Check out the first half of the list here. And now the final five elements of the Star Wars prequels that are effective.
5. The Assault on Geonosis
An extra helping of chaos on the battle field. |
I have to hand it to George
Lucas because the ground assault of the clone troopers on Geonosis is a visual
marvel. It makes the Battle of Hoth from Empire
Strikes Back look like a small level skirmish. You have clones versus
droids. You have those bizarre insectoid aliens adding the chaos. You have Jedi running around
and tearing up the battlefield. You’ve got all kinds of crazy vehicles. You’ve
even got Yoda playing Patton (but without a militarized version of his Theme,
John Williams score is mostly edited in from Phantom Menace due to Lucas’ constant re-edits).
Send in the clones... too late, they are already here. |
4. Anakin’s corruption based
on love
You know its love when your gal will blast a robot in the face to save your bacon. |
For this reason the Jedi of
the prequels look at everything from an emotionless standpoint. Justice and
order do not rely on emotions, right? Well we could argue that all day, but
from the Jedi’s point of view emotions are too easy to twist. And love, what
many consider to be the most powerful emotion, may bring with it the most
powerful fall.
The perfect couple? |
Listen to your elders, unless they are Sith Lords! |
It is the Mount Rushmore of evil! |
3. The overall mythic
structure of this trilogy
Little Anakin ready to leave the honeycomb hideout. |
It starts with a slave boy who was born of a virgin. This is a very ancient mythic trope that predates the most well known version featured in Christianity. This slave shows amazing powers that will allow him to rise up and forge a vital place in the world. He meets a mentor who promises to guide him on this path, and the two help each other. The boy is freed and he travels with his mentor into a new adventure.
But the boy is scorned by
the very order he admires. They don’t want anything to do with him.
Already he feels alienated. When his mentor dies, he is then handed off to a
younger man who obviously isn’t so keen on training him. This unwanted feeling
persists even as the boy grows into a man. Yes, now he has bonded with his new
mentor, who he sees as an older brother (not the father figure that Qui-Gon
presented). But like most siblings he often feels his older brother doesn’t
give him enough credit for his skills and powers.
Mediating or asleep? Hard to tell. |
Feeling he is losing
control, not just of his powers, but of his ability to protect people (he
failed his mother, and he may feel he failed Qui-Gon as well), he leaps to
rescue his brother/mentor when he discovers he is in danger. The young man does
his best to help, but ends up captured (and powerless again). In the end the
Jedi Order comes to the rescue, and the young man is literally disarmed when he
attempts to be the hero again.
Anakin wanted to try sitting on his butt just one time before going to the dark side. |
Petulant and angry. Not a good combo when wielding a lightsaber. |
That is the story we are
presented in the prequels, and it has so much potential to strike us right in the soul with its tragedy . Unfortunately
various missteps of how this story is told ultimately sink it. But I strongly
believe that the core of the story is excellent, and one of the best things
about the series.
2. The production design and
its evolution
Art Deco City! |
I know some folks are going
to disagree with me on this, but I really feel the production design of the
prequels is amazing. The Phantom Menace presented
us with a shiny world of colors and new technology. There is an opulent feel to
everything (a far cry from the used universe look of the original trilogy). We
are seeing a civilization at its peek or maybe at its over-ripe finale. Naboo
and Coruscant both have a large scale grandeur to them. Hell, even the podrace
stadium on Tatooine is larger and more impressive than anything we’ve seen on
the planet before. Everything we see here has this look of art meeting
technology, especially with the Naboo production design.
Prototype Stormtroopers and Star Destroyers |
Got a little bit of everything in this shot. |
Each film shifts us closer
to the look of the original trilogy with starship and costume design. I’ve seen
many people complain how the prequels just don’t look enough like Star Wars to them. But I really like
that Lucas showed us the evolution of the galaxy in a visual sense. It is the
one thing I wish they had done a little more of in The Force Awakens. By the end of Return of the Jedi the old TIE Fighters and X-wings were being
replaced by the newer TIE Interceptors and the A-Wings and B-Wings. I know the
creative team was going for familiarity, but it would have made more sense to
see an evolution from the later designed ships.
