STAR WARS EPISODE III — REVENGE OF THE SITH is marginally better than its two predecessors. But to put that in the proper perspective, that’s like saying that typhoid fever is marginally better than the ebola virus. It is a difference without a meaningful distinction.
The point of EPISODE III is to explore the specifics of how Anakin Skywalker (Hayden Christensen), sulky adolescent with issues turned impulsive Jedi knight and secret husband of Padme (Natalie Portman), the former Queen of Naboo, becomes the evil Darth Vader after fathering twins on the quondam queen. It’s all for love as it turn out and there is something compelling about a man who will give up his soul for the woman he loves, but, alas, this tale of doomed love and nobility betrayed is skewered by the inept execution of his maker. Again.
With the exception of Ewan McGregor, avuncular as he nicely foreshadows Alec Guinness, once stealing the screen with a twinkle in his eye and some actual acting, the performances are as leaden as Mr. Lucas’ direction and dialogue. The former is a thudding, unending procession of centered shots that make even sweeping movement seem static. The latter consists of simple declarative statements as often as not stating the obvious to characters who already have the information. It is remarkable only for its complete lack interest. It’s not unlike the emotions not displayed by an otherwise fine cast. Christensen shows the same inertia of knitted brows and petulant expression whether declaring his love for Padme, fear of losing her, or hatred in general at the generally convoluted backstory about the Clone Wars and impending usurpation by Supreme Chancellor Palpatine (Ian McDiarmid). As for Portman, sporting a considerably scaled-down wardrobe, she is just as inert, even while performing the not unimpressive feat of bursting into tears without showing any emotion. All in all, it gives the couple all the romantic spark of a washing machine’s soak cycle. And why would anyone cast Samuel L. Jackson in a role and then try to make him play it like Pat Boone?
Lucas attempts a bait-and-switch technique with the considerable arsenal of effects, digital and otherwise, at his disposal. Hence, a panoply of exotic alien species and vistas of alien worlds all with an oddly familiar look to them. As for coherence, there is the spectacle of Obi-Wan attempting to stalk a bad guy while galumphing along on a giant iguana. Maybe if he gets jostled enough behind that impressive reptilian ruff, no one will notice how silly the premise is. Better is the cameo Grand Moff Tarkin makes with the actor made up to look very much like a plasticine Peter Cushing, or the lava planet where Anakin crosses his fiery Rubicon, if only for the first few minutes before all that red-orange begins to look like a big lumpy mess.
Also feeling very familiar are the many battle sequences, from outer space to one-on-ones with light sabers. There may be more details on screen, but for all the money and expertise, nothing is as breathtaking as the chase on the Death Star of the original, nor the flight through the redwoods in RETURN OF THE JEDI.
One day, much will be written about the themes evinced in REVENGE OF THE SITH. The interesting pieces, though, won’t focus on the obvious ones, goodness gone bad, or happiness through detachment, or even the timely consideration of liberties sacrificed on the altar of putative security (one character, a bad guy in case you wondered, actually growls a variation of Dubya’s ultimatum that those who aren’t with him are against him). No the really interesting analysis will be on the subconscious motifs, such as dismemberment, with which Lucas punctuates the action with disturbing regularity.
And so it is that with a sigh of relief we come to the end of a trilogy that fell criminally short of all that is could have, and by all rights, should have been. A sigh, for that reason, that is just a little wistful, too.
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