DELETED SCENE: A GATHERING OF VILLAINY!

The time of the Emperor's arrival on the new Death Star has come.

Darth Vader's prior work at motivating the building teams of the Death Star II has yielded effective results. Now the Dark Lord gathers with his top Imperial officers for the newly arrived, fearsome Emperor, who is eager to see the space station and test its supreme firepower. 

A well-known deleted scene from Return of the Jedi cut for time and pacing reasons, and sadly one of only a very few sequences filmed showcasing Dave Prowse as Vader...

Imperial officers await Vader by the elevator entrance to the hangar bay as the Emperor makes his arrival.

Vader and Moff Jerjerrod (Michael Pennington) lead the assembled senior officers to the hangar bay.

A Stormtrooper (Gerry Sherard) keeps watch in the corridor.

AN 'EMPIRE' AT 45: BOUNTY HUNTER ASSEMBLY!

On the command deck of his Super Star Destroyer, much to the irritant of the Imperial Officers under his command, Darth Vader has put the call out to the deadliest group of Bounty Hunters in the galaxy to search for the Millennium Falcon and its occupants. Amongst them, and at the very top of the tree in his chosen specialist field of 'business', the totally lethal and resourceful Boba Fett, soon to be a legend of the Star Wars universe.

Left to right: Dengar (Moray Bush), IG-88 (a prop operated by UK Effects technician Bill Hargreaves), Boba Fett (Jeremy Bulloch), Bossk (Alan Harris), 4-Lom (Chis Parsons) and Zuckuss (Cathy Munroe).

AN 'EMPIRE' AT 45: DARTH VADER MAKES HIS ARRIVAL...

Darth Vader makes his presence felt within the near-abandoned Echo Base on Hoth.

"(Irvin) Kershner was a real actors director. Before we started shooting Empire, he told me,"I want you to be the thinking man's Darth Vader", and really took me through things. He was lovely."

Dave Prowse - Film Review magazine Star Wars Special - 1997  

The Rebel base's shield generator has been spectacularly destroyed, and the enemy forces have mostly been wiped out by the AT-AT's and Imperial Snowtroopers. Now, the immense dark presence that is Darth Vader has arrived to oversee the final capture of Luke Skywalker and his other friends who'd prior helped in destroying the Death Star. Sadly, such a visitation and plans of revenge by the ominous Dark Lord proves too late, as the Millennium Falcon speeds off the base just in time, heading into space... 

But Vader's hunt will continue...

Vader is soon angered that the Millennium Falcon and its passengers have escaped his grip.

CLASSIC IMAGE: GETTING VERBAL WITH VADER!

Captured by Imperial forces aboard her Blockade Runner, the bold Princess Leia Organa is brought forth to the evil Lord Darth Vader (watched by commander Daine Jir), who confronts her about the stolen missing Death Star data tapes and her role in the Rebellion as one of it's major leaders. It's interesting to see the above B/W image from this classic Star Wars scene, where Leia is clearly showing anger at Vader - a moment we don't see in the film. Perhaps an unused take or specially posed image for on-set stillsman John Jay? 

Italian lobby card photo from the scene.

'JEDI' AT 40: MISTER MOTIVATOR COMES TO THE DEATH STAR!

Darth Vader confers with Moff Jerjerrod in a specially posed publicity image.

Darth Vader immediately makes his mark on the Imperial officers with his arrival at the second Death Star, as a shocked and surprised Moff Jerjerrod (Michael Pennington, brilliantly dropping his 'adam's apple' early on) realises that the station's construction must be put back on schedule at all costs, especially so with Vader's news that the Emperor himself is on his way to inspect the ultimate weapon in the not too distant future...

Another specially posed image - note that Vader and Jerjerrod are walking in the opposite direction to what was seen in the film, as the immense hangar set was only half built from one side.

The Emperor is coming to the Death Star! A great posed image, of which a similar B/W would be adapted for use in the Marvel comics adaptation of the film.

Al Williamson and Carlos Garzon's artwork for the scene in the 1983 Marvel adaptation, which primarily adapted publicity stills. 

B/W outtake from the famous Vader publicity shoot used for the film's magazines/tie-in's and merchandise.

Having had a superb time working with director Irvin Kershner on The Empire Strikes Back in developing the 'thinking man's Darth Vader', actor/body builder Dave Prowse's return to the Star Wars filming universe from February 18th and 19th, then in and out towards April, 1982, is sadly not so welcoming by the new production team regime, as his scenes playing the character are scaled back primarily to posed publicity images and walking/conversation sequences on the second Death Star's key sets whilst stuntman Bob Anderson (having previously played Vader to great success in action scenes for TESB) becomes the primary actor to play the role for the film's showpiece lightsaber duel sequence, and its key dialogue sequences linked to Luke and the Emperor. Not enjoying working with new director Richard Marquand (who largely ignores the actor and any suggested input from Prowse), not allowed to see the film's entire script (indeed, with the total secrecy surrounding the project, Prowse is often given fake lines to say as Vader that will be replaced with the real ones spoken by James Earl Jones during 1983 post production), and overall feeling untrusted - regarded as a security leak due to his friendly and enthusiastic connections with the Star Wars fan base, as well as a then mostly positive relationship with the British press - it's no wonder that the actor would go on to famously consider his brief time spent on Return of the Jedi as the most unpleasant experience he'd ever had on a film set. But worse is still to come, and in the most unfair of ways, for Prowse at Elstree in the not too distant future...

