Archive for the ‘Great Scenes’ Category

Great Scenes of the Prequel Trilogy: Obi-Wan Discovers The Clone Army

May 5, 2017

AOTC is in part a noir detective story, which is a good portion of Obi-Wan’s thread through the film. He’s trying to find out who had been attempting to assassinate Senator Amidala and each clue leads him further down the rabbit hole of secrets and galactic conspiracy. Once he finds out the poisonous dart that killed Zam Wesell originated on Kamino and he locates the planet, he drops by the watery world for a visit.

There he encounters Lama Su, the prime minister of Kamino, and Taun We who proceed to tell him a Jedi named Syfo Dias, who had died a decade beforehand, ordered a clone army for the Republic. Obi-Wan has to absorb all of this shocking information and still act as though he knows what’s going on. He is then taken of a tour of the clone facility where we see scores of clone fetuses, clone kids (Daniel Logan), young adult clones, and finally clones in full armor getting ready for action.

Visually this scene is very striking. The dark grays of Kamino’s rainy exterior and the bright and clinical white of Kamino City’s interiors make for an eye-pleasing palate while conveying the grays of secrecy outside and the stark light of truth on the inside. The storm portends the disaster to come for the galaxy because of what is being created there. ILM’s work on the Kaminoans still looks incredible. I’m especially impressed with their skin texture, their unique and graceful gait, and the movement of fabric. I also dig the “spoons” they sit on. The clone facility reminds me of “THX-1138” on a much bigger budget and updated technology. It’s astonishing and creepy all at the same time.

As an aside, the utensils the clones eat their invisible food with (heh heh) came from IKEA. I only know this because I had the same utensil set but in green. Don’t go running to your nearest IKEA to look for it because it was discontinued years ago.

Ewan McGregor’s Obi-Wan is cheeky as he’s forced to b.s. his way through this conversation. I just love his “that’s why I’m here.” He has to maintain his poker face as he sees this insane operation going on, all done on the Jedi Council’s dime.

John Williams’s score adds to the ominous air of mystery, giving way to the militaristic music as armored clones march in formation and board huge ships.

To borrow from Lama Su, “magnificent.”

Great Scenes of the Prequel Trilogy: Yoda Confronts Dooku

November 28, 2016


Perhaps the biggest crowd-pleasing scene in AOTC was Yoda confronting Count Dooku.  Up until the time AOTC was released, we’d never seen Yoda do anything other than train Jedi, walk around with that stick, and say wise stuff.  But Yoda could open a can of whoop-ass if necessary and thanks to ILM’s digital magic, what was once impossible for a character realized by a puppet was in 2002 a reality.

This was something George Lucas had wanted to do in AOTC from the get-go.  He wanted to show audiences why Yoda was “the” Jedi.  But he found a lot of resistance from people along the way.  ILM balked at the logistics of creating a credible fight scene with the little Jedi Master.  Others thought it would look dumb and people would laugh at it.  But of the 11 times I’d seen AOTC in the theaters, audiences applauded the top of this scene every single time.  The audience at the first screening I’d gone to at the Uptown Theater in Washington, D.C. went absolutely bananas.

We all know the drill.  Obi-Wan and Anakin attempt to battle Dooku and get it handed to both of them. It gets quiet and all of a sudden, Yoda humbly enters the scene.  After some trash talking, Dooku tries to fling things at Yoda with the Force.  After Yoda deflects the flying objects, Dooku tries Force lightning.  When that doesn’t work, it’s time to take out the lightsabers.  Yoda flips around and engages the really tall Dooku like a champ.  It’s only when Dooku tries to topple a pillar on top of Anakin and Obi-Wan that he’s able to escape from Yoda.  Cheater.

