CT "You can not hide forever, Luke" | Does Luke become invisible by using the force?

Does he? If so, why did he need to distract the guards when he left the tractor beam controls?

Luke was simply hiding from Vader. Not the smartest decision considering the space, but then again, his fears were taking over and he wasn't thinking straight (which was the Sith plan all along). This fear culminates in him attacking Vader despite his earlier pledge not to. He finally comes to his senses after removing Vader's hand.

 

Interesting point about Obi-Wan distracting the gaurds. However there are other times on the Death Star where it looks like Ben just stands in the corner as Imperials pass him by unnoticed. Maybe he is using different force tricks. I like how ambiguously the force is used in these movies.

 

Hi there,

As the starter of this very topic, it feels so cool for me to see it active again nearly one year later .

After all, the part (which Luke conceals himself from Vader) is-left-to-the audiences' free desicion much like many things we see in SW, and since the subject's laxity makes it open to debate, I wrote "Does Luke" become invisible by using the force instead of "Luke does" become invisible by using the force to the (topic's) headline.

For at the part; Mr. Lucas applies to an effective (scene) method that leaves the audiences in a dilemma as to whether Luke stretches out the force to become invisible or not : He uses-various-camera-shots to hide Luke's shelter (at the darkened area) and that seeds a question mark in people's minds (about Luke's being/not being invisible).

At the first page of my topic; at the second pharagraph of my comment, I mentioned about-a-scene-method at the throne room part (used by GL) and I related it with a same-type-of-that method applied by Mr. Spielberg in Indy 2.Now, I shall-approach-the-same (t. room) part from a different-scale-and-attach a method I'd observed at the scene with a "nearly" same mold of that (scene) method that was "again" used by Mr. Lucas back in "A New Hope", than I shall explain this very process by dividing-it-into-various screenshots.....

In the movie (ANH), while Ben and Han are bargaining about the price of their passage to Alderaan at Mos Eisley Cantina, they get spotted by the S. Troopers (the bartender informs against them).The S. Troopers approach to their table, and until-the-time-they come, the camera makes-close-shots-while Han, Luke, Ben and Chewy are sitting/bargaining on the table.Before they (Storm Troopers) draw near, Han warns them (Luke & Ben) and bids "Looks like somebody's beginning to take an interest in your handiwork".And while Han's saying that, the-camera-shoots-Han closely.From-the-time-Han's face appears (closely) to-the-instant-S. Troopers come, Mr. Lucas makes-6-camera-shots :

1) (As I've mentioned) Han's face appears nearly. 2)Much like Han, we-see-Luke-from a close angle.He turns his head to the Storm Troopers' side. 3)The-camera-shows-the bartender who points the table they (our eminent four ) sit with his finger. 4)At the next (4th) shot, Ben and Luke appear from a bit distant angle.We-hear-one-of the S. Troopers saying "All right.We'll check it out".Luke stares at Ben, and Ben swiftly-turns-his-eyes rightwards and leftwards in a manner of saying "They're coming.I must think quick". 5)The two S. Troopers walk to the table. 6)At the final shot ; the S. Troopers come, but this time, we see only Han and Chewy sitting on the table.The-camera-shoots-Han and Chewy from a certain distance, and at-the-short-scene, for an "instant", the audiences (well, at least me) fall to a dilemma as to whether Ben conceals both himself and Luke by manipulating the force or not.

But rrrright-after-the-S. Troopers walk away, Han says "17.000.Those guys must really be desperate".The-camera-"again"-shoots Han and Chewy from a distant angle, but from-a-different-perspective.Than he (Han) continues : "This could really save my neck.Get back to the ship, get it ready".And at the next scene, the camera shows Ben and Luke walking with a rush, and we-"clearly"-perceive-that they'd managed to escape from the cantina right before the S. Troopers come.Ben says (to Luke) "You'll have to sell your speeder", and Luke answers "That's okay.I'm never coming back to this planet again".

To-indicate-that-they're fleeing (fom the S. Troopers), Mr. Lucas swiftly-turns-the-camera from rightward to leftward while they're walking (the thing I like about this (shooting) technique is, rrrright-after-we-see Luke and Ben, the scene again turns to Mos Eisley Cantina, and the-camera-shoots-Han while he's walking the "same way" as it shoots Luke and Ben, it (the camera) again-swiftly-turns-from rightwards to leftwards, but it suddenly "stops" when Han is intercepted by the bounty hunter Greedo.The camera continues its swift course when it shows Han in-a-manner-of saying "Meanwhile, at the Cantina, we see Han walking away from the table much like Luke and Ben".....Even the camera shootings have a language on their own ).

