Better Than The Rest?

Despite not reviewing the original trilogy of Star Wars as of yet in our journey to Star Wars: Episode IX – The Rise of Skywalker, one paramount aspect that all three of those said films contained which made their respective stories so engrossing and memorable to this day, is their inherent spontaneity. In spite of the franchises known fantastical elements of star-ship battles, a religion revolving around a mysterious energy and creatures – like Ewoks and Wookies – that rather enrich the given world with profound detail and imagination, what’s clearly paramount to argue in all of the original Star Wars films is their aptitude to exhibit events and story details that don’t necessarily feel structured or forced (mind the pun). Specifically, as much as George Lucas’ A New Hope follows a very particular story pattern to that of Joseph Campbell’s ‘The Hero With A Thousand Faces’, a book which outlines the recurring stages that are identified in mythological stories known now as ‘The Hero’s Journey’, what events occur for the likes of Luke Skywalker in this feature feel natural and aren’t articulated to a means where characters are forced to say or do something out of character. I mean, when watching The Return of the Jedi first time around, did anyone really expect Darth Vader to bring balance to the Force before the film started. Nevertheless, there’s an argument to be made just how much the original Star Wars trilogy wasn’t contextually ‘controlled’ by wasteful and anticipated story aspects, and much of the same can be found in the prequels last outing – Revenge of the Sith. While cinema-goers at the time of the films release knew that this third episode would tie into A New Hope, and would see how Anakin turned into Darth Vader, what separates this feature from the likes of The Phantom Menace and Attack of the Clones was the narrative’s focus on a hero’s demise and how quickly sequences were presented…

It has been three years since the Clone Wars began. The Republic, with the help of the Jedi, are locked in battle with Count Dooku and the rest of the Separatist leaders. With a new threat rising, Jedi Master Obi-Wan Kenobi and Jedi Knight Anakin Skywalker are sent by the Jedi council to rescue Chancellor Palpatine from General Grievous, the commander of the droid armies. Upon the success of this rescue mission, of which Grievous escapes from, Anakin feels ready to be promoted as a Jedi Master whilst Obi-Wan is sent to track down Grievous’ whereabouts, following his sneaky departure. However, suspicions are raised with the Jedi Council concerning Chancellor Palpatine, with whom Anakin has a close bond with ever since his Padawan days. Asked to spy on Palpatine’s comings and goings, and full of bitterness towards the council and their ideals, Anakin – who’s recently been succumbed by fear through his nightmares of Padmé and not being granted the rank of Jedi Master – embraces a darker viewpoint of the force; one in which will see friends become fated enemies of each other…