ILM’s visual effects artists of course did an amazing job realizing this scene. If the visuals didn’t work, the whole thing would’ve been a disaster. While today’s animation would be even better it was pretty spectacular for 2002. I happen to think it works now. Not only does Yoda look great in fight mode, I like his whole attitude prior to the fight. Some of those poses were seemingly inspired by Neo in “The Matrix.” Christopher Lee had to sell the duel on his end and he didn’t even have anyone to fight as it was shot on a soundstage. Lee does an amazing job but that just goes without saying. The lighting in the scene–some of it digital, some of it done on set–is perfect.

This was a high risk scene that walks the line between “wow, this is awesome” and the absurd but it became one of the most iconic fight scenes in the saga so far.







Great Scenes of the Prequel Trilogy: Qui-Gon’s Funeral

February 22, 2016

Qui-Gon’s funeral on Naboo is one of those important, fascinating yet kind of overlooked scenes in the saga.

The major players in the prequel trilogy are assembled in a tiny room as they watch Qui-Gon’s body burn on a funeral pyre.  The fire provides the only light in the room as they stand grim-faced, John Williams’s funereal score emphasizing the solemnity of the scene.  (For you trivia buffs, the lyrics are in Sanskrit, as are the lyrics to “Duel of the Fates.”)  Anakin asks Obi-Wan what’s to become of him, and Obi-Wan reveals to the lad that the Council has agreed to let Anakin be trained.  (You’d think they’d bother to tell Anakin sooner.)  It’s interesting to note that in many scenes crucial to Anakin’s fate or to Vader’s, there’s fire present.  This is one of them.  Anakin is officially taking his first steps forward on the Jedi path.

Yoda and Mace Windu mull over Maul; here is where we hear the Sith Rule of Two for the first time.  There is only a master and an apprentice.  Just after Mace Windu ponders aloud whether Maul was the master or the apprentice, the camera focuses on Chancellor Palpatine.  There he is, right under everyone’s nose!   Is it possible he overheard the chatty Jedi?

I always felt like this scene also foretells the fates of everyone in the room.  Only Yoda dies of old age; everyone else dies tragically or violently.  Nobody lives past ROTJ.  Curiously enough it is the death of Qui-Gon that sets those events in motion.

Great Scenes of the Prequel Trilogy: Padmé’s Ruminations

October 22, 2015

Arguably the best scene in ROTS, arguably the best scene in the saga. Certainly one of if not the most effective Star Wars scenes shot to date.

Part of me absolutely loves this scene because I’m a diehard Anakin/Padmé shipper. That silent expression of connection and love is amazing as Anakin is once again torn between doing what he was ordered to do (remain in the Council chamber) and doing what he wants to do (make sure nobody kills Sidious so that he’s able to save Padmé). They’re not able to see each other but Anakin gazes toward the tower where she is and she is gazing back at the Jedi Temple through her window. I think Padmé is aware through the Force of something troubling Anakin but doesn’t know quite what it is. Anakin’s awareness of whatever it is he is sharing with Padmé just emphasizes his need to save her. The only dialogue in this scene is either Anakin remembering Palpatine telling him it’s the only way to save her or Sidious putting the words into his head through the Force. Either way, Anakin tearfully makes his choice and leaves the chamber, then the moment ends, breaking off their connection.

Part of me absolutely loves this scene because it’s just awesome filmmaking. Usually Lucas saves his silent sequences for the end but in this case, he puts one right at the moment Anakin makes his pivotal decision that causes the whole galactic house of cards to come crashing down. The film cuts seamlessly and effortlessly between Anakin and Padme, temple and senatorial suite. Here, without dialogue, is where Lucas is the most understood…I think everybody got that scene and what it means. Lucas is definitely a silent movie guy at heart. Emphasizing the impending tragedy is the red-orange sunset enveloping Coruscant. The light is dying out brilliantly and darkness will soon fall. It also symbolizes the turmoil of Anakin’s feelings and the passion Anakin and Padmé feel for one another. The acting is subtle but very well done. I find it interesting that for the most part Anakin is the more openly emotional of the two but from this point forward, Padmé becomes very emotional herself.