The method I'd mentioned above (about ANH) is-a-very-good way of puzzling the audiences' minds about Ben's manipulating/not manipulating the force at the very scene even though it (the scene) lasts for a very short time (and I think that starts a new topic issue as to Ben's turning himself invisible ).It's been 40 years since the movie's release, and 40 years later, that (scene) method still looks effective and proves to be a method that stands strongly to the test of time.I mean, since 1977, the industry saw lots of changes in movie-making; a colossal revolution in visual/sound effects occurred.In a movie like ANH; which was made with low resources, the method's passing through a period of 40 years and coming to this day without loosing its influence is one of the indications of Mr. Lucas' genius.....

The very element-that-has-to be paid attention on both methods used in ANH's Mos Eisley Cantina part and ROTJ's throne room part is-the-foremost-thing that distincts them : In ANH; the enigma (of Ben's becoming/not becoming invisible) lasts-for-only-a very short scene.Right after the S. Troopers walk away from the table, we-understand-that-Ben & Luke had already fled from the cantina instead of being invisible.But in ROTJ; Mr. Lucas-spreads-the-conundrum (of invisibility) to a broad amount of time.Vader searches for Luke in a narrow area, and until the time he shows up, we don't feel sure about his (Luke's) invisibility.Even when Luke appears, the "rebus" still remains unsolved.

Nevertheless ; I still claim that Luke became invisible via streching out the force.The area might be dark, but it's-not-"blindingly"-dark, and if I'm proven to be wrong about that, if Luke's "hiding" in a corner, than he achieves something nearly impossible in a narrow area where he's "so" close to Vader.....

 

I like the idea that Jedi could conceal themselves from being visible. I've always thought that's how Luke was hiding in ROTJ. I mean, underneath that platform there aren't that many legit places to hide, especially from Darth Vader (as far as we see onscreen). Also, when Luke reappears, it's like he was standing in the middle of the whole thing. I would wager that when they were making the film, the intent was that he had simply found a hiding place. But still, it's fun to think Luke was using the Force to hide himself!

--Stranger--, I'm intrigued by the idea that in ANH cantina Obi-Wan was simply making him and Luke invisible to the stormtroopers. But the way the film is edited, as you mentioned, it does make that idea abit hard to swallow. Although I always did find it odd that no one ever saw Obi-Wan in those scenes on the Death Star. Then again, stormtrooper helmets were known to have limited vision!

 

He may be using some kind of "force persuasion" ability as seen in the Jedi Knight games.

 

That scene was always a bit weird. He just falls down and Vader can't find him? C'mon...
Jedi Fury saved the day tho.

 

Well, I'm still saying a determined, constant, and a big "NO" to Luke's hiding theory , and here's the reason why:

I've taken 9 screenshot frames from the (throne room) part, and it appears to me that the very pictures shall "strongly" prop up my theory of Luke's being invisible.To take the most proper frames from the part; I paused the scenes at-their-most-fitting appearances and in doing so, I also noted the time-indications of the very frames.I shall write my comments on each frame under the headline of the "exact" time of its appearance in the movie.With the specific instructions I shall give, it won't come confusing for you to spot the parts by pausing the screenshots (from the throne-room part) while you're reading my comments on the very frames.

And when you glimpse at the paused frames (and my comments on them as well) , please take into consideration that I didn't choose those scenes randomly, it took 1.5 hour for me to make the most proper adjustments for pausing the pictures at their most efficient shots and taking the very frames from each 9 of them


1) 01:46:05
I've taken the first frame right after the platform (which Luke was standing on) crumbled.At the very picture, we see Vader stepping down the stairs to descend to the area below where Luke is hiding.If you behold the frame (and the "scene" as well) , the-camera-shoots-Vader from backwards of the stairs as if Luke'd hidden (under the stairs) , he had turned himself invisible (by stretching out the force) and we were seeing Vader from Luke's perspective (at the scene, while Vader's descending, we hear the Emperor saying "Good.Good").....

At the part, perhaps shooting-Vader-from-backwards of the stairs was a (shooting) technique that Mr. Lucas'd used-for-leaving-a possibility to the audiences' imagination about Luke's being invisible.While he (Vader) is stepping down, the camera "slightly" comes downwards, and after Vader descends, it (the camera) , with-a-faster-motion, slips leftwards and continues to shoot Vader.....


2) 01:47:09
The-second-frame-is from the scene which-starts-right-after Han places one of the charges to the ceiling within the Imperials' building.The-camera-shows-the charge from a close-take (01:47:02) , and the part changes.At the scene; we-see-Vader-from a distant angle while he's seeking Luke.

