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Star Wars Episode III: Revenge of the Sith 2005 |
Review by Jonathan Cornwell |
Directed by George Lucas
PG-13, 146 min. (sci-fi violence, some intense images) |
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Starring: Ewan McGregor, Hayden Christensen, Natalie Portman, Ian McDiarmid, Samuel L. Jackson, Jimmy Smits, Frank Oz, Anthony Daniels, Christopher Lee, Kenny Baker, Peter Mayhew, Temuera Morrison, James Earl Jones, Keisha Castle-Hughes
Producer: Rick McCallum
Screenplay: George Lucas
Cinematography: David Tattersall
Distributor: 20th Century Fox
Released: 5.19.05 (Wide) |
Rating:
  (out of ) |
"You were the Chosen One!"
As Obi-Wan Kenobi yells through tears at his fallen apprentice, Anakin (now Darth Vader), the decades of anticipation and impact of the Star Wars finale packs a surprising
punch. It also brings to mind another word to describe fans' frustration with George Lucas - finally. Star Wars Episode III: Revenge of the Sith, a film so
anticipated that only a superior film could possibly live up to expectations, rides the momentum of a blistering final act to culminate in a climax fitting the Star Wars universe.
After the disappointing The Phantom Menace and Attack of the Clones, many were wondering
if the prequel trilogy was worth the effort, especially when compared to the much-loved original trilogy (A New Hope, The Empire Strikes Back, Return of the Jedi).
Well, with Sith, Lucas has restored the dignity and well-earned respect of the Star Wars name; this installment is easily the best in the franchise since the
penultimate Empire 25 years ago. A return to his roots, the swashbuckling, operatic, strangely moving sci-fi epic instills the excitement and gravitas of Sith's
frenetic but appropriate spiraling descent into darkness, gives Lucas a rock solid foundation to unveil his final chapter. The eventual catharsis, both tragic and unsettling, is a
bold but correct decision for Lucas, who allows the story to reach its natural conclusion. This is a film that Lucas was eager to tell and it shows. In short,
Lucas delivers the goods.
Although there are moments of weakness, specifically the stilted dialogue that continues to haunt the series, Sith is lightyears ahead of Episodes I and II
in communicating the storyline's geniune emotion. If the first films were setup, this is the payoff. As the flawed hero, Anakin (Hayden Christensen in a much improved effort), tragically weaves his own
destruction, Lucas' bigger picture mentality that stalled the first two episodes comes to full fruition here. Arguably, the prequel films are mere backstory to the original trilogy,
therefore bolstering Lucas' claim that these chapters are to be taken as a whole rather than in parts. Of course, why make one long film when you can make three and rake
in billions worldwide. The point is that Sith generates the kind of dizzying momentum that hasn't been felt since Luke confronted Darth Vader in Empire, and the result is
something rather brilliant.
When Lucas began this journey over three decades ago, it was impossible to foresee the cultural impact that his Star Wars project would have on the world. He's been
credited and derided for destroying Hollywood, at least the way films were made, by creating the blockbuster. Ironically, he's become a victim of his own success, both as a director
and as the very thing he vowed he would never become - a corporate entity. That's why it's such a pleasant surprise that in Sith he has regained much of the form that
he displayed as a young director with THX 1138, American Graffitti, and of course Star Wars: A New Hope. He's gifted with masterful storytelling technique,
and he uses every ounce of passion left in him to construct Sith's final act, which is nothing short of breathtaking.
The inevitability that haunts the film's central characters - Anakin, Obi-Wan Kenobi (Ewan McGregor), Padme (Natalie Portman), and Yoda (Frank Oz) - drives the film forward into an
emotional tidal wave of sadness and regret. For most, the story is known; it's how and why they come to the place they inhabit when the original adventure hit screens in 1977.
Observing the final pieces fall into place is an almost eerie, bittersweet experience for the Star Wars fan, and certainly solid entertainment for everyone else.
The film is clearly split into two parts - Anakin's brush with Jedi greatness and his eventual turn to the dark side. Sith establishes the good relationship between Anakin
and Obi-Wan throughout a daring rescue mission, presents Anakin's dilemma, and finally tumbles toward a dark, somber climax. Following the heroic mission to save Chancellor
Palpatine (Ian McDiarmid) from the clutches of Count Dooku (Christopher Lee) and newcomer General Grevious (voiced by Matthew Wood), a part creature, part machine Jedi killer
that foreshadows Anakin's destiny, Anakin is appointed to the Jedi Council at Palpatine's request. The Jedi in turn instruct Anakin to report on Palpatine's dealings, which puts
the young Jedi in a precarious spot. Meanwhile, Anakin finds comfort in the arms of Padme, who is now pregnant with their child. As the tussle for Anakin's allegiance
ensues, Yoda and Mace Windu (Samuel L. Jackson), who doesn't trust him, prepare for the end of the Clone Wars. Finally, a fateful decision will steer the galaxy toward
an empire and the end of the republic.