While there are many cinematic discrepancies to be found in the Revenge of the Sith that have been carried over from the preceding entries of both The Phantom Menace and Attack of the Clones, in relation to the cheesy and wooden lines of dialogue that is conceivably forced and unimaginative and the implementation of specific CG effects that can easily take you out of the story presented, what’s rather rewarding to perceive in this last entry of the prequels is how drastically superior and compelling the narrative is in comparison. No longer are we feasted with nonsensical plot lines that involve trade deals and drawn out narrative escapades that diminish the severity of character actions and choices. At face value, we’re given a more engrossing context which finally explores Anakin Skywalker’s seduction to the Dark Side of the Force and the consequences that arise from this specific choice. Right from the opening scene, which certainly evokes the hasty action some may see within a Saturday morning cartoon, there’s a necessarily hurried impetus to the story proceedings that, rather funnily, challenges the status quo of the slow beginnings of the preceding features. It’s through this swift opening which allows the viewer to be invested in what both Obi-Wan and Anakin are doing and not only does this specific sequence subsequent to a particularly dark moment which see’s the said young Jedi beheading Count Dooku by the order of Chancellor Palpatine, but it’s an introduction which can finally boast, to the first two prequel films at least, in upholding consistent use of CG effects. Whilst Revenge of the Sith of course came out later than Episodes I and II, what they achieved in terms of implementing the CG backgrounds with anything moving in the foreground of the frame looks considerably better and rather holds-up well when watching it back today. With such a good opening to the film that invests your attention wholeheartedly, you’re inherently drawn to what may come along down the line for your protagonists which interestingly leads to Anakin’s doubts and fears over Padmé, having dreamt about her dying in child-birth, and the Jedi Council who’ve not only rejected his proposal to become a Jedi Master, but are also asking him to spy on the Chancellor – a figure who’s seen as a father figure to the young Jedi through the previous films. As much as I adore the stories and adventures the likes of Luke and Han Solo go on in the original trilogy of films, it’s clear enough to say how much Revenge of the Sith upholds the most thoughtful story-line in this entire film franchise. Everything, from the sad way Anakin decides to join the Dark side so he can save his loved one from death and ultimately sabotaging everything he had hoped to live for, is still fascinating to watch is executed well through many different cinematic aspects and signature scenes that makes viewing this film more memorable than most. The way in which Lucas manoeuvres Revenge of the Sith’s story to get Anakin to turn is convincing and understandable coming from someone who’s been conflicted; whether it’s Palpatine recommending that ‘The Chosen One’ should be placed on the Jedi Council which subsequently results into Anakin feeling lost and confused of what he should do. The only real damning aspect in relation to Anakin’s moment where he decides to turn to the Dark Side is how abrupt this character decision once he see’s Palpatine spew lightning at Mace Windu and quickly decides to chop-off said Jedi’s hand. Although the build-up to this moment is executed beautifully, as seen in an eerily spooky sequence which see’s Anakin looking out from the Jedi Council and pondering over where Padmé is, the actual conversion feels rushed through during a slack middle-act where you see ‘The Chosen One’ bounce back and forth between Windu and Palpatine like a confused teenager deciding who he wants to be with in a soap opera love triangle. That said, as clearly poignant as Revenge of the Sith’s story-line is in comparison to the wastefully awkward attempts of the previous two features, a major downside of the story-telling is the cringe-worthy lines of dialogue which not only clearly badly written for such a good story, but is pitifully acted by the actors as well. While there is a clear improvement in some of the things that characters say, such as how Obi-Wan mentions to a decapitated and defeated Anakin that they were like brothers and how Obi-Wan loved him, much of this attempted poeticness never follows through to certain characters; mainly Anakin himself. Lines such as, “You’re so…beautiful”, and the classic “If you’re not with me, then you’re my enemy!”, are ultimately laughably bad and while Lucas is conveying how the characters feel towards a certain thing or person, it’s as if the known film Director doesn’t know many other ways to emphasise emotive language. Can’t it hurt Lucas to add not once little ounce of emotion in poor Hayden Christensen’s face when his enacted character feels angry or confused?…

However, despite the obvious shortcomings of some of the dialogue choices in which Lucas makes in Revenge of the Sith, what’s palpable to see which further makes this said film better than many other admired Star Wars features is its cinematic symbioses of Computer Generated effects and music composition making for a compendium of flora and fauna scenes that has not only eclipses the gritty tone of the context, but also upholds the aforesaid franchises norm in inherently imbuing mysticism and magic. Indeed, there are over 2,200 effects shot used within Sith – more than Menace and Clones combined – which may suggest an over-reliance of digital technology and lack of any practical effects; of which the famous film series is famous for using. However, what’s clear to be said of all these effects shots is how there’s not a single specimen of bad compositing that spontaneously irks you to the point of cowering away in dismissal. Whilst the introductory scene of the feature, as highlighted before, is a perfect example of this given that there are hundreds of thousands of battle-ships and explosions popping onto a frame that is continuously swaying in-line with where Obi-Wan and Anakin are going, there are other sequences which benefit from this implementation of good CG framing and rather utilise other aspects that make these given scenes a memorable quality. As much as I could rail-on about lots of different scenes that perfectly evoke this, such as Anakin and Palpatine’s talk of Darth Plagueis or the moment in which Anakin is looking over Coruscant – pondering in what he should, one particular sequence that sticks into mind is the execution of order 66; an instance in which Palpatine orders the clone army to wipe-out the last remaining Jedi in the galaxy. What subsequently follows is a beautiful montage sequence that benefits from not only the CG work, but also Gavin Bouquet’s infectious production design and John Williams’ musical score that perfectly encapsulates this idea of disaster and loss. Quite, one of the more unambiguous joy’s in revisiting Sith was Bouquet and Lucas’ fascination in retrofitting their galaxy and how many other planets, alien races and battles that all amalgamate to make a rather grandiose conclusion to underwhelming prequel series. it’s all neatly wrapped-up in the twin duels that bring the third act to a rousing close which not only confirms Sith’s status as not just the darkest but also the prettiest entry in the saga. The lava landscape of Mustafa especially embroiders the broken shackles of Obi-Wan and Anakin’s now lost brotherly relationship and metaphorically emphasises the birth of Darth Vader.