The very frame I took from the scene proves to be-a-strong-indication of Luke's being invisible.The area (where we see Vader) might be dark, but not "too" dark to able Luke for hiding.There're some columns around Vader, but they're not thick enough to take shelter.We-also-see-two circular computer-operating desks those were attached to the ceiling (of the area) leftwards and rightwards of Vader.But altough; since they're "only"-connected-with-the ceiling, since they don't have any connection with the area's floor, it's not possible for Luke to conceal himself by using them.For if he'd hidden behind the circular desks, Vader would easily notice him.They (the desks) have no-columns-those-combine them with the (area's) base, and therefore, Luke'd be quickly spotted if he'd attempted to take shelter at any of them.


3) 01:47:34
At the third frame, we see Luke closely in a darkened place.At the scene (which I'd taken the very frame from) , Mr. Lucas doesn't reveal-a-clear-indication to the audiences about Luke's turning/not turning invisible.We're also-not-sure-about knowing where the corner (Luke's face appears) might be at the area, for it's a shadowy shelter.There're also two more (camera) shots those show Luke's face from near, but I decided to take the frame-from-the-first shot.At the (first) shooting, the camera slightly draws near to Luke's face and then it stops when-it-comes-to a certain proximity level.Since Luke doesn't absolutely appear, it's not obvious whether he suats or stands.

At the part; a brilliant (scene) method-is-used-which gives a dark appearance to Luke, and I shall explain the method by dividing it-into-3-very pieces those make it (the method) an effective one: 1) (As I've told before) The camera slowly approaches to Luke's face. 2)We see that a shadow had darkened half of Luke's face, which gives a bit dirty sight to him (Luke) , but which also makes him look as a mysterious character. 3)While Vader's talking (to provoke Luke) , he also searches for Luke's memories and tries to seek out/extract vital things about him.When Vader surveys Luke's memories, Luke also becomes aware that Vader was trying to reach his thougts and he (Luke) begins to remember the stuff about his past.While he's recalling the past, he (Luke) closes his eyes, and that gives a darker appearance to Luke, which also makes him gain an arcaner image.....Those-3-pieces-might appear as petty details, but-when-they-combine, an efficient (scene) method occurs from their unity.

*****************************************************************************************************************************************************************************************************************************************************************************
(I draw this line in order to indicate that you didn't have to read the pharagraphs below and you could directly skip to the 4th frame.Not that it's unrelated with the subject, on the contrary, it's "related" with it, but not a "must-read" stuff, which means it's optional for the readers to glimpse it or not.)

In fact; 3 years after the release of ROTJ, Russell Mulcahy uses the-same-mold-of that method at his sci-fic masterpiece "Highlander".But different from Mr. Lucas, Mr Mulcahy approaches-the-specific-method from a different scale, and for the process, he (Mr Mulcahy) takes-two-paces-in order to sculpt his own method:

1) At the first pace, while Mr Mulcahy is designing the character of Connor Mac Leod, he-advances-the-appearance of Luke's shadowy face and his dark image to-a-further-level, and to give even a "darker" sight to Connor (the "present era" Connor, not the medieval age Connor ) , he (Mr Mulcahy) projects the character as a dirty-faced (with remaining a beard of 4-5 days) , melancoholic, pessimistic and a half-drunken man venturing to cruise the midnight-streets of New York.Instead of gaining an arcane image, the character became an iconic-type much like his pedecessor, Luke Skywalker.

2) The latter-is-the-pace which "is" the outstanding one to distinct Connor from the medieval-age Connor: At ROTJ, Mr Lucas applies the very method (Luke's appearing as a dark/shadowy character) for-only-3-short shots.This is the point where Mr Mulcahy's method-is-mostly-differing, for he takes the method, and appraises it during the whole movie ("Highlander") instead of using it for a short time.

And therefore, the movie is telling two different stories of two opposite characters (which also stars Christopher Lambert as being both two distant characters).One is a blacksmith named Connor Mac Leod that'd lived in the 16th century-Scotland, who was a character full of life.The other is a man named Russell Nash (the present identity of Connor), an antique merchant who resides in the present-day New York, and who'd become exhausted as an aftermath of the ordeals he'd been through (Mr Lambert was successfully portraying the two contrary versions of Connor).

A small detail and it might sound odd; but there're-4-key-scenes at the movie in which Connor closes his eyes or/and the-camera-focuses-on his (Connor's) face while he's recalling his past (as-well-as-Luke at the throne-room part).I shall explain the scenes by the raw of their appearances in the movie with-writing-the-time indications of each-exclusive-camera-takes:

The first part is the very scene in which the movie begins from a wrestling match (which takes place at the hall of Madison Square Garden).At the part; Mr. Mulcahy makes-4-specific-camera shots by using that beautifull/brilliant method and therefore, I shall-divide-the-(wrestling) part into 4 very "sub-parts" to explain the exact method in the best way and to avoid it (the method) appear as a complex one (and, as I've said before, I'll mention each sub-parts with writing their time indications in the movie for my dear readers to spot-the-camera-shootings easily ).....