The underwater city of the Gungans is still pretty cool looking. |
I also really like some of
the creature design in the prequels. The Gungans (no matter how annoying they
are as characters) have a really great design. They look like they would be at
home under the water and in marshes. Their city, weapons and armor are well
thought out and interesting to look at. In Attack
of the Clones we get the cloners (one of my favorite new races in the
series) with their water planet and unique design. Then you have the disturbing
insectoid creatures that ended up creating the Death Star. Those things can’t
be squished by AT-ATs fast enough for me. Revenge
of the Sith ends up throwing a ton of new aliens and planets into the mix.
So many that it is hard to get a grasp on all of them. Probably the most unique
is the lava planet of Mustafar, with its black metal architecture and droid
technology.
You could argue that Lucas
and his crew spent too much time on the visuals and not enough time on making
the scripts work or focusing on casting. But I hold that it is hard to argue
with the visual impact that the Star Wars prequels actually have.
1. John Williams Score
"We will add the electric guitar here, and maybe some HORN OF DOOM!" |
The prequels use choir
throughout all three films. Two of the key themes from the prequels are based
on choir use. You have “Battle of the Heroes” for the final duel with Obi-Wan
and Anakin. But my favorite is the massive and imposing “Duel of the Fates”. To
me, this is the sound of the prequels. It is an amazing piece, one that we
didn’t expect in a Star Wars film. In fact I remember when this score was first
released that people were saying it didn’t sound like a Star Wars score. “Duel
of the Fates” was usually the reason why.
The irony is that when The Force Awakens came out people were
complaining that it didn’t sound like Star Wars because it didn’t have any
choral stand out moments.
Another triumph for Williams
is the main theme for Attack of the
Clones. This love theme is called “Across the Stars” and it is the heart of
the film. Williams does his best to create a golden age romance theme. The
music does a better job of conveying romance and young love than the actors do
(and it often feels overdone when combined with the muted acting on the
screen). But in this theme we get
something that Williams had never done before (but would certainly do again
with his impressive score to The Force Awakens).
“Across the Stars” has multiple parts built into it. So Williams is able to use
the theme in nearly any kind of situation. Sure you have the romantic moments,
but there are portions of the theme that he adapts into action music very
successfully. It works great as Padme and Anakin team up to save Obi-Wan. He
also uses portions to hint at the darkness within the relationship, scoring key
scenes with the same theme played in an unsettling way. “Across the Stars” gets
plenty of stand out moments in the film and is pretty catchy to boot. So a lot
of film music fans consider it the highlight of the prequel music.
Unfortunately Williams ran
into issues while working on Attack of
the Clones and Revenge of the Sith.
Lucas was constantly re-editing the film. This made it very difficult for
Williams to write music when the scenes were constantly changing. For Attack of the Clones he eventually let
Lucas just cut together music from earlier in the film and from The Phantom Menace to fit whatever
final version of the end battle Lucas ended up with.
When it came to Revenge of the Sith Williams opted for
a different tactic. He created a lot of individual themes for moments in the
film. The result is shorter cues, but a more colorful score than anything we’ve
heard in Star Wars. This score is
bursting with great moments and powerful use of choir. At the same time (and
I’m guessing this came from Lucas, but I haven’t confirmed it) Williams was
asked to reuse key moments from the original trilogy to score new scenes. Only
a film music nerd is going to notice how the music from Cloud City in Empire Strikes Back was removed
wholesale and plunked down in the middle of the Yoda/Emperor battle. But yeah,
I find it incredibly distracting.
