‘Revenge of the Sith’ Showed Lucas as His Creative Peak

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In George Lucas’ third “Star Wars” prequel, titled “Star Wars Episode III: Revenge of the Sith (2005)”, the structures and landscapes born from his creative mind come together.

Once again gracing the big screen to mark its 20-year anniversary, the much-discussed concluding chapter of the prequel trilogy has gradually garnered a following ever since it premiered at the Cannes Film Festival.

The film is still flawed in some ways and quite extraordinary in others.

Upon its initial release, the “Star Wars” prequels, particularly “Episodes I-III,” received a mix of positive and negative feedback and were generally criticized by dedicated followers of The Force. These movies shouldn’t be relegated to the status of outcasts in cinema.

Indeed, given the impressive power of the 2005 release, it seems reasonable to reevaluate and extend our admiration for George Lucas, and his entire directorial work from 1999 to 2005, over a longer period.

Considering the lapse of time and the favorable response to the Disney+ TV series expansions, especially “Obi-Wan Kenobi” that delves into the main characters of “Revenge of the Sith,” it significantly changes the evaluation of their worth.

Initially, the less-than-stellar quality of the first prequel, “Star Wars: Episode I – The Phantom Menace” (1999), was followed by the more highly regarded, underappreciated, and generally impressive “Star Wars: Episode II – Attack of the Clones” (2002).

The objections raised towards the first attempt persisted in the second, but by the third, they were seldom present.

The complaints made about the first try continued into the second and largely disappeared by the third.

Or:

Objections from the first submission carried over to the second, but they were less common in the third.

Lucas’ long-standing mental image has been of Anakin Skywalker, Jedi apprentice played by Hayden Christenson, falling from grace, betraying his trusted mentor Obi-Wan Kenobi portrayed by Ewan McGregor, and being torn between Padme Amidala, played by Natalie Portman. This has reportedly been a persistent idea in Lucas’ mind.

Prior to “Sith,” that vision was never realized on film.

In “Revenge of the Sith,” everything harmoniously unfolds, making it an exceptional blend of fantasy and drama. It serves not only as a standalone masterpiece but also as a smooth transition linking back to the initial films starting with “Star Wars: A New Hope” (1977). It appears that George Lucas found his creative zenith in breathing life into this pivotal third chapter.

In “The Phantom Menace,” the movie reached its height with the thrilling pod race scene and an exhilarating three-way lightsaber duel, but it had difficulty resonating emotionally. “Attack of the Clones” shared a stop-start nature, yet boasted a grand coliseum battle/Yoda’s powerful finale that saved the film (and its somewhat awkward romantic plotline).

In “Star Wars: Episode III – Revenge of the Sith,” George Lucas launches the story immediately with an exciting space battle sequence right from the beginning. This is followed by several suspenseful moments that extend throughout, tying up loose ends from the previous movie.

The powerful opening unfolds into a memorable moment as troubled and underdeveloped Anakin Skywalker encounters the menacing Palpatine (played by Ian McDiarmid) in an unusual setting reminiscent of an opera, making it unclear whether it’s performance art or live music. The scene’s aesthetic is breathtaking, but it leaves viewers puzzled about its true nature.

The gradual unfolding scene, where Palpatine skillfully persuades Skywalker to accept the Dark Side of the Force, stands out as one of the most compelling and crucial in the entire series. After this, the movie maintains its momentum, albeit with a few minor stumbles, but overall remains exceptionally engaging.

Despite some criticism regarding the inconsistent acting performances, particularly from Christensen, the compelling storytelling and cinematic craftsmanship ensure that this space opera remains captivating. His portrayal of Skywalker’s growing immaturity and descent into madness is spot-on.

When looking at Lucas’ perspective on Darth Vader, as a foolish, arrogant young man who ultimately destroys himself, Christensen’s frequently dislikable portrayal aligns well with the character development. In Lucas’ view, the future Darth Vader is depicted as unsympathetic, melancholic, and that of a misguided fallen prince – an interstellar Hamlet.

Having R2-D2 and C-3PO, who are much like Rosencrantz and Guildenstern in this galaxy, adds even more credence to the notion.

The presence of R2-D2 and C-3PO, reminiscent of Rosencrantz and Guildenstern in this galaxy, makes the idea even stronger.

Or simply:

The presence of R2-D2 and C-3PO, like Rosencrantz and Guildenstern in this galaxy, lends further support to the idea.

In this rephrased version, the sentence could read: The final scene between Portman and Christensen is heart-wrenching (it should be noted that both their performances significantly improve as the movie unfolds), yet Portman’s dialogue in the initial scenes is particularly thought-provoking.

In a more simplified manner, I found the political aspects of these films unappealing, but this one managed to capture my interest. Portman delivers some compelling dialogue, such as “This is how freedom perishes…with great applause.” She also poses an interesting question to Anakin: “Have you ever thought that we might be on the wrong side?

When the movie came out, some people debated whether Lucas was criticizing President George W. Bush. However, it appears that his intent was more about encouraging viewers to actively resist a leader who seizes power unjustly rather than passively standing by.

This might similarly demonstrate Lucas’ well-known standpoint that he should maintain creative control over his work, thereby shielding it from external influences that could potentially dilute its artistic integrity.

The movie is owned by McDiarmid, whose captivating and loathsome portrayal as the main antagonist holds the film together. McDiarmid’s choices range from subtle to boldly dramatic, creating a remarkable display of talent that stands out in a production not typically renowned for its acting prowess.

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As a die-hard film fan, I must admit that McGregor’s performances throughout the movie are truly remarkable, but it’s his poignant, “You were the chosen one,” at the end that really tugs at my heartstrings. The CGI Yoda remains as expressive and agile as ever, and let me tell you, the sight of the tiny green Jedi master being carried by Chewbacca is nothing short of glorious!

Although the much-anticipated Wookie fight moves along swiftly, Lucas cleverly alternates between the intense duels of Yoda against the Emperor, and Anakin versus Obi-Wan. The first one is awe-inspiring, while the second is equally impressive but seems prolonged.

Occasionally, light-hearted humor provides a refreshing break, especially since this storyline is not only the grimmest in the series but also includes disturbingly brutal violence.

The grim, prominent stage of “Order 66” (a number that seems deliberate, as well as Palpatine’s likeness to the devil) is quite powerful. Similarly, Luke Skywalker’s physical end and subsequent transformation into one of the most iconic cinematic villains is also very impactful.

Everything was executed so skillfully, with a depth of emotion that caught me unawares, leaving me with the impression that Lucas has triumphantly rounded off his much-anticipated and contentious comeback to filmmaking by delivering one of his finest “Star Wars” productions.

The quality of execution was exceptional, filled with emotion that took me aback, leading me to believe that Lucas’s long-awaited and disputed return to directing culminated in one of his best “Star Wars” films.

Both popular in theaters and underappreciated today, “Revenge of the Sith” is Lucas unleashed.

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2025-04-25 17:03