The first sub-part begins at 00:02:50 ; in which Connor-appears-for-the first time after a couple of photograph flashes.As the-camera-slightly-approaches to him (Connor), we see that a part of his face is shrouded in shadows.When-the-camera-draws nearer (with a slow speed), a reflection of one of the spotlights (of the hall) falls upon Connor, which-induces-the-level of his dark image.Right after the light passes, he appears even closer to the screen, the audience sees that instead of the shadows (those "partly" cover Connor's face), his dirty-bearded appearance is also one of the very elements those give the character his strange/uncanny sight.The camera stops approaching to Connor at the-point-when-it comes to a certain distance, and he (Connor again ) veerrryyy slowly-turns-his-face towards the ring.

At the second sub-part; the camera shows-Connor-from-leftward.It starts at 00:03:16 , right after the appearance of some close-takes from the wrestling match.Mr. Mulcahy uses a (shooting) technique at the sub-part and he-shoots-Connor-transversely.The-camera-shows-both him (Connor) and the middle-aged man who cheers for the wrestlers (and who also sits at one of the rear seats of Connor) crosswise and from a certain distance.Then it (the camera) shoots-Connor's-face-even closer, he shuts his eyes and recalls his clan's battle with the clan Fraser.I've to say that instead of the (shooting) technique and the (scene) method, I also like the time-passing a lot : Right-after-Connor-closes his eyes, Brian May's guitar solo ends and a vast, empty battle-field (with-an-open-sky) appears.At first (I'm mentioning only about that "one-particular" shot) ; we see an open/foggy scope, than the members of the clan Fraser appear, and Michael Kamen's music score fits like a glove to the scene (instead of Queen's songs/additional music, I also like M. Kamen's scores throught the movie a lot).In my opinion; Mr. Mulcahy-makes-a-perfect/brilliant style of time-passing at the very sub-part.....

And let's get to the third sub-part which's the one I like MOST!!! : At 00:03:35, (right-after-some-appearances of the conflict of clans Mac Leod and Fraser) the-camera-approaches-to Connor's face at a certain speed.And amidst-the-camera's-approach, the screen-gets-darkened-by a moving of a shadowy figure (who's probably one of the audiences), and while the figure's coming by Connor, Mr Mulcahy endures-the-camera's-motion.Rrrrright after it (the very figure) passes, we see that the camera'd-already-drawn-near to him (Connor) who's-shutting-his-eyes and recalling his first battle.At my previous reply, I'd told that even the (camera) shootings'd had a language of their own, and at the sub-part, Mr Mullcahy uses-the-camera-language in the perfect way.For while the camera is-coming-near-to Connor after so many appearances of the brutal-wrestling match and the thriiling/fierce medieval battle, Mr Mulcahy approaches it (the camera) toward Connor's face in-a-matter-of saying "all the violance, all the conflict he'd been through made him (Connor) a worn out character, and as a result of those harsh experiences, he chose to be a lonely man".....

As for the 4th sub-part: The final sub-part (that takes place at the very hall) begins two-camera-shots-right after the third sub-part ends (00:03:40).After-the-camera-approaches to Connor (Connor's face, to-be-more-specific), a short take from the medieval-battle appears, and at the latter (camera) shooting we see Connor "again" closing his eyes/remembering his past.Then, (still-at-the-same scene) the camera "slightly" passes-to-the-cheering middle-aged man (while Connor's opening his eyes).After the end of the 4th (and the final) sub-part, the scene cuts and the wrestlers appear at 00:03:43 (one wrestler grasps the other one from his hair, kicks his face with his knee and the wrestler falls.Mr Mulcahy uses-slow-motion-technique to shoot the short part).

2nd part of the 4 "main parts" appears right after Connor's confrontation with Kurgan (amidst the battle of the clans) at 00:15:23.The clan members prevent Kurgan from beheading Connor, and while Connor's friends are tying to tackle Kurgan, he (Kurgan) bids to Connor "Another time, Mac Leod", then the camera passes to Connor ; we see him lying on the ground wounded.While it (the camera) is shooting Connor, it slowly ascends, and when-it-rises-to a "certain" elevation level, the very-frame-darkens-and becomes present-day Connor's pupil.The scene doesn't cut, on the contrary, it goes on and Mr Mulcahy endures-the-camera's-motion.It (the camera) moves with the same speed, but this time it doesn't ascend, it-recedes-from-Connor's pupil.We firstly see his (Connor's) eye, the camera continues to go away, then we see Connor's whole face and the scene ends.At-the-next-scene (of the 2nd part), we see Connor from afar while he's driving his car in a rush.....

