/Darth Vader’s Trap/Departure of Boba Fett.” When Hans Solo goes into suspended animation, Williams allows his underscore to reflect this dramatic occurrence. Briefly, the call and response between specific orchestral groups is peerless.

By necessity, it’s time to go dark again. During “The Clash of Lightsabers,” anxious chords signify Luke’s duel against Darth Vader (David Prowse). In addition, scintillating harp performances recall Williams’ Jaws, namely “The Shark Hits the Cage.”

Despite covering significant highlights in A New Hope and The Empire Strikes Back, deeper treasures await…

Episode VI – Return of the Jedi (1983) *****

Taking longer than normal, “Main Title/Approaching the Deathstar/Tatooine Rendezvous” meanders compared to “Star Wars and the Revenge of the Sith.” Even with Darth Vader’s Theme, it’s an uneasy beginning. However, matters improve considerably over this long, impeccably crafted album. What would Star Wars feel like without composer John Williams? I’d say emotionally inferior. Although his themes arrive in concise, memorable forms the way he navigates between them holds the key to understanding his artistry.

When “The Droids are Captured,” perilous tones define this soundscape, accentuated by occasional harp playing. Meanwhile, shrill percussion, eerie woodwinds and portentous brass dominate “Bounty for a Wookiee.” A curiosity on the whole, this track feels relatively abnormal inside the Star Wars universe.

For “Han Solo Returns,” low register strings veer towards similar material from Raiders of the Lost Ark. Fierce, convincing and melodically creative, there’s a gorgeous love theme around 2:25 which releases the tension.

Definitely a five-star cue, “Han Solo Returns” segues smoothly into “Luke Confronts Jabba/Den of the Rancor/Sarlacc Sentence.” During this section, Williams disturbs the equilibrium via subtle electronic manipulations. Given the low-key mood, some hiss can be detected on this soundtrack. By allowing the gestation of thematic constructs, he builds his storytelling organically. Nearly four minutes into “Luke Confronts Jabba/Den of the Rancor/Sarlacc Sentence,” early sonic rumblings fade in order to reveal a larger palette.

An orchestral heartbeat motif can be heard during the opening of “The Pit of Carkoon/Sail Barge Assault.” Then there’s a pause followed by heavy brass and racing strings which foreshadow the Star Wars Theme.

Elsewhere, “The Emperor Arrives/The Death of Yoda/Obi-Wan’s Revelation” underscores an important character: Darth Sidious (Ian McDiarmid). Around 1:00, we hear a dark musical chorus that would be used again for Revenge of the Sith. On a nostalgic note, I remember why the Emperor gave me chills as a young boy. In context, Williams’ score envelopes the screen, making the Sith master all the more intimidating.

By contrast, gentle strings reveal Yoda’s worldly fate. Similarities to Luke’s sunset sequence in A New Hope seem most evident. When the turning point arrives, Williams contributes soulful support, while reaching for something hopeful, even transcendent.

During “Alliance Assembly,” progressive chords announce a tone of extreme urgency. In particular, the strings convey a circular motion, while anxiety floods “Shuttle Tydirium Approaches Endor.” In terms of size, “Speeder Bike Chase/Land of the Ewoks” features percussion, harp, brass and more in daring counterpoint. Interestingly, quirky woodwinds around 3:26 cause the sinister tone to diminish. There’s a slight marching beat here, augmented by suspense and contemplation. So, when the action music explodes, some suggestion of Leia’s Theme can be heard. Meanwhile, the Emperor’s motif gets picked up by the strings and sustained for several beats.

Throughout “Luke and Leia,” there’s a mythic quality which underlines this important relationship. Likewise, a slightly surreal Bernard Herrmann vibe (think Vertigo) occupies “Brother and Sister/Father and Son/The Fleet Enters Hyperspace.” At 3:06, nascent warlike drums indicate trouble ahead. To his credit, Williams takes his time developing these ideas, often returning to them at crucial junctures.

Lastly, “The Battle of Endor I” joins “The Battle of Yavin” as a creatively inspiring suite. Comparing Williams to Korngold, both composers share a common expertise for shaping spectacle around character-driven themes. Therefore, we never lose sight of the little guy caught in a life-threatening situation.

Overall, I believe the strong personality and various moods in Return of the Jedi redefine Star Wars.

Episode VII – The Force Awakens (2015) ****

After hearing just three notes, Star Wars: Episode VII: The Force Awakens feels like a triumph. Not only does John Williams’ opening theme sound as clear and vibrant as ever, nearly the whole package follows suit. The combination of scope and tender humanity distinguishes “Main Title and the Attack on the Jakku Village.” Many of Williams’ trademarks can be found here, including a sense that the visual storytelling earns a common ally through the music.

Around 0:40 into “The Scavenger,” gorgeous woodwinds establish harmony. This track features peaks and valleys as Williams allows the focus to shift from uncertainty to a more comfortable destination. On the subject of destiny, he allows his score to acknowledge the fragility of ordinary souls facing extraordinary problems.

Notably, trumpets in the Max Steiner mould manifest during “I Can Fly Anything.” In my opinion, Williams delivers a five-star composition here. Despite my admiration for the remaining score, this highlight indicates something deeper, albeit untapped.

Why the lower rating for The Force Awakens and The Empire Strikes Back? Because greater consistency can be found in the other soundtracks, especially Return of the Jedi – my personal favourite.

Not to take anything away from Williams, yet The Force Awakens rarely retreats from the norm. Echoes of Hook, War of the Worlds and even the whimsical sections in The Towering Inferno remain palpable. He simply can’t help dipping into a little self-referencing. Above all, Williams succeeds in making it feel relevant.

***

PHOTO:  John Williams, composer of all seven Star Wars films.