Although we know the fate of the Jedi and the rise of the Emperor is a foregone conclusion, Sith builds significant tension through the tug-of-war between Anakin's
feelings for Padme and his Jedi conscience. The perfect elixir is Palpatine, a.k.a. Darth Sidious, who creates trust with Anakin through fatherly concern and by inflating his already
large ego. The final push is enough to seduce almost anyone to crave additional powers (the Dark Side) in order to avoid a terrible fate. The irony that Lucas utilizes here infuses
the film with an additional sense of loss and tragedy, which garners a great deal of sympathy toward Anakin's plight. It also makes the Jedi look particularly incompetent
and arrogant, specifically in perceiving Anakin's needs and the danger of allowing his association with Palpatine to continue. Palpatine's snake-like seduction of the vulnerable
Anakin is a textbook example of fear preying upon the frightened. That it takes Darth Vader years to understand Sidious' core evil makes his final betrayal in Jedi all the more
liberating.
The performances and comfort level for the actors is much improved over the previous films, which aids in glossing over the more pedestrian dialogue and cringe-worthy scenes
that Lucas has always struggled to write effectively. Fellow critics have moaned over the lack of witty or authentic dialogue, and there is a certain clunkiness to the proceedings,
but what Star Wars film is free of this aberration? Anyhow, Star Wars has never been about superior oratory; this is about storytelling and special effects wizardry.
But I would argue that the performances are in fact adequate to good, especially a sinister turn by McDiarmid, who portrays Palpatine's subtlety and Sidious' gleeful evil
with a disturbing degree of accuracy. McGregor has Sir Alec Guiness' mannerisms down pat, while Christensen (in a tough role) and Portman (who doesn't have much to do
but watch from a distance and weep) have elevated their comfort level to acceptable degrees. They seem to rise above the sometimes stiff words, almost utilizing silent
cinematic technique to communicate emotion. Jackson is given a good send-off (as requested) during a terrific showdown with Palpatine, while Lee is on hand for what amounts
to a cameo appearance. It's Yoda who holds things together, and the digitized "little green friend" of Palpatine is given more screen time than ever before, leading and failing the
Jedi, and eventually retreating into hiding to await Luke's arrival in Empire.
Star Wars films have always been about visual nirvana, and Sith more than just holds its own in the special effects department; it solidifies Lucas' ILM at the top of the
industry. Almost every shot in the film is flooded with digital detail, from space battles to the bustling air traffic of Coruscant. There is so much to observe here it's impossible
to absorb in one sitting. The sophistication and attention to minutia places Sith at the forefront of Star Wars effects; there are moments here that testify to the
merits of digital filmmaking over standard film, especially for sci-fi epics. Cinematographer David Tattersall uses dusk and dawn shots for primary lighting, and the digital process
seamlessly creates ambience and shadow definition that sets the standard in the format.
For his darkest picture, Lucas utilizes numerous lightsaber battles and sometimes frenetic editing to communicate the fear and desperation of the characters. Although the
fights are well choreographed and efficient, the weight of each conflict is lessened by the overload of saber combat; compare these encounters with the gripping first
encounter of Luke vs. Vader in Empire, and there's something to be said for less is more. Certainly fan boys will appreciate the action, and there is a sense that most of these
confrontations had to take place in order to flesh out the story.
In the climactic final thirty minutes, Lucas accumulates tremendous impact with masterful editing between duels and a final montage of Vader's black suit and Padme's
birthing of the twins. As the film races to the finish line, he's able to keep the adrenaline flowing by interlocking Sith with the original trilogy through character arcs and
finishing touches that make most viewers crave the beginning of A New Hope. Even casual viewers of the franchise will be impressed with what Lucas has
done here.
Of course, Star Wars isn't the same without John Williams' wonderful score, and here he has provided the perfect amalgamation of moments and themes from all the episodes
in Sith's closing act. The familiar and newly composed notes infuse the picture with an almost sublime effect; the final duels and montage take on a surreal tone when
coupled with memories and themes from previous installments. Many consider Williams the heart and soul of the Star Wars universe, and it's evident here that this body of
work represents the culmination of the best music of his now legendary career.
There is a political slant that has been widely disseminated, which involves Anakin's threat to Obi-Wan before their epic duel, "You're either with me or you're my enemy,"
followed by Obi-Wan's retort, "only Sith deal in absolutes." Of course, many consider this to a knock against the Bush Administration, but it's important to point out that
this story was penned during the Vietnam era. It's certainly still relevant today, however, and Lucas isn't backing down from his portrayal of how a democracy becomes a
quasi-fascist empire. But whether or not Star Wars, which was originally crafted as a children's story, is the appropriate vehicle for such sentiment is debatable.
Regardless of one's feelings about Revenge of the Sith, it's time to recognize Lucas' six-part masterpiece of pop culture as one of the defining creations of modern
entertainment, at the very least in the realm of cinema. His vision for special effects and grand storytelling portrayed in a simple but enjoyable fashion has created at least
two generations of loyal fans, and there are no signs of the franchise slowing down. Lucas claims the Star Wars saga is complete, but it is well known that another trilogy
(Episodes VII, VIII, IX) exists, and if the upcoming television series is popular, one can only assume that those films will one day be made. But if this is the end,
Sith sends the series out on a note of nostalgia and satisfaction that is only fitting for the galaxy far far away that has given us so many magical moments.
© 2005 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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