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Much has been said about the balletic sword fight, but all strands of the third act form a breathtakingly precise and dynamic denouement; meticulous cuts and camera placements are composed alongside the musical cues with an arresting rigor. Not unlike the Pod Race, the 4 pronged conclusive sequence is practically a film within a film. Lucas ties these rousing and operatic segments around the bittersweetness of leaving home, the obfuscations of political decay and subversion, and a rapprochement of alien…
Liberal Democracy (Padme) is courted by Fascism (Anakin) for the first 2 acts, only to culminate in liberal democracy letting its guard down and fully embracing opposing ideals with a willful blindness in the third act. ("I'm not afraid to die, I've been dying a bit each day since you came back into my life")
The film ends with a brilliant intellectual montage; Lucas juxtaposes a bucolic wedding of the aforementioned opposing ideologies with Riefenstahlian images of the serpentine faux-chancellor…
It might seem like a weird connection to make, but this reminded me of a few bits from Gallo's The Brown Bunny. The beginning where the vehicle is being prepared and tested, the dissonant, cascading waves of high decibel engine sounds, the distant tracking shots, the mirage effect under the (yellow) vehicle etc.
I love cinema.
This review is going to be a sizeable meditation on not just this film, but the aftermath of the prequel trilogy in general. If it seems too daunting, please scroll to the link at the bottom, it is seminal to understanding Star Wars, and discovering its position in cinematic history.
TL;DR: this movie rules and history will absolve how much of a masterwork it truly is. Also, Jar Jar is an incredible character, so shut up.
George Lucas vs…