This one was actually posted a month ago, before the TPM one and I don’t see an AOTC one yet. But here’s the Box Office Artist’s tribute to ROTS.
Posts Tagged ‘ROTS’
Prequels stunt coordinator Nick Gillard tells Australia’s Sci Fi Central on an alternate way he was going to have Anakin sliced and diced in ROTS:
Granted, “dark” is a descriptor and not unto itself an indicator of quality, but @prequelpositive says yes.
Order 66 is arguably the most devastating scene in this film, the music sets the tone as clips of the Clone Troopers turn against the Jedi and characters that we have gotten to know throughout the film are shot down by those they considered comrades and friends. This is made even more painful if you have watched The Clone Wars, in which many of these Jedi have side stories of their own.
Adam Adelsberger pointed out this video of a German orchestra performing “Battle of the Heroes” from ROTS.
For the generation on the go and with no time to watch a two-hour movie ;):
— Star Wars Prequels (@StarWarsPrequel) November 11, 2016
Update: Here are the gifs for AOTC and ROTS…
— Star Wars Prequels (@StarWarsPrequel) November 12, 2016
— Star Wars Prequels (@StarWarsPrequel) November 12, 2016
Cantina Cast’s Paul Depaola posted “Looking Back At ROTS”, a piece on the 2005 film and on Clone Wars:
Star Wars: Episode III Revenge of the Sith, was released in May of 2005. For me, this was the most anticipated film of the prequel trilogy. From the first moment that I heard that the prequel films were going to happen back in 1994, I wanted to see the fight between Obi-wan Kenobi and Anakin Skywalker. The “be all and end all” battle, where Anakin is forced into the Darth Vader suit, becoming more machine than man. So, by the time of the film’s release in 2005 I had been waiting nearly 11 years to see that climatic duel. Needless to say my anticipation of this film’s release was high.
Linda sent along a link to this article from Bright Lights Film Journal, which asserts that ROTS is George Lucas’s greatest artistic achievement:
Given the newly expansive potential afforded by digital technology, Lucas is no longer limited to simple filmic references. In Revenge of the Sith, he boldly visualizes his interests in classical mythology and literature; to be sure, the prequels recall the tragedies of Shakespeare, perhaps most evidently in Palpatine’s similarities to Othello’s Iago. However, Lucas digs deeper and further into the past when he depicts Anakin and Obi-Wan Kenobi duelling across the volcanic vistas of Mustafar. When discussing this scene, it is crucial to acknowledge Camille Paglia’s wonderful and laudatory piece in Glittering Images. Indeed, it is in this scene that the film’s awe-striking and unprecedented anachronism totally takes over: painting his images digitally, Lucas taps into our knowledge of Dante, of the legend of Faust, the Christian Hell and the Greek Hades, of the metaphoric burning of Icarus’s wings in the form of Anakin’s smoldering body. Appropriately, John Williams’s score moves further from Korngold-echoing whimsy with each successive prequel, and in Sith it acquires operatic overtones. Never one to divide “high” art from “low,” Lucas draws from every available well of visual representation to craft this uniquely digital genre entertainment, a film that is broadly drawn in its emotional strokes but rigorous in its cinematic grammar.
Go read this from someone who apparently really knows cinema and appreciates it.
Inverse posted an interview with the director of “The Prequels Strike Back” and it occurred to me a kind of new narrative is taking shape concerning the films. It’s not the dominant geek/media industrial complex’s narrative yet but I’ve noticed it becoming more common. That narrative is the prequels were ambitious, had good or at least interesting ideas, and creative but (and there’s always a “but”) they weren’t executed all of that well.
I think this narrative is arising due primarily to two factors:
1. The effect of Mike Klimo’s Ring Theory. Since it was posted in late 2014, numerous people have come to recognize the many cogs and wheels that make the saga work together.
2. TFA’s effect on perceptions of the prequels. Those who spent years disliking the prequels but still found fault with TFA needed a new take on their arguments. The old arguments that the prequels were entirely created on computer have been debunked to all but the willfully ignorant; in fact Slashfilm revealed in an interview the other day that there was no model work at all in TFA and it had far more CG shots than TPM.
Now after all of this time I suppose you might find it encouraging there is starting to be concession that the prequels have some value. However I don’t think it’s good enough. They are still holding on to the idea that the movies are “bad” or at least greatly inferior to the OT. It’s still repeated over and over in the media that the prequels are terrible and universally-hated. We still have a long way to go to reach the point where the prequels and we as fans get the respect long due.
It is certainly a positive development to see stuff like the Ring Theory out there and others delving into the meaning of the prequels, what they did to deepen the mythology, and what they can teach us. They’ve been helpful to those open enough to read or listen to those analyses. The problem is that analysis of the story is one thing, but the quality of how that story is expressed is another and it’s that aspect of the prequels that gets attacked the most. What’s really needed to help the prequels is to put forth the idea that they are exceptionally well-crafted, well-executed films.
One person who has done this is Camille Paglia in her book “Glittering Images.” But there needs to be more people out there with the courage to say these are deserving works of art and can express why. I have been doing that series “Great Scenes of the Prequel Trilogy” for this very reason: I write about why I think the acting, the score, the cinematography, etc. work in a particular scene. There’s also the prequel frames Tumblr. Such takes on the films need to be full-throated and without apology but also without a defensive tone.
Of course not everyone is going to be convinced but we can start to turn the bandwagon around.