Capping it off is John Williams’s score for this scene that’s sad and ominous, especially with the vocals. The first time I saw the movie I wondered if it was Lisa Gerrard from Dead Can Dance but it isn’t. Sounds like her though. Williams must’ve seen a few Russell Crowe movies.

All in all, a perfect scene.

Great Scenes of the Prequel Trilogy: Jedi Don’t Have Nightmares

August 30, 2015

After Padmé friend zones Anakin, he suffers through nightmares about his mother Shmi. He is seen the next morning standing on a balcony with his hands clasped behind his back, staring off at clouds obscuring the sun and blue sky as he is lost in his thoughts about what to do next. The visuals signal his confusion and conflict between his assigned duty and his urgency to go to his mother, who might be in trouble.

Padmé emerges from her bedroom and is about to leave him, figuring she is interrupting his meditation or something but he asks her to stay. She tells him she heard his nightmares even though he denies it. Anakin reveals he is troubled about his mother’s fate and he has to go to her. Padmé, because of course she loves him in spite of what she’d told him, volunteers to travel with him.

This is another one of those quiet moments but there is a lot happening here. The nightmare is the catalyst for what happens with Anakin and Padmé’s arc for the rest of the film and leads to Anakin’s first surrender to the Dark Side. Anakin’s vision is “clouded” because he’s torn between what he feels he has to do and his duty on Naboo. He has no one to turn to for guidance; Obi-Wan is off on his own adventure. He has to make a choice and given his age and his attachment to his mother, of course he’s going to choose going to Tatooine. He’s no different from Luke deciding to run off to Cloud City to save his friends.

Many have noted the way Anakin is standing in the shot on the balcony is exactly the same way Darth Vader stands at various times during the OT. It’s a testament to both Hayden Christensen and George Lucas that they were thinking of keeping a character’s quirks consistent throughout the series.

What doesn’t get discussed as much is the intimacy between Anakin and Padmé in this scene. There’s no kissing or anything like that and Padmé is wearing a robe, but for a couple absolutely determined Not To Fall In Love, Anakin isn’t uncomfortable wearing a see-through shirt around her and you can tell Padmé’s nightgown is a little sexier than the one she had on earlier in the film. She doesn’t try that hard to make sure it’s absolutely covered up. Watch Padmé’s eyes as she is initially talking to Anakin; she is looking him up and down. Then she insists on going to Tatooine with Anakin instead of demanding he remain on Naboo with her or asking the Jedi Council to send somebody else. They’re in love all right.

The beauty of the scene, the on-beat performances, and the use of visuals to express the characters’ emotions make it a memorable one.

Great Scenes of the Prequel Trilogy: The Duel Begins

June 18, 2015


The whole sequence that makes up the big climactic act of TPM is one amazing piece of cinema. Taking a cue from ROTJ and its three crosscut battles (Endor, the space battle, and the lightsaber duel aboard the Death Star), TPM goes for four with the fight with Darth Maul, the space battle, Queen Amidala retaking her own castle, and Gungans battling the droid army.

But it all starts with perhaps one of the most popular moments in the film, when the queen, her handmaidens, and other crew are in the hangar with Qui-Gon and Obi-Wan, a door opens, and there’s Darth Maul waiting for them to the opening fanfare of “Duel of the Fates.” Darth Maul takes out his lightsaber and for the first time we see both blades ignited. Here’s where it gets real, boys and girls!

“We’ll take care of this,” Qui-Gon says in an understated way.

“We’ll go the other way,” the young queen says, wisely getting out of there with her retinue as quickly as possible. It’s a great little exchange not out of place in any of the Star Wars films.

The cloaks drop—beginning a prequel tradition of dumping off robes at the beginning of lightsaber duels–and the lightsabers ignite. Maul reveals he has two blades, enough to take on two Jedi at once.

This is where editing, Williams’s score, and Ray Park’s performance (which is amazing, especially when you consider he’d never really acted in a movie before) helped make that particular scene stand out. I’d seen TPM at total of 13 times with an audience and every single time, it brings cheers.

