Let’s clear up a debate: Spaceballs is the greatest spoof/satire on Star Wars. Now, there is always a welcome space for imitators of the imitator. This is how you arrive at The Empire—a zany space opera from French filmmaker Bruno Dumont. The film is a strict auteur interpretation of some of the biggest genres in movie history. It ranges from epic space fantasy films to quasi-low-budget character dramas. The results are iffy, but the effort is bold. The film has a certain hilarity but becomes too convoluted in its own mythology and world-building. It has something to say but becomes lost in the spectacle of itself.
We begin in a northern French fishing village, where a war is brewing between the intergalactic forces of good and evil. The forces of good are known as One and are preparing for battle with the villainous Zero Empire. Earth is in the crosshairs as Zero takes over the village’s locals’ bodies. The forces of One are working to create a harmonious evolution, engineering new species to help with their cause. As both forces work to win over humanity, they prepare for the impending balance with the fate of the world and the galaxy hanging in the balance.
Now, that is a lot to process at once. Watching is something else entirely. However, there is a method to madness. Imagine, in 1977, someone explaining the story of Star Wars for the first time—a dark-robed half-machine man, laser swords, talking robots, a princess with cinnamon bun-inspired hair. This sounds like a trip and, without proper context, quite jarring. However, the difference between Star Wars and why the film struck a nerve had nothing to do with the flashy spectacle of spaceships and lightsabers; instead, it had to do with a tale.
Star Wars is a story deeply indebted to the traditions of mythology and fairy tale traditions. A rudimentary connection in that galaxy far, far, away makes it universal and appealing to legions of fans. The nature of the story, a classic conflict between good and evil, is immediately identifiable in the archetypal hero’s journey. This is something that all the Star Wars-inspired imitators failed to grasp. Star Wars may sound weird, and it did at the time before it tapped the cultural zeitgeist, but the odd elements never got away from the basics.
In The Empire, the film becomes too concerned with creating an out-there space odyssey. On the one hand, the film is trying to poke fun and satirize the bizarre elements and narratives found in space fantasy. Yet, despite the attempts to parallel Spaceballs, this film feels like it is trying to both have its lightsaber and mock it too.
Thinking back to Spaceballs, a perfect riff on Star Wars and space fantasy, the film is told with a particular finesse. It is both celebrating the genre and film while lovingly poking fun at the quirky elements. Here in The Empire, there are moments of brilliance that delightfully mock the genre, particularly in the case of the character Belzebuth (Fabrice Luchini). The King of Darkness and ruler of the Zero forces is a zany and unhinged madman. He pays homage to the sort of over-the-top tyrants in Star Wars or space fantasy films. He seems aware of the film’s aims and delivers performances tailored to a spoof.
As is found in countless fantasy stories, there is the added element of a special child. Jony (Brandon Vlieghe), a knight of the Zeros who will one day see his own son Freddy, will facilitate the empire’s invasion. As a result, he must protect him. Jony is akin to Darth Vader, an evil but tortured soldier torn between his allegiance to the Zero Empire and the human race he secretly envelopes. This element of the story attempts to riff on the space fantasy genre but ultimately becomes this movie’s backbone.
There is romance, confusion, and loyalty blurring. Empires and their legions come to a head in a battle where heroes become villains; villains become heroes. The film speaks to the basic humanity found even in the most alien beings. The scope is sweeping but ambitious to a fault. The emphasis on a larger, more intricate story derails the initial aim of playfully mocking the tropes and trappings of the genre.
This element ultimately becomes a major focus, shifting the movie away from a straightforward spoof. The film meanders and attempts to create its own story and mythology. Herein lies the difficulty with the film. The story is so large, and the plot is too layered that any real attempt to satirize the genre becomes lost in the spectacle of outer space. The film wants to be Spaceballs but is more like the result of Star Wars, and Dune birthed a child.
Still, The Empire must be commended for its bold and zany vision. Dumont weaves in commentary and intrigue. It is a unique vision that, while it falls short of its goals, has tremendous ambition. The result is a film that is hardly unwatchable and thoroughly entertaining.
The Empire is currently playing in select theaters courtesy of Kino Lorber.
The Empire must be commended for its bold and zany vision. Dumont weaves in commentary and intrigue. It is a unique vision that, while it falls short of its goals, has tremendous ambition. The result is a film that is hardly unwatchable and thoroughly entertaining.
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GVN Rating
Writing & podcasting, for the love of movies.
His Letterboxd Favorites: The Dark Knight, Halloween, Jaws & Anora.
