Star Wars Episode III: Revenge of the Sith (2005)

By the end of the origin trilogy, Star Wars had nowhere else to go but up, and George Lucas manages to complete Anakin Skywalker’s transformation to Darth Vader both believable and frightening.

Star Wars Episode III: Revenge of the SithUSA
3.5*

Director:
George Lucas

Screenwriter:
George Lucas

Director of Photography:
David Tattersall

Running time: 140 minutes

This is one in a series of reviews including:
The Phantom Menace (Episode I)
Attack of the Clones (Episode II)
Star Wars / A New Hope (Episode IV)
– The Empire Strikes Back (Episode V)
The Return of the Jedi (Episode VI)
The Force Awakens (Episode VII) 

“War! The Republic is crumbling under attacks by the ruthless Sith Lord, Count Dooku. There are heroes on both sides. Evil is everywhere.
In a stunning move, the fiendish droid leader, General Grievous, has swept into the Republic capital and kidnapped Chancellor Palpatine, leader of the Galactic Senate.
As the Separatist Droid Army attempts to flee the besieged capital with their valuable hostage, two Jedi Knights lead a desperate mission to rescue the captive Chancellor….”

Lightyears ahead of the two episodes that preceded it, Episode III reinjects colour, real drama and genuine filmmaking flair into the franchise that wilted with Episode I and was beaten to a pulp and left out to dry with the release of Episode II. Besides rounding out a number of character transitions and neatly completing the trilogy, it also answers many of the big origin questions that have hung around for more than 20 years, since the release of the original trilogy in 1977–1983.

From the very first moment, this third instalment in the so-called “prequel trilogy” marks a forceful departure from its dreadful predecessor. It is as simple as an unbroken take, one that is not only visually impressive (it definitely is) but also dramatic in terms of the presentation of its content. Even the opening crawl, provided above, boldly proclaims the nature of the situation in no uncertain terms: “War!”

The elegant unbroken take starts with utter calm, however, as the usual beach of starlight stretches out across the dark skies in front of us. The camera pans downward, as it does nearly every time (the exception was Episode II, when it panned up, but then the film lost its nerve and cut away almost instantly), to the giant dagger-shaped form of a Republic attack cruiser floating in near silence in outer space. The scene is peaceful and calm, and in the background we see the mighty planet of Coruscant with the blinding sun (dis)appearing behind its rim. Two tiny Jedi star fighters whizz towards is, and the camera follows them across the wing as they swoop around the front and down to reveal utter chaos below, where dozens of battleships are shooting at each other.

But this is only the beginning of the fun: The shot, which incorporates very mobile movements as the camera whooshes back and forth past obstacles and even through a cloud of fire, carries on until we spot R2D2 on the wing of a starfighter and immediately deduce this is Anakin’s. Without a moment of hesitation, the film cuts to Anakin’s face inside the cockpit. He is clearly enjoying himself, and for a change (given actor Hayden Christensen’s atrocious performance in Episode II) it is a pleasure to see him because he is fully engaged in the scene.

Anakin and his master, Obi-Wan Kenobi, are on their way to rescue Chancellor Palaptine, who has been kidnapped by Count Dooku, the leader of the separatists. And when they do, a mere 15 minutes into the film, the moment presents Anakin with a major quandary. Having been taunted throughout their fight, with Dooku nudging Anakin to come to the Dark Side, and having seen Obi-Wan injured in the fight with Dooku, Anakin eventually subdues him. He holds the two lightsabers – his own one, which is blue, and Dooku’s red one – in his hands and points them in the form of an X around his throat, trying to control his anger. He is filled with doubt and even says that killing an unarmed man would not be the Jedi way. Palpatine, shackled next to him, disagrees and urges Anakin to decapitate the shocked Dooku. Anakin follows through.

This is but the first of many powerful depictions of the internal turmoil that Anakin has to deal with throughout the development of this part of the story. The soft-spoken but serpentine Palpatine knows exactly how to play the game by gently dangling power in front of Anakin. He feels he deserves it by virtue of the chancellor of the Republic declaring it the right thing. And whenever he feels second-guessed or slighted by the Jedis, who can sense evil in Palpatine’s plans, he sides with the chancellor. But he is always genuinely conflicted as to where his loyalties should lie.

These scenes are riveting, even though we know that Anakin is fast on his way to becoming Darth Vader. This prequel trilogy was never about the destination, however: It was always about the journey, and thus the focus had to be on Anakin’s evolution, which in this episode is sharp and does not have the meandering qualities that made the first two instalments so exhausting.

In visual terms, this instalment leaves the previous two in the dust. Not only do we get the first glimpse of Padmé wearing her hair in the form of two bagel buns on either side of her head (as her daughter, Leia, did in the original trilogy), but the special effects are far superior to the mediocrity of the seemingly ever-present rear projection of Episode II, and the colour palette is colder but stronger: blacks, blues and purples seem to permeate the world this time around.

When Palpatine decides to appoint Anakin, who is not a Jedi master but merely an apprentice, to the Jedi Council (a decision that has major repercussions), they walk side by side inside the chancellor’s office, and shortly before the scene wipes to another location, the lighting makes them appear as two silhouettes – partners in darkness. It is a brief moment but speaks to a visual ingenuity that is unusual for Lucas.

With regard to the editing, Lucas also fashions two remarkable alternating sequences of lightsaber duels. The first contrasts the giant fight between Yoda and Palpatine after he has become the irrevocably evil Darth Sidious, first set inside the chancellor’s office and then in the middle of the Senate, and between Obi-Wan Kenobi and Anakin, after he has gone to the Dark Side and become Darth Vader. The second, only a few scenes later, is an interesting juxtaposition of Padmé giving birth and Darth Vader being fitted with his black armor.

The humour in the film is also much better integrated and does not draw attention to itself, as such attempts failed miserably in the first two episodes. The duel between General Grievous, the commander of the separatists’ Droid Army, and Obi-Wan Kenobi is light-hearted and reminds us that not all fight scenes need to be equally sombre. As Kenobi, McGregor is excellent in bringing this sprightliness to the fight, even in the face of Grievous’s four lightsabers.

Unfortunately, a few awkward attempts at romantic dialogue remain, as in this exchange:

Anakin: You are so beautiful.
Padmé: It’s only because I’m so in love.
Anakin: No! It’s because I’m so in love with you…!

Poor Padmé also spends almost the entirety of the film locked up in her room on Coruscant, where she either waits in anguish for the return of her lover and father of her offspring or confronts him about putting up a wall between them out of fear.

The film regularly returns to the Prophecy, in which Qui-Gon Jinn had believed and which Obi-Wan also trusts, that Anakin will bring balance to the Force. However, while the Force will be brought back into balance thanks to Anakin, Yoda also points out that it is a “prophecy that misread could have been”, meaning the easiest explanation is not always the right one. Three more instalments await, and while Anakin is instrumental in returning balance, he will not do so alone, nor directly.

With the possible exception of Episode IV, this is likely the best Star Wars film that Lucas directed. Although still not far from laughable at many points, Christensen’s performance has improved, and we can hear his character’s frustration in his tired “Yes, master” whenever he is told to wait, to be patient, not to do what it is he feels entitled to do. He is racked with fear, confused and lost, looking for his place, but while the final scenes on the volcanic planet of Mustafar are too long and look rather uninteresting, the climax is exactly what we had been waiting for all along.

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