Great Scenes of the Prequel Trilogy: Opera House Scene

May 19, 2015

Not only is this one of the great scenes of the prequel trilogy, I think it rivals the “ruminations” scene as the single greatest scene of the saga so far.

There are no space battles, no lightsaber duels, no explosions, or chases happening, just two guys sitting in a theater talking. It’s a scene that could’ve been in “The Godfather” or “The Departed” or some other “adult” movie film critics and trophy committees love and serious students of cinema go back to again and again. But no, it’s in Star Wars, mainstream pop culture “popcorn” fare and it’s perfect. Everything works in this scene: the cinematography, sound, acting, dialogue, you name it.

There’s a strange “ballet” going on at the opera house but the real drama is up in Palpatine’s box. Palpatine has been grooming Anakin little by little for years and now he is going to spring open the trap. He starts talking about the Jedi, power, and equivalence which intrigues Anakin even as he starts out by answering Palpatine’s assertions with memorized Jedi lessons. Then Palpatine goes in for the kill…he brings up Darth Plagueis and the Sith Lord’s quest for eternal life. NOW he’s got Anakin’s attention, because Anakin is desperate for a way to prevent his visions about Padme from coming true. “The dark side is a pathway to many abilities some consider to be unnatural,” Palpatine intones. He goes on about the fate of Plagueis, but all Anakin wants to know is, “Is it possible to learn this power?” “Not from a Jedi,” Palpatine says, leaving it hanging in the air for Anakin to snatch. All Palpatine needs to do next is set events into motion that will compel Anakin to act.

Ian McDiarmid is at his absolute best in this scene. He’s still playing the Chancellor: calm, smooth, and understated. The only thing that gives away “Sidious” in this scene is when he tells his flunkies sitting there with him to scram. Palpatine knows the key to bringing Anakin to the Dark Side isn’t promising of money or fame or anything like that but telling Anakin what he wants to hear and a way to save Padme is what Anakin at this point wants to hear the most. McDiarmid is so engrossing to listen to, Hayden Christensen admitted to occasionally losing where he was because he’d been so captivated by McDiarmid’s performance.

Speaking of which, Hayden does a great job playing off of his co-star. Anakin is at first answering Palpatine with what’s been instilled in him as a Jedi, but I always got the impression that this is just deflection, like the guy who’s about to cheat on his wife but keeps protesting he still loves her to the other woman ready to tear off his clothes. Anakin says it because he knows that’s what he’s supposed to say, though he’s not really sure if he believes it anymore. It’s also clear Anakin is hooked, like a little boy listening to a campfire story. He even says, “What happened to him?” in almost a child-like way.

The whole cadence of both actors’ dialogue is hypnotic, matched with the odd deep sounds coming from the ballet, which remind me of recordings I’ve heard of Tibetan Buddhist chants.

The framing is perfect and the lighting is perfect. It’s appropriate that this secret exchange about the Dark Side occurs in a darkened theater. The visual effects of the performers floating around and through the bubble create the sense of not being in Kansas anymore.

Great Scenes of the Prequel Trilogy: Podrace

January 26, 2015

TPM’s major showpiece was the Boonta Eve pod race. It’s like the big showstopping musical number right before intermission. It’s Lucas at his very whimsical, bizarre, and entertaining best.

We know the stakes are high. The heroes all need Anakin to win to get off-planet. Anakin needs to win not only to help his new friends but also to win his own freedom (though he doesn’t know it yet). If that’s not enough to put on the young boy’s shoulders, the kid has never finished much less win a race before.

It’s not a soapbox derby either. It’s a very dangerous race where extreme speeds, topography, unpredictable vehicles, Tusken Raiders, and cheating competitors guarantee some casualties every time.

But along with all of this tension and drama is a great deal of goofy humor throughout the scene: whimsical and silly-looking aliens, the hard luck of Ben Quadinaros, the even harder luck of Ratts Tyerell, flatulent eopies, a pit droid getting sucked into an engine, Fode and Beed the two-headed commentators, the Jawas yelling “utinni,” etc.. It’s “Ben Hur” meets “Spongebob Squarepants.”

