Watching what promises to be the last Star Wars movie turned into something of an emotional experience for me. When the first film in the series came out in 1977, I was in the business trying to make a living as an actor. Now actors are a notoriously jaded lot and it’s considered to be uncool to get too excited about anything, least of all someone else’s work. So, when I entered the theater to see this movie everyone was talking about (it was about a week after it premiered) I was fully prepared to be unimpressed.
Even though it was a Wednesday night, the theater was packed. The only place to sit was all the way down front in the first row. As my friends and I craned out necks upward, the first scene unfolded and took my breath away. The huge, Corillion Class Imperial Cruiser felt like it was directly over my head and the sound (70MM 6 Track later updated to Dolby) beat against my chest and made my entire body tingle.
The music score by John Williams was like something out of one of the epic films of the 1950’s. And the special visual effects, considered primitive by today’s standards, were imaginative and awe-inspiring. In short, I came out of that movie with a feeling that I had seen the future of film making.
Being out of the business so long, I can now take a more critical look at the movies and judge them from the only standpoint that should matter - as a storytelling experience.
Human beings have been telling stories to each other since the dawn of civilization. It’s been a way to impart universal truths in a memorable fashion. Simply talking about the grand themes of good versus evil or love and hate, life and death has never been enough. These themes resonate with people on a more personal level if the magic of storytelling is involved. From Homer, to Shakespeare, to George Lucas, there is a direct line of storytelling that illustrates themes that unite humanity no matter what culture you’re from.
This is not to compare Lucas to Shakespeare in talent. It is simply to point out that both men tell good stories about things that are important, things that matter.
Revenge of the Sith is a great movie. It’s not just good. It’s not just entertaining. Sith will go down in history as one of the finest examples of storytelling in the history of the American cinema.
And if it doesn’t, it should.
If that sounds a little gushy, please forgive me. After all, there is plenty in the movie to be critical about. Hayden Christiansen, brave lad, still cannot act his way out of a paper bag. Ditto Natalie Portman who at least is fine looking window dressing. And Ewan McGregor’s forced wisecrack’s and stilted banter with Anakin was distracting to say the least. I thought General Grievous was a little over the top and one dimensional to boot. And the general criticism of all Lucas movies - a too cute reliance on special effects - was on display for all to see.
All this being said, Lucas made a great film, perhaps in spite of himself. And the reason is that the primary focus of the film centered on Anakin Skywalker’s descent into darkness.
This aspect of the film could very easily have been mishandled. There is a very fine line between tragedy and melodrama. The difference is in the character’s awareness of his journey into despair. I once saw Arthur Miller’s classic American tragedy Death of a Salesman performed by a Polish Theater Company back when Poland was a communist country. Miller’s play is about the descent of Willy Loman into darkness, despair, and finally suicide and was very popular in communist countries because it ostensibly showed the evils of capitalism.
The production was laughably bad. Not because the actor’s weren’t good. It’s because the actor who played Willy Loman played up the melodramatic aspects of his character’s descent rather than the underlying subtext that gives the play its emotional power. Willy Loman goes to his death without a clue why his wife left him, his sons hate him, and why he’s a failure at his job. The sin of overarching pride dooms Loman, not the capitalist system. To play it otherwise is to invite laughter.
Similarly, Anakin’s seduction is possible only because of both his pride and fear. Anakin’s feelings of superiority are massaged expertly by Palpatine who inculcates a sense of destiny in his young charge that feeds his ego and confirms his own abilities - abilities that go unrecognized by Obi-Wan and the Jedi Council. Palpatine doesn’t cast a spell on young Skywalker. He uses the material at hand, aspects of Anakin’s personality already present to first intrigue, then confuse, and finally lure the young man to his side with the promise of freedom from fear.
With Sith, there was the real potential for disaster. If not handled just right, Anakin’s journey to the dark side could have been comical or worse, painful to watch. Instead, Lucas navigated the dangerous shoals and brought both Anakin and the audience safely through. And I consider this aspect of the movie to be a singular achievement in the history of American cinema.
Lucas couldn’t have pulled it off without the assistance of veteran character actor Ian McDiarmid whose Palpatine was played with a pitch perfect sense of seductive evil. It would have been easy to draw Palpatine with stick figure simplicity. But the depth of the Sith Lord’s evil resonated perfectly with themes familiar to theatergoers. The snake in the garden who offers Anakin a bite of the apple, the easy lie, the blurring of the line between good and evil so that evil actually appears good all work to undermine Anakin’s fragile sense of self, tied up both in his identity as a Jedi and his fear that he will lose everyone he loves.
And let’s not forget Padme’s role in all of this. An idealistic Senator who, too late, recognizes her husband’s transformation despite the signs being there since Attack of the Clones, Padme’s selfishness and single minded belief in the purity of Anakin’s motives blinds her to both Palpatine’s manipulation of her lover and his eventual crossing over to the dark side. Padme goes to her death a tragic character who never understood why the purity and absoluteness of her love couldn’t save Anakin. Love may conquer all - except when love is hoarded, not shared. Padme’s belief that by finally taking Anakin away to a place where he would be safe from harm shows how shortsighted she was. Anakin would never be able to protect himself from his own fear.
One note on the physical manifestation of the evil infecting both Anakin and Palpatine. The disfigurement of both was a master stroke by Lucas, hearkening back to the morality plays if the middle ages (and more recently Oscar Wilde’s The Picture of Dorian Gray) that showed the fall of Adam in a series of vignette’s where Adam gets progressively older and uglier, a result of his listening to the serpent in the garden and a consequence of his pride and disobedience of God. Chaucer also dealt with the ugliness of evil as his devil characters almost always had some kind of physical deformity that made them particularly repulsive. It’s no accident that the more revealed Palpatine’s alter ego Darth Siddius became, the less we saw of the harmless, white haired Chancellor and more the ugly Sith Lord. It’s one of the advantages of cinema over other art forms in that it shows image as substance.
So Anakin’s journey - a journey everyone in the audience knows the destination - couldn’t have been handled better. It wasn’t so much the acting that carried it off as it was the utilization by Lucas of universal themes that storytellers have been thrilling audiences with for at least 3000 years. And with some deft writing and some good turns by Ian McDiarmid as Palpatine, the story of Darth Vader, one of the great villains in American cinema, comes full circle.
I know that many will disagree with my interpretation. Or perhaps fault me for not pointing out the superficial political statements that Lucas evidently tried to incorporate into the movie. Either way, I understand where you’re coming from, after having read so many negative reviews from conservatives on the web and elsewhere. Be that as it may, there are things more important than politics. Lucas has made an American masterpiece, a modern American morality play that will live as long as the themes he so masterfully illuminated mean something to all of us.