There're two foremost elements I like at this part a lot : Firstly, Mr Mulcahy demonstrates his aptitude by making a "brilliant" time-passing.The audience sees Connor lying in pain, the camera continues to move, a lessening circle closes the frame, the-scene-converts-to present-era Connor's pupil.But the very thing that has to-be-paid-attention here is the flawless harmony of a "duality", and the first thing that forms the very duality for the part is; Mr Mulcahy doesn't only make a great passing (from medieval-era to present-day), but-he-also-reverses Mr Lucas' very method.At the throne room-part (of ROTJ), Mr Lucas was slightly-"approaching"-the-camera to Luke (while he was shutting his eyes and recalling his past).But at the (M.S. Garden's) underground-garage scene, we see the camera (with an avarage speed of motion) going away from Connor instead of approaching him, and this part-is-the-only one in which Mr Mulcahy turns this very method inside out.....The-second-element-that forms the perfect duality is the utilisation of very opposite environments.One of those "key-environments" is the medieval age-Scotland.Right after Connor beheads Fasil, the audiences firstly see the castle of the clan of Mac Leod under an open/blue sky (via great camera shootings from different angles).Vivid-tones-of-various colours are used for the part, which's consisted of so many "Golden Screenshots".We see the lake-side/highland castle (which's sorrounded by mountains) from very beautifull perspectives.At the second part of the Scotland scene (where the battle of the clans takes place) , Mr Mulcahy carries-the-athmosphere-to a darker level.The open sky becomes cloudy/gray.Parallel to the sky, the mountains and the ground wrap themselves up with the darker tones of green and brown, but altough, the scope-still-appears-tremendously "open".

One camera shooting-after-the-very time passing (through Connor's eye), Mr Mullcahy shows Connor's car from a certain distance and the part-descends-to-its darkest level.And as parallel to the word "descend" ; after the audiences see so many wonderfull landmarks, beautifull tones of many colours and open-fields, Mr Mullcahy takes the viewers back to the close/claustrophobic, colourless and metalic scope of the underground-garage.On the contrary of Scotland scenes, the colour tones at the part are-reduced-to-the most monotonous level.The (colour) tones those weigh down at the scene are only the tones of gray (the things I mention about the garage scene are about my observations from-the-"specific"-frame that appears at 00:15:39).Because of the water-spraying jets (those become active after Connor's quickening-explosion), the environment appears foggy.The colour tones of gray and the place's foggy sight are-the-key-stuff those give the garage its uncanny sifht, and let's not forget the "Achilles' heel factor" of the scene: After the Scotland-scenes those (in a row) include the "castle of the Mac Leod clan" -part and "the battle-field"-part, the most definitive element that distincts the underground garage (from the Scotland-landmarks) is Mr Mulcahy's designing the place with monotonous colour tones, and if the ratio-of-those-tones were increased even a little bit, that would (not ruin, but) decrease the weird athmosphere of the very part.In my opinion, Mr Mulcahy was knowing how fragile that visuality was, and that's why he approached the (garage) scene so fastidously.....3rd part (of the "main-parts") starts right after Connor gets into his secret-oval room of his house at 00:35:13 (footnote: that room appears only at the 4th Highlander movie instead of this one).He opens the room's doors, he glances his eyes over the place for a little while, descends from the (room's) stairs, sits to the sofa and the-camera-shoots-his face closely while he's recalling his past.At that part; Mr Mulcahy makes the very time-passing via the sound of hammer hitting the ıron.At the first hitting sound, Connor closes his eyes, and at the second (hitting) sound Connor shuts his eyes "tightly" and the scene changes to the medieval-era (which takes five years after Connor's exile from his village of Glenfinnan).....If you behold the scene; while the-camera-is-shooting Connor's face near, you'll see Ramirez' clothes at the rear (of Connor) .....

The fourth (and the last) part appears when Connor comes to Brenda's flat for a dinner invitation at 01:03:06.Right after Connor puts brandy to the glasses, they propose a toast.When he (Connor) is about to drink the brandy, he suddenly closes his eyes and recalls the events of the year 1783 (when the cognac was bottled).While he's mentioning the events of the past, the-camera-slightly-approaches to his face, and when he ends telling the prominent historical incidents, we-see-that-it (the camera) had througly draw near to Connor's face (Mr Lambert appears like a history teacher while he's mentioning the occurances of 1783 ).....For the part; I've got to say that instead of that (scene) method, I also like the shooting tecnique used for the scene a lot.In order to apply this brilliant technique, Mr Mulcahy places two cameras around C. Lambert and R. Heart, which I shall explain-by-dividing-it (the very technique) to 3 pieces : 1) The first camera (with-a-very-slow motion) moves towards Connor's face while he's talking (to Brenda). 2) The-scene-cuts-to Brenda, and the second camera shows her for a shortwhile.She "bewilderedly" laughs a little bit. 3) Now, the-most-important-shot for that BRILLIANT technique is the third one, for while the 2nd camera-is-shooting-Brenda, the 1st one "continues"-approaching-to-Connor's face, and when the scene cuts and the (1st) camera shows Connor one more time, we-see-that-it'd come even to a closer distance.It-"doesn't"-start-from the point where the first shooting had left off.On the contrary ; (as I've said before) simultaneously during-the-time-while the 2nd camera is showing Brenda, the first one continues-to-come-near to Connor's face, and at the third shot, the camera starts-from-the-precise point according to its motion of approaching at the same time while the other one (the 2nd camera) was shooting Brenda.....It (the technique) might appear as an unimportant detail, but it's a great way of giving the character (our unbeatable Scottish-swordsman ) an arcaner appearance.....