In the end I don’t blame
Williams for the reused music in the prequels. When you listen to the new themes he crafted for these films it is really amazing. He also took his
new technique of scoring action and built on it. The action music in the
prequels is more complex, intense and propulsive than the music in the original
trilogy. One of the craziest pieces is “Zam the Assassin and the Chase Through
Couruscant”. Williams goes insane with percussion and even adds some electric
guitar wailing away in there.
We end up with a kind of
trade off. Instead of action scenes built on stand alone themes that mirror the
visuals, we get a blast of activity that is both musical and chaotic. At times
it works better than others. The Phantom
Menace is the best score of the prequels because it balances everything
Williams attempted just right. Plenty of new, a few nods to the old, excellent
new style action music and “Duel of the Fates”. Awesome stuff!
Now I won’t be one of those
who thinks Williams can do no wrong. I really don’t like “Battle of the Heroes”
too much. Some of the action music in Attack
of the Clones just isn’t very interesting, and the piecemeal approach to Revenge of the Sith is colorful but feels
like it lacks narrative flow (something no other Star Wars score ever has a problem doing). My opinion may change if
we ever get a chance to hear the full scores away from the movie. The current
album versions are missing plenty of music. But even with these detriments, I
am glad we got the Star Wars prequels
if only because John Williams crafted some of the best movie music of the 1990s
and 2000s.
What are your favorite elements
to the Star Wars prequels? Did I miss something, or did you find some of my
picks laughable?
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There is no shortage of movies with simple revenge themes: as the villain asks “why?’ as the hero poises to strike the final blow, we hear, “You killed my _________ [mother, father, sister, lover, dog, or whatever].” Lucas opted for a more complex mythic and Freudian construct for which I give him credit, sometimes telegraphing his intent – e.g. Darth Vader evoking Death Father and the obvious identification of Lucas with Luke. The prequels explore all that more deeply. I have yet to see the non-Lucas “The Force Awakens,” but we’ll have to see if Disney follows the established pattern by, as some fans speculate, revealing that Rey is the daughter of Han and Leia.
ReplyDeleteThe Smithsonian did a whole exhibit in the late 90s about Star Wars (the original trilogy) and its mythic origins. I have the companion book and it is a real interesting read. Lots of nods to Norse and Arthurian legend of course. But it also noted how the production design pulled from all kinds of things: Samurai armor, WWII uniforms, even 1970s flight suits for U.N. Pilots. That potent mix of past, present and future helps the story resonate so clearly to so many people (at least that is their theory, but I think it is a good one). The Prequels really kept that mythic approach and it gives them more weight when other elements of the films don't work as effectively.
DeleteGood analysis Roman. You establish a good case for watching the prequels. No matter how someone negates them, they probably end up watching them because Star Wars has such a resonance with pop culture, even more so if you're a SF type person.
ReplyDeleteYou many have seen Stuckmann's analysis on what was wrong with the prequels, and I can agree with him, and it may have been why they didn't work as well as the original trilogy, and why The Force Awakens works well. It's something I hadn't noticed, but he says that the movies should have action sequences and less exposition in telling why something is happening or happened. He's probably right about that. All that telling drags things down. But I'll give you points for pointing out a few things I'd forgotten about, and I'll pay attention when I get ready to rewatch the prequels.
Yeah Stuckmann and I agree a lot when it comes to the prequels. He makes a great point about Lucas going from showing in the original trilogy to telling the prequels. It is an especially big problem in "The Phantom Menace". One of the reasons me created the hated Midochlorians was so that he could have an empirical measurement of The Force. But that wasn't needed. Instead the Pod Race offers the best visual opportunity to see Anakin's wicked reflexes... or force awareness. But the thing is that Lucas actually has that in there too. So really that makes the Midochlorians even more useless!
DeleteI also agree with Belated Media that the prequel trilogy lacks a central character. Lucas should have told the story from Anakin's or Obi-Wans point of view and stuck with it. The lack of focus ends up hurting the film.