Continuity polaroid of Michael Pennington and Dave Prowse on the hangar set - February, 1982.

Enthused and ambitious British director Richard Marquand is keen to continue using the best and brightest of the British acting community's talent on the film, even using/recommending friends he'd previously worked with or known whilst he himself had briefly been in the acting profession during the late sixties and early seventies. Acclaimed British Casting Director Mary Selway Buckley would be on hand to equally advise Marquand. Michael Pennington was once such popular stage actor that Marquand was keen to use for an Imperial, especially in the role of the nervy but loyal Moff Jerjerrod. Across the period of filming, Pennington's on-set stand-in was Jack Dearlove, whilst Dave Prowse's was Roy Emerson.

Michael Pennington in a posed publicity image as Moff Jerjerrod.

In the original drafts, Jerjerrod's character was to have had a much more expanded role as a rival to Darth Vader in the Emperor's eyes - picking up where Vader failed in trying to capture Luke. He was, in effect, the Emperor's Counsel (and Vader would have to salute him!). As a result, Vader was to be very jealous of Jerjerrod. The ambitious Moff was also not supposed to be quite as nervous and cowardly as he ended up being during the beginning of the final film. In fact, he mouthed off to Vader quite a few times and there was always an air of competition between the two. In the final draft, however, Jerjerrod's role was reduced and even more so when the eventual final cut of the film was released. It is widely believed that Jerjerrod wears the wrong rank badge due to a "blooper" during production on ROTJ, as claimed, for instance, at the Star Wars Technical Commentaries fan website. However, there seems to be no direct proof supporting this, and Jerjerrod's insignia need not, in fact, be inappropriate for his rank.

The expansive Death Star hangar set primarily built as a one half side only set located on the prestigious Star Wars Stage at Elstree would house a specially built (from ILM design plans) partial replica of the superb Imperial Shuttle set. More on that, behind the scenes-wise, with the later arrival of the Emperor...

'STAR WARS' AT 45: DEATH STAR ATTACKED!

Darth Vader confers with an Imperial officer (actor/stuntman Andy Bradford) about the X-wings attack.

Thirty rebels ships, so small and so fast at evading the Death Star's turbo lasers, are causing disruption and damage to the battle station, of which Lord Darth Vader initiates ship-to-ship combat. As alarm sirens blare, TIE fighter pilots scramble to their launch stations amidst the explosions and chaos around them.

Shot towards the near end of Star Wars filming at Elstree studios in the Summer of 1976, some unused footage of the pilots rushing the corridors would ultimately end up appearing in Return of the Jedi.

Alternate unused footage of Vader and TIE pilots rushing to their ships. B/W images from the Ben Ageros Collection.

Other action shots of interior explosions and chaos...

Explosions rattle key parts of the station.

More damage as Imperial officers recover from the fighter assault.

A rotating laser cannon station soon overloads and detonates. 

'STAR WARS' AT 45: THE DUEL - PART TWO: A TIME FOR SACRIFICE!

Surrendering to the Force in this great on-set posed publicity image for the classic sequence.

Pushed into the hangar bay by Darth Vader's continuing onslaught, and with the arrival of Imperial Stormtroopers further blocking his escape, Obi-Wan Kenobi makes a final sacrificial gesture so as to buy escape time for Luke, the rescued Leia, and the the others onto the Millennium Falcon. Kenobi's end of life work at bringing the eventually revealed brother and sister together in battle against the evil of the Empire has finally been achieved...

Great close-in shot of Guinness and his lightsaber weapon.

Vader makes a rushing offensive in an unused alternate take as Kenobi makes a mid-section lunging motion with his lightsaber.

Kenobi blogs and swings himself to the opposite side.

Crossing swords in a specially posed image on set. Image via The Star Wars Archives.

The classic posed confrontation shot, without airbrushed lightsaber blades, used across the world in publicity.

Alternate shot of the classic scene, again with non-re-touched blades.

Another of the great classic posed images used for publicity.

A selection of specially posed images on set from the hangar towards the actors.

The five guard Stormtroopers rush to watch the duel.

An interesting sacrificial gesture by Kenobi towards his enemy (almost like the sword master duellists of old saluting their opponent), developed by Lucas with Guinness on set. A posed image on set, note the lack of Stormtropers compared to the similar images above.

The cut-in half on set practical effect developed by John Stears that was ultimately replaced with an optical effect slow down in post production.

Another angle of the unused shot.

