Star Wars: Episode 3 - Revenge Of The Sith

Star Wars: Episode Three-Revenge of the Sith packs in more action than The Phantom Menace and

Review by Jeffrey Overstreet, Courtesy of Christianity Today Movies.

To steal a line from Darth Vader, "This will be a day long remembered." Star Wars: Episode Three-Revenge of the Sith packs in more action than The Phantom Menace and Attack of the Clones combined. The opening crawl begins with the word "War!" and quicker than you can say "Into the garbage chute, flyboy!", Sith jumps into light-speed storytelling.

ACTION!
The opening shot (an obvious nod to the first Star Wars film, 1977's A New Hope) plunges us headlong into a chaotic combat zone. The Separatist Alliance wickedly assaults Republic ships in the skies over Coruscant, the Republic's capital city. Early manifestations of X-Wings, TIE fighters, and Star Destroyers pyromaniacally careen and collide in the biggest "star war" adrenalin-rush since the dogfights of '77. (It's a thrill, but the pilots steal so much cockpit banter from previous films, Han Solo should sue.)

In the thick of things, young Anakin Skywalker (Hayden Christensen) and his bearded mentor Obi-Wan Kenobi (Ewan McGregor) strive to rescue Chancellor Palpatine (Ian McDiarmid), who has been kidnapped by the snarling General Grievous. Part monster, part machine, Grievous looks like a junkyard Transformer and sounds like a Russian war veteran with smoker's lung. He also tends to turn tail and run when facing a real threat ... like Skywalker.

Two things quickly become clear:

First, Sith is not another patience-trying episode in which heroes stand around and bicker ad nauseum about politics. Critics have rightfully opened fire on the prequels for lacking the snappy dialogue and the high-stakes action of Episodes 4-6. While Sith is still lacking in the dialogue department, it's a significant improvement on its predecessors.

And second, Lucas warned us that Sith wouldn't be kid-friendly-and he's right. Beheadings, severed limbs, third-degree burns ... if there's a bright center to the universe, you're in the film that it's farthest from. But is it gratuitous violence? No. These sometimes-gruesome scenes are essential in portraying the wages of certain characters' sins.

Anakin, despite his new unruly hairdo, has become more mature and responsible since Attack of the Clones. Obi-Wan, who's "not brave enough for politics," grins like a proud uncle and lets Anakin go his own way to become a Jedi "poster boy" amongst Republic Senators. But away from the spotlight, Anakin seeks covert liaisons with his secret, and pregnant, wife Padm (Natalie Portman). "Our baby is a blessing," says Anakin (begging the questionÑa blessing from Whom?), and he calls the revelation "the happiest moment of my life."

Dark dreams disrupt Anakin's bliss, convincing him that Padme is in danger. Yoda, who does double duty here as a Jedi therapist and a sweatsuit-wearing action hero, warns Anakin: "The fear of loss is a path to the Dark Side. Attachment leads to jealousy-the shadow of greed this is." He exhorts Anakin to surrender anything he fears to lose, declaring, "Death is a natural part of life."

But Anakin's battle against fear, jealousy, and greed isÑas we all know-a losing one. His loyalties are divided. The Jedi rightfully distrust him and lecture him but show little concern for his dark premonitions regarding Padme while Palpatine showers Anakin with flattery. The stage is set for the last temptation of Skywalker. Determined to protect Padme he makes a Faustian bargain.

Meanwhile, Darth Sidious is baiting the democratic Republic to vote for its own destruction. Jedi Master Mace Windu (Samuel L. Jackson) smells trouble brewing, but he's never heard of "Order 66," the satanic-sounding trap that will spring upon the Jedi. All that remains is for the nefarious Count Dooku (Christopher Lee) to enable Anakin's ascent to power at the right hand of a Sith lord.

EMOTION!
You can feel the Republic's infrastructure crumbling. Lucas takes a note from The Godfather in a montage of dismaying assassinations. While enemies collapse when blasted by Yoda's "Forcibility," there will be no one to stop them this time. As in The Return of the King, the drama descends into a volcanic abyss for the culminating struggle of Mentor vs. Student. It's the saga's "Darth nadir."

Lucas's greatest success in Revenge of the Sith is this: We can't help but sympathize with Anakin as he surrenders to the Dark Side. Lo and behold, Darth Vader did not strive to be a heartless villain. He became one by trying to protect the one he loved, going blind to the greater good in the process. The stakes are finally high enough to earn gasps, and the ensuing tragedy is almost Shakespearean. Three intensely emotional lightsaber showdowns-two of which invert the famous Luke/Vader/Emperor face-off of Return of the Jedi, and another that severs bonds of friendship-stir up some of the operatic drama we remember from duels in Empire and Jedi. We're drawn, at last, to the edges of our seats.