Well, I suppouse while I was mentioning about the (scene) method used by Mr Lucas (at the throne room-part), and sampling it with a similar method applied by Mr Mulcahy, I've receded so away from the very axis of the thread by writing too much stuff about "Highlander" .....At the 326th (August) issue of Empire Mag. , I read Mark Salisbury's article (with the headline "Endless Love") about the movie, and as being a solidified fan of the (Highlander) franchise, I liked it so much! .I never knew that the role of "Kurgan" had been firstly offered to Arnold Schwarzennegger, and since Mr Schwarzennegger had already played a villain (in the first "Terminator" movie) at the time, he'd rejected the role for not playing an evil character for the second time, and the very role had pased to Clancy Brown.....Every month, I regularly read Terri White's columns ("This Month at Empire") which appear at the first pages of the magazine.Mrs White is a journalist whom I greatly respect and whom I also greatly value her opinions.As a person who has a wide vision, she makes observations of high quality of the ongoing modern cinema culture, and she's been successfully administrating the magazine she'd taken over from Morgan Rees since issue 318 as being the editor-in-chief (at issue 335, I liked the photo from the set of "Guardians of the Galaxy 2" that shows Dan Jolin holding the baby Groot a lot! .I suppouse that starts a good friedship between Mr Jolin and Groot ).

In some ways; I liken the movie (Highlander) to Mr Nolan's "The Dark Knight".At the movie, Batman/B. Wayne (successfully portrayed by Mr Bale) is the front character, but altough, since Mr Ledger displays a very outstanding performance, the influence of the character he portrays (the Joker) surpasses all of the characters' impact, and instead of borrowing the show from Batman, he (H. Ledger's "Clown Price of Crime") became one of the most prominent characters in the history of Hollywood.And much like H. Ledger, C. Brown exhibits a brilliant style of acting in "Highlander" as the vile swordsman "Kurgan", so much so that the villain's charisma leaves the other foremost characters' influence behind.I've watched the movie dozens of times until now, and I always find him (Kurgan) as the most effective character in the movie.And also; at the movie's exterior, he also appears to be one of the coolest (and maybe the "most" prominent ? ) immortals of the Highlander-universe.I lastly watched Clancy Brown at the tv show "The Flash" as General Wade Eiling.I may say that he (Mr Brown) was appearing veeerrrryyyy cool in military uniform, and his acting-performance doubled the character's charisma .I liked the 17th episode of the 3rd season ("Duet") a lot .Flash and Supergirl were performing as a great singing-duo.Melissa Benoist has a lovely, very lovely voice, and the cordiality in Mrs Benoist's singing took me to another places, to a more beautifull world .....


4) 01:48:10
Well, ok, let's get back to ROTJ's throne room part again, and let's continue to glimpse at the very frames whence we had left off .....The 4th frame shows us the (camera) shot in which we see Vader (from a short distance) continues searching for Luke.Backwards of Vader, we see a net-like window that looks to the void of space.(While the camera-slightly-slips-from leftwards to rightwards) We see some thin columns around him (Vader) and one of the computer-operating desks at the leftside of the screen, but (as I'd said while I was commenting on the 2nd frame) none of them gives Luke the sufficient opportunity for hiding.....


5) 01:48:13
The 5th and the 6th frames are VITALLY important for proving my invisibility-theory, which-appear-consecutively-at the same timeline.At the 5th frame we see Luke squating below the stairs, which-appears-after-Vader's speech (to procoke Luke) ends.To see the very frame, you have to make a subtle fixation in your video player by pausing-the-scene-right before Luke appears, which shows us Vader seeking for Luke while he's bidding poisonous words in order to lure him (Luke) to the dark side. When his last phrase ends; rrrrright-after-he-says "If you will not turn to the dark side, then perhaps she will", pause the scene before it cuts to Luke.And while Vader's appearing (at the paused screen mode) , push the pause button of the remote control for a short-couple of times.When-the-scene-changes and Luke appears, stop pushing the (pause) button and hold the scene at that "precise" point.You'll see Luke squating below the stairs, which means during the time Vader was looking for Luke, he (Luke) was hiding-at-the-very place (below the stairs) by becoming "invisible" via the force.