The collapsed Kenobi costume on fire in another unused and abandoned moment.

Additional image with airbrushed Vader lightsaber blade.

The final effect with collapsed cloak as seen in the completed movie.

Dust to  dust! Vader's foot searches for remains within Kenobi's cloak. Prowse's stand-in, wrestler/actor Moray Bush wears Vader's costume for the scene, filmed by the second unit.

BEHIND THE SCENES

Guinness confers with Peter Diamond and George Lucas, as assistant director Anthony Waye overhears in the background.

After three weeks of rehearsals, fight shooting was now ready to begin on the hangar bay set/adjoining corridor at Elstree, and the scene where Vader says to Kenobi: “We meet again at last”, filmed on Tuesday 1st June, 1976. Lucas and his crew, working from storyboard sequences which involved contributions by legendary British movie sketch artist Ivor Beddoes (who would also contribute on The Empire Strikes Back), film the important action in three specific sequences, with the individual scenes within those parts shot from three to four different angles (one of which would be of Sir Alec fighting, whilst another would involve Dave Prowse attacking from his side) and then photographed in a wide master shot (breaks would also be taken so as to allow Dave Prowse, boiling in the Vader costume, to have his helmet taken off and un-sweat). 

As the duel progressed (also shot on Thursday May 28th and with a second unit coverage day on Thursday 2nd June), a well-trained but over-enthusiastic Dave Prowse, unaware of his own strength within the costume, and during the scene where the two warriors are close-up to one another in an attempt to break each other's sword contact, accidentally hurls Alec Guinness with such force that the famous thespian is quickly dispatched to the other side of the corridor floor! An apologetic Prowse, Lucas, and other members of the crew, quickly rush to Guinness aid (recalled Prowse to Starlog magazine in 1978: “There was one moment in the (lightsaber) fight where we (he and Alec Guinness) came up close to each other and we’re talking through the words. And then I push him away. I sent him flying. I’d obviously caught him off balance and sent him spinning up the corridor. Everybody rushed in and grabbed hold of him and picked him up and shook him down. I certainly apologized.” Though a little winded, Guinness, who gentlemanly blames himself for the fall, would tell the continuing-to-be-extremely-apologetic Prowse not to worry, and is soon back filming the next part of the scene. Prowse added to Photoplay magazine in 1978: “He’s such a nice man. He (Sir Alec) actually apologized for falling over." Prowse further recalled to Starlog: “He was marvellous to work with and most friendly. They (the cast) accepted me as an actor on the same par with them. And it was just super.” 

Guinness keeps his lightsaber close between takes.

                                                     

Guinness contemplates with his raised lightsaber blade as Lucas talks to an out of shot Dave Prowse about Vader swinging the final death blow swing.

Because of the lack of strength in the rods, and the fact that they would break easily (with technicians, in between takes, having to sweep up bits of debris that would fall as the blades clashed), the duel took longer to film than anticipated (in the finished theatrical version there are moments when you can see small bits of the light reflective tape coming off the surfaces of the sabers when they clash)-recalled Prowse to Photoplay: “The biggest problem during the fight was that we couldn’t touch. We couldn’t hit each other because as soon as the dowls (lightsabers) touched they broke. So there we were, swishing away trying to avoid each other like mad.” For lightsaber rehearsals on set, in which still photos would also be taken for publicity purposes (with airbrushing being done to the shots by ILM a year later), the actors would use uncoated wooden rods before using the actual real props. 

Sir Alec Guinness with the impressive full lightsaber blade prop. The actor enjoyed the film's new spin on the King Arthur and wizard Merlin legend.

Whilst fighting Darth Vader, Obi-Wan’s line of dialogue “If my blade finds it’s mark you will cease to exist,” though filmed, was cut from the final edit, and replaced with some over dubbing with the dialogue: “You can’t win, Darth.” With the late decision to kill off Obi-Wan Kenobi just before the film began shooting in Tunisia in March, 1976, Marcia Lucas helps George with additional scripted and filmed lines of Force related dialogue linked to Kenobi during this tense sequence, so as to build up his mysterious demise into the Force. Marcia was keen to reference the mystical Force more in the film than was actually ultimately showcased and talked about.

With certain shots from the duel also being  flipped during the editing stages. Vader’s slicing through Ben Kenobi, filmed on Thursday May 27th, was achieved by replacing Guinness with an empty shape padded cloak, set up so that, as Vader’s lightsaber hits it, an electronically detonated charge cuts the cloak in two pieces, with the bottom half falling a split second before the top reached it, to show what was supposed to have happened. Unfortunately, the prototype release mechanism created by John Stears and his practical UK effects team would catch fire several times, making the shots filmed impractical for use. One long shot scene, showing the collapse of the Obi-Wan costume, would however be successful enough to be slowed down in post production, to give the appearance of the evaporation of Ben's body into the Force.

Posed image of Kenobi preparing to sacrifice his life to the Force.

A lovely shot of the two icons behind the scenes.