Of course, the scene also allows Lucas to indulge in one of his favorite things ever, racing. Races are in several of his films, going back to his student days. If it involves speed, Lucas is there. He lives for it and it shows throughout the scene.

This scene is largely built on editing and on ILM’s visual effects. The latest in effects for that time, ILM combined model work with new digital effects. John Williams’s music doesn’t kick in until toward the end, just as it’s down to the wire between Anakin and Sebulba. Otherwise the only score is the sound of the racers’ engines.

The drama and comedy culminate in a victory for Anakin and his friends, set to Williams’s soaring score. We know it’s another step down Anakin’s path to his destiny but for that moment, he’s on top of the world.

Great Scenes of the Prequel Trilogy: “You Are So Beautiful”

December 17, 2014


Sure this scene gets some stick from some quarters, but I don’t care! I love this scene not just because I’m an unapologetic Anakin/Padmé fan, but also because I say it’s one of the most poignant scenes in the entire film. Maybe even the saga.

Why? It’s the last happy scene between the two of them. Every following scene with Anakin and Padmé is filled with conflict, angst, or sorrow. This is the last time they will simply enjoy being together and in love after a long separation.

It is also poignant because Padmé speaks about a future for their bab(ies) that we know will never happen. Maybe I’m nuts but the first time I saw the movie I thought, “Aw, Luke and Leia were supposed to grow up on Naboo.” Alas the twins were cheated, especially poor Luke.

Underscoring this poignant moment is John Williams’s string score.

The Coruscant cinematography is gorgeous. Everything is in shades of blue, contrasted against the lights of the Coruscant nightline. It emphasizes the hidden nature of Anakin and Padmé’s relationship yet here they are, not making much of an effort to keep it a secret anymore either. They’re both standing around on a balcony where anyone whizzing by can see them. This is also the first scene of the film where we can see Padme’s baby bump. Good thing the galaxy far, far away doesn’t have Earth’s paparazzi!

I always say that I’d pay Hayden to look at me for 10 seconds the way he looks at Padmé in this scene. It’s kind of adorable how she could still make Anakin awkward and at a loss for words even if he is the hero of the galaxy. I know people have complained about how Natalie wasn’t lit well during this scene but to me it just looks like she doesn’t have makeup on. In any case, Padmé is touched that even though she’s lugging a big tummy and apparently isn’t at her 100% most luminous, Anakin still thinks she’s the most beautiful creature in the universe. Natalie also gets the prophetic line, “So love has blinded you?” In Anakin’s case, it most certainly has, or at least his obsessive need to hold on to those he loves at all costs.

As the kids on Tumblr say, “all the feels!”

Great Scenes Of The Prequel Trilogy: “I Killed Them…”

November 10, 2014


This scene from AOTC is another one of my favorites. After Anakin wipes out the entire Tusken Raider village and brings home his mother’s body, the audience can still see the anger on his face. Padmé goes to him in the Lars garage to bring him some food, blue milk, and comfort. But after Anakin has another meltdown over his mother’s fate, he confesses to something shocking and unthinkable. He admits to killing everyone in the village, even women and children, out of pure hatred. Then he collapses and (in the DVD/Blu-Ray cut) as Padmé comfortingly tells him being angry is being human, Anakin says he knows he’s supposed to be “better than this.”

What impresses me the most about this scene is Hayden Christensen’s display of Anakin’s dark side. He’s full of fury, sorrow, and guilt. All Padmé could do at first is stand there in silent shock just as the audience is sitting there in silent shock. We knew Anakin killed a few of the villagers at first, but they were males. But women and children too? It sets up what Anakin does later on in ROTS but that time to his fellow Jedi.

This scene is controversial as well because of Padmé’s reaction. But at this point Padmé is already in love with Anakin and she loves him unconditionally, red flags or not. As the symbolism of the wedding scene at the end of the film shows, Padmé accepts all of Anakin, even that monstrous side of him.