6) 01:48:13
After Luke appears squating (in the paused screen mode) , push the (pause) button 2-3 times, and you'll see the 6th frame that shows Luke swiftly "standing up" in a sudden rage, which, too is a strong indication of Luke's squating underneath the very stairs.After the 6th frame, the-camera-shows-the stairs 2 more times at the rear while Luke's dueling with Vader, which I shall mention at the screenshots below.


7) 01:48:15
At the seventh frame, Luke "again" appears striking at Vader with his light saber, and the stairs appear-backwards-of-Luke one more time.Both-sides-of-the stairs appear empty, and that means while Luke was squating/taking shelter, there wasn't anything Luke could hide behind around the place, so the only "possible" way that's left to Luke for concealing himself is to stretch out the force and cloak his visible appearance by becoming truly invisible.


8) 01:48:17
After the screenshot that shows the audience the stairs backwards (of Luke) for the second time (at the 7th frame), the-scene-cuts-and the camera shoots Luke from his back, than it (the camera) again shows the stairs for the 3rd (and the last) time at 01:48:17 ; which also is the 8th frame.But different-from-the-previous two frames, the camera "this time" shoots the stairs from a bit different angle and ables the audiences to see-the-rightwards-of the stairs from a "broader" perspective.We may again see that there hadn't been any stuff/corner aside the stairs that/where Luke'd take shelter at.....After Luke yells "never" and attacks Vader, Mr Lucas shows the stairs (at the rear of Luke) two more times. I'm not sure, but I think he (Mr Lucas) shot the stairs "again" in-order-to-indicate that Luke had been concealing himself by becoming invisible beneath the stairs along the time Vader was trying to tempt him, and as I'd said before, that (shooting the stairs 2 more times after Luke reveals himself) is-a-"perfect"-way of showing the viewers how Luke's force-powers had proceeded since ESB.....


9) 01:48:27
The 9th (and the last) frame shows us some part of the small domain, and we're also able-to-see-the stairs and the area around the stairs from profile.The camera shoots Luke/Vader from a certain distance.Right after Luke rages and gets out of his shelter (the stairs) , he drags Vader along the place, they draw-a-half-circle, continue their duel and come on a level with the stairs.The same place appears from a different angle; the side of the stairs (where Luke fights Vader) is completely empty, in front of the stairs there're three columns and a computer-op. desk, but there's NO place that gives an opportunity to Luke for hiding unless he turns himself invisible.So, as I always say , the only "possible" way left for Luke is to conceal himself by manipulating his enhanced-force abilities, alter his visible form and become utterly invisible.....

I suppouse the very 9 frames and my comments on them massively shore up my opinion, and justify the theory of Luke's converting himself invisible .....

Any opinions?

(When I entered the site on the 1st of April, I saw that the writings about the SW terms'd been displaced by the names of Disney's female characters.To be honest, I panicked a little bit when I saw the cartoon-female names instead of the stuff about Star Wars .Then later on, I realized that it was April Fool's Day, and took a deep breath .I have to admit that the April Fool's joke really worked on me.Well, I may be a good comment maker, I may be a carefull audience, but afterall, I'm not Superman!!! )







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I dream of a world full of endless forests, vast greennesses and beautifull rivers. Oh, well, I think the time has come to heed this hard'n heavy masterpiece, dear readers : Blood Red Skies - Judas Priest

 

The novelization to ANH indicates that Obi-wan was darting between gaps in the walls and hiding in shadows. Nothing about the Force is indicated.

Luke falls, hits the ground, jumps up to his feet and runs under the stairs. It's that simple. There's no invisibility involved. It's just dark under there and Luke is moving quickly enough to not be spotted. Luke's squatting is not really squatting, it's because Luke left his Lightsaber for Vader to find and he picked it up. When Luke reveals himself, he summons it to his hand and raises it up. But due to cutting it from the film, Luke looks like he was squatting the whole time.

 

How does Vader's mask not have infrared?

 

That is a cool idea. I've always found it odd in that scene that Vader cannot see him. Also Luke is clearly using the Force to mask his voice as well, since talking while hiding is a dead giveaway. The only real excuse is the Force.

 

The real excuse is called hand waving logic in a film.

 

this reminds me of how vader is always telling luke how well obi-wan has taught him. the new canon has added at least one (only one?) in-person confrontation between luke and vader in which vader comments how luke is using the lightsaber like a child (apparently he has NOT been taught well lol). but by the ESB fight, luke has improved and by ROTJ he's improved even more. you know, it's almost like luke still has a teacher...

vader pressed his foot into obi-wan's robe after he disappeared. is it possible that vader thinks it a possibility that obi-wan is still alive? almost as though he became invisible instead of being struck down? apparently obi-wan taught luke the power as well...