Simultaneously, Lucas discovers what actors are forÑacting! He throws a switch, and suddenly Christensen, Portman, and McGregor come alive, emoting as if things really matter. Lucas choreographs them through a virtuosic sequence culminating in the descent of a devil who resembles specters that lurked in The Seventh Seal, The Fellowship of the Ring, and The Passion of The Christ. We're suddenly in Frankenstein territory, as Sidious builds a better monster. This scene of darkness and deformity is effectively intercut with images of grief, despair, and finally, a glimmer of hope. With all of the dark drama of Titanic sinking, Darth Vader rises.

In a rush of surprisingly familiar faces and locations, the circle is made complete, and our questions-most of them, anyway-are finally answered. But new questions are sure to linger in moviegoers' minds ...

QUESTIONS!
Did Lucas intend Sith to be a commentary on contemporary politics? He denies it, but you'll wonder. Padme watches the Republic crumble, and remarks, "So this is how liberty ends-to thunderous applause." Dooku and Grievous resemble a recently overthrown warlord and a smash-and-run terrorist, both hunted by an elected leader armed with emergency executive powers. Something's familiar when Anakin shouts, "If you're not for me, then you're my enemy!"

Sith's spiritual subtext is provocative as well. Few tales of pride have led to harder falls. But Anakin isn't just arrogant; he's reacting to a seeming lack of trust, care, and compassion from the Jedi Council. Like Gladiator's villain, Anakin strikes because he's been denied the love he desires. And like The Godfather's Michael Corleone, he's sold his soul to gain power and ensure his family's safety. Lucas vividly illustrates that a violent man convinced of his own righteousness is dangerous indeed. But does our storyteller recognize that his celebrated Jedi Council characters seem better at cold detachment than they do at "tough love"? Obi-Wan was wise to teach Luke Skywalker not to give in to anger, but isn't some level of concern for our loved ones a good thing? Isn't it asking an awful lot of Anakin to expect him to just "detach" from Padme?

Deciding that desirable ends justify sinister means, Anakin writes off the Jedi as "evil." Obi-Wan answers, "Only a Sith deals in absolutes!" Does Obi-Wan mean that there are no absolutes? If so, then why does he absolutely disagree with Anakin's perspective? Or perhaps he means that it's dangerous to make oversimplifications about good and evil. If so, that's a lesson Kenobi forgets in later episodes. Luke must defy Obi-Wan and Yoda in Empire and Jedi to make the journey where he will find that Vader is not "absolutely" evil.

It's increasingly hard to believe that the Force "binds the galaxy together" in the end. It remains merely a commodity, something that Jedi and Sith can get and learn to manipulate for their own purposes, good or evil. In The Lord of the Rings and Raiders of the Lost Ark, there was "another will at work," an Authority worth serving, a Higher Being that could redeem a mess made by well-intentioned but insufficient heroes. Phanton Menace told us that the Force has "a will." Why, then, do the Jedi not appeal to it? Sith and Jedi-both of them corrupt-seek merely to control it. There's apparently no Higher Power they believe can save them-not even in the afterlife. They're on their own.

Moreover, it's bewildering to hear Yoda nonchalantly claim that a Jedi should reject "attachments," and that "death is natural." Why, then, is he distraught over the corpses of murdered colleagues? Doesn't Luke save the galaxy in Episodes Five and Six by rejecting that philosophy and serving his "attachment" to Han, Leia, and ultimately his father? Death is unnatural ... it was not a part of God's plan for creation. It's a natural part of a fallen world, yes, but we recoil from it and grieve over it because it is a flaw, not an ideal. It's evidence that the world needs of a bold, benevolent redeemer, not an insensitive, dispassionate savior.

CONCLUSION
You're unlikely to hear much discussion of these dilemmas. Star Wars fans are sticklers for details, and it's not wise to upset a fanboy. Sith gives them plenty to complain about. As in Menace and Clones, Lucas gives his characters lines that are often preposterously bad. Continuity problems left unsolved will drive perfectionists to distraction. (These are detailed in an extended review at Looking Closer.) Annoying problems, to be sure, and those obsessed with such things seem to have been made to suffer.

But we shouldn't condemn the whole enterprise for a few loose screws. While it falls short of Four and Five, Episode Three is easily as compelling as the climactic Return of the Jedi, and it's definitely the most visually enthralling installment.

Some gratitude is in order. Through Star Wars, Lucas revolutionized many aspects of filmmaking. He wove mythologies, religions, cliffhangers, and Akira Kurosawa films together into a fascinating hybrid. He emphasized that spiritual realities are as important as material realities. A parade of popular directors-James Cameron, Michael Bay, the Wachowskis, Peter Jackson-have built careers out of resources he invented. And Star Wars lingo has influenced language from the playground to the White House. For fans and everyone else, these movies have altered the world, usually for the better.

So, is this truly the end of Star Wars? "Difficult to see. Always in motion the future is." Until we know, let's be thankful for an unforgettable journey and a story that, like any great myth, gives us glimpses "through a glass darkly" of things essential and true. Virtue, courage, patience, peace, self-control, love ... the Good Side are they. To borrow a line from Obi-Wan, "Thanks to George, we've taken our first steps into a larger world."