ajp4mgs
Super Freak
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I think it's important to remember that George started his actual filmmaking career with THX 1138. That movie can be called a lot of things, but "silly" and "overtly commerce-oriented" should not be among the descriptive terms. In fact, Marcia herself has said that the blame for that film not resonating better had to do with George's nature and how it's so different from hers. As she put it:Watching that show made me think that ROTJ would have been noticeably better had George's separation/divorce from Marcia been just 2-3 years later. Marcia seemed to be the background force that pulled in George's more silly or overtly commerce-oriented ideas and grounded things more.
"I never cared for THX because it left me cold. When the studio didn't like the film, I wasn't surprised. But George just said to me, I was stupid and knew nothing. Because I was just a Valley Girl. He was the intellectual."
He then went on to make American Graffiti, and what's particularly interesting about that film and its success (according to Marcia) is what George was trying to prove. Again, in her own words:
"After THX went down the toilet, I never said, 'I told you so,' but I reminded George that I warned him it hadn't involved the audience emotionally...He always said, 'Emotionally involving the audience is easy. Anybody can do it blindfolded, get a little kitten and have some guy wring its neck.' All he wanted to do was abstract filmmaking, tone poems, collections of images. So finally, George said to me, 'I'm gonna show you how easy it is. I'll make a film that emotionally involves the audience."
So... George's nature and interests in the early years wasn't to go for easy commercialism, and he didn't have a predilection for "silly" components in his storytelling. In fact, when it came to Star Wars, Marcia again credited herself with steering George in a more populist direction by keeping him from cutting things that he felt were *too silly* (like Chewie's growl at the mouse droid).
He ended up embracing more of a commercial approach to his storytelling because it was easy. Making tons of money and becoming a legend in the industry probably became more and more intoxicating. Especially with his friends making hugely successful films and human nature being to not want to fall behind one's peers. And fatherhood likely had an impact on his filmmaking goals as well. But I think people in the modern day (especially online) have twisted who George Lucas was by conflating him with who he became.
I won't disagree with anyone who says his filmmaking got increasingly sillier and more commercially driven, but I see that as almost an entirely different version of the man who made THX, Star Wars, and Empire. In fact, I see ESB as a huge artistic risk because it was such a stark departure in so many ways from the commercially proven winner that was ANH. The easier thing to do would be to follow the same formula.