(this isn't actually a serious post)

 

Well, check the scenes (those show Vader searching for Luke) carefully, and you'll see that Vader was searching for someone who had turned himself invisible instead of someone who was "lurking" in a corner.

Afterall; this is the fact that Luke's not an ordinary type, he's a Jedi Knight, a force-wielder.And since the force's being "strong" with him, he's open to widen his aptitudes and demonstrate brand-new/unseen powers.

In fact; at ESB, Vader also props up my opinion (of Luke's force-potentiality) by saying the magic words "The force is with you, young Skywalker" and "Luke, you do not realize your importance.You have only begun to discover your power" , which leaves an open door to sneak for the wievers' imagination about how Luke might proceed on his path to extending his force techniques on a vast scale.

To be precise-for-the-part (in which Luke "possibly" becomes invisible) , behold the scene that takes place rrrright-after-Luke-replies (to Vader) "I will not fight you" at 01:47:21. After Vader hears his respond, he sustains his searching, but he-doesn't-seek-for someone who's taken refuge in a darkened place, he-looks-for-someone who'd shrouded his visible-entity from the sight of the eye, and since Luke'd utterly disappeared, Vader tries to peg the source of his voice in order to find the very spot wheresoever he hides at the "bounded" domain.....

 

No, Luke was not invisible. Vader was "searching" for Luke like a parent searches for their kid when playing hide and seek and they can see their kid in plain sight. Luke was cowering, trying to not give into his growing anger. Vader knew exactly where Luke was hiding, and was working on goading Luke into revealing himself by losing his temper and attacking Vader.

 

Vader's body language in the film seemed to suggest otherwise, IMHO. He seemed rather taken by surprise when Luke charged at him and ultimately lost his balance.

 

Deep down Vader knows that Luke turning to the dark side will not end well for at least one of them, and soon. But he still clings to the belief that the dark side it is the only thing that can empower someone sufficiently to control their own destiny. Which in this context means destroying the Emperor and taking his place.

Vader's reaction says, for me, "Woah. I've really done it this time. Uh-oh, now what?"

 

Just watch the scene in-which-Vader-appears for the first time at the part (at 01:47:09).The side of the stairs (where Luke presumably had taken shelter at) appear empty at the rear.And-9-shots-later, the camera shows the stairs again, but this time Luke-suddenly-appears-in front of the very stairs (at 01:48:13), he yells and strikes at Vader with a sudden/exploding rage.

At this point, we; the loyal, constant viewers of SW come face to face with two very items : 1) If Luke has-been-hiding-in anyplace else (instead of the stairs' backside) since the time Vader first appeared to the "exact" time we-see-him (Luke)-coming into view in front of the stairs, he wouldn't be squatting, he would rush out of his hiding place/corner, and he'd "directly" be-standing-afoot-in order to attack Vader.

2) So, depending on the 1st item, I could easily claim that Luke'd hidden under the very stairs along the time Vader was searching for him, and the reason of Luke's not being in sight when the stairs appear for the first time (at the beginning of the very part) was Luke's turning himself wholly invisible.This; in my opinion, is the only radical/logical explanation for this hard-to-solve conundrum .

It's-an-"intense"-possibility (for Luke to manipulate his force powers in order to make himself disappear) in a story that takes place in a fantasy-athmosphere such as SW.And in fact; at the second installment of "The Lord of the Rings" franchise ("The Two Towers") , our familiar, determined Hobbits Frodo (E. Wood) and Sam (S. Astin) apply to the same way to conceal themselves from the battallion of the Easterlings : They cover an enchanted blanket upon themselves, and the soldiers can't spot them under the very blanket which'd taken the form of a boulder.And also, some characters of the Middle-Earth oftenly use Sauron's omnipotent, super-duper ring in order to alter their appearant form (I read Mr Wood's recent interview (that consists of 5 questions) as part of Comic-Con San Diego at Empire Mag.'s September issue.It'd been a short, but a great conversation ).

It shouldn't come so hard to leave a possibility for Luke's disappearance-theory, and in order to draw a conclusion by depending on the things I'd written above, I might say that Luke was a demonstrator of intense powers and surprising skills, so strecthing out the force to become invisible is something I "strongly" deem likely, for after all, nothing (that's related with force-manipulation) is impossible for the sect of Jedi.....

 

The Force sense doesn't work perfectly, he can sense him close but he can't sense his exact position in the room it seems.

 

You'll not see Luke use this "disappearing" power in TLJ or Ep. IX. I guarantee it.

I'll also point out that Vader "sensed" Ben when the MF entered the DS, but didn't go directly to him inside the ship. Instead, he went to Tarkin. Sometimes, the characters do stupid stuff for the sake of the plot. Then again, if the characters did everything perfect, well, then we'd have completely different films.