In similar vein to how the dialogue in Sith is an improvement on the preceding films, despite being forceful and outrageously over-the-top, another cinematic aspect which has somewhat improved from Clones are the performances; especially that of Ewan McGregor’s enactment of Obi-Wan Kenobi who isn”t written to be as badgering or purposefully annoying from Episode II. What we’re presented with instead with a character such as Obi-Wan is a Jedi who’s more noticeably wiser as well as a hurt figure who can’t bare to see what happens with the rest of the Jedi and Anakin’s yield to a promise that is far beyond his reach. What’s impressive further of his character, and even with how Anakin looks as well, is how McGregor’s character rather bridges the gap between his own persona of the character and Alec Guinness’ portrayal in the original trilogy. Indeed, much of the praise of the characterisation should go towards the make-up artists in presenting us with characters that coincide with the consistency of the characters in the later Episodes. However, if there’s one pitfall to be had with the acting of not just McGregor, but others like Ian McDiarmid and Hayden Christensen, it’s the instances in which they’re respected characters don’t accordingly react to specific situations in the normal manner. What’s become apparent with Lucas’ writing and direction in recently re-watching all of the prequels now, is his over-reliance in using dialogue to display emotion. Whilst this formatic device is fine for certain cases, such as when a haunted Padmé learns of Anakin’s dark deeds and exclaims how she’s heartbroken for what he’s done, there are many other instances when Lucas employs this device and it doesn’t necessarily work in conveying an emotion. One little yet perfect moment where this is seen is when we have Obi-Wan viewing a hologram of Anakin killing the other Jedi and goes onto to say how he “…can’t bare to watch anymore!” yet the manner in which McGregor says his line combined with his emotionless facial expressions doesn’t particular convey a natural emotion of shock or grief. Even when McDiarmid’s character of Palpatine finishes his swaying Anakin to turn to the Dark Side, there’s never a moment for his character where he’s aghast of his ghastly new appearance. As much as there’s an argument to be made that Sith vindicates a narrative that is more compelling than any other admired Star Wars feature, it’s hard to forget the really oblivious dumb moments of characterisation that laughably don’t add-up. I mean, it’s hard to imagine how Lucas, when in post-production, could have possibly thought that a line such as, “if you’re not with me, then you’re my enemy” enacted by Christensen was acceptable. Even the peeving and exasperated “NOO!” line of Darth Vader had me firmly putting my hands to my face. What’s deemed to be a saving grace for this poor execution of emoting character motives and feelings is the chemistry between heroes and villains alike; whether it’s Obi-Wan and Anakin’s ‘brother’ relationship or the moments in which Christensen’s character interacts with a Palpatine persona that is puppeteering Anakin’s feelings. All of these juncture’s are poetically flourished in the final sequences of the film, where Obi-Wan fatefully clashes with a changed Anakin who proceeds to physically change into the iconic Darth Vader that we all know and love as a stoic and omni-potent figure.

Upon reflecting my experience and feelings when George Lucas’ Star Wars: Episode III – Revenge of the Sith initially released in cinemas back in 2005, I couldn’t but be bewildered by how the aforesaid feature gripped me since it neatly coincided with the story that proceeds in A New Hope and how it gave us two simultaneous light-sabre duels in the conclusion that looked great through the camera-work and the close-knit editing that heightened the tensions of Obi-Wan’s fateful confrontation with Anakin and Yoda’s encounter with Darth Sidious. Fourteen years later and in writing a review for the said films today, what’s unexpected from myself is how much Sith doesn’t necessarily become a Star Wars entry in this day and age that is considered to be wholly bad. For sure, it can’t be dismissed how many instances when the acting, combined with Lucas’ reluctance to emphasise emotion through lines of dialogue alone, doesn’t always correspond with the eerie severity of the narrative. However, in comparison to the efforts that were made with the story-lines in both Menace and Clones, this third entry of the famed prequel series doesn’t do half-bad in exhibiting a context that is acutely poignant in relation to Anakin’s sad succumbing to a pathway that doesn’t really work-out for him all in the end. Like Rogue One, it’s a feature that neatly connects to the events which unravel in A New Hope and makes you want to watch that very next Episode straight away…

On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review of Star Wars: Episode III – Revenge of the Sith and if anyone wants to share their thoughts on the film or review itself, then you’re more than welcome to comment down below. For next week, I’ll be discussing the latest season of the Attack On Titan anime and how these latest episodes have deemed the said show to become one of the better anime’s of all time! With that said, thank you once again for reading my latest Film Review and I hope you’re all having a nice weekend! Adieu! 😃⚔️👽💥🌌💔

★ ★ ★ ☆ ☆ – Alex Rabbitte