SPACE,
SOMEWHAT SUBLIME by Bennett Campbell Ferguson
Above:
Natalie Portman as Senator Padme Amidala. Photo ©Lucasfilm Ltd., 20TH
Century Fox, and Walt Disney Pictures
“Send in the clones…there’s
got to be clones…don’t bother…they’re….”
Wait a minute—wrong tune. There’s
no such song in “Attack of the Clones,” though the film could have done with a
dash of Judy Collins’ luminescence. But
alas, it is yet another dim entry in George Lucas’ “Star Wars” prequel trilogy,
albeit one with a rising, tender love theme by John Williams. It’s a gorgeous musical track. It’s better than the movie deserves.
“Attack of the Clones” commences on a foggy morning
ruptured by an explosion. Senator Padme Amidala
(Natalie Portman), it seems, has become a target of mysterious and bloodthirsty
conspirators, and it falls Obi-Wan Kenobi (Ewan McGregor) and his apprentice
Anakin Skywalker to defend her. In “The Phantom
Menace” (the nullified predecessor to “Clones”) Anakin was portrayed by Jake
Lloyd; here, he’s replaced by a scowling Hayden Christensen, who awkwardly kicks
the character into the nasty throes of adolescence. “You are in my soul, tormenting me!” he
bellows at Padme, sounding more like a slimy stalker than a gallant warrior enraptured
by love’s clasp.
Luckily, Mr. McGregor, swashbuckling and stuffy (“This is
why I hate flying!” he exclaims while steering a spaceship through an asteroid
belt), strides through Mr. Lucas’ universe with enviable ease. As Obi-Wan, he spends the film investigating the
mystery of Padme’s attackers—a quest that culminates in a gladiatorial slugfest
with magnificent digital beasts (while raucous, bug-like aliens squeal, Mr.
McGregor scampers through a dusty arena, pursued by a crab-like creature
goofily screeching with hunger).
It’s
frustrating that the splendor of that battle is squandered by a surfeit of
video-game-style explosions and the clumsy trajectory of Anakin and Padme’s
ill-advised romance (if whining was all that it took to woo Natalie Portman,
every fanboy would have given it a shot). Yet there is poetry in Mr. Lucas’ mess of a
movie. Just watch the scene where Anakin
and Obi-Wan talk of nightmares while standing before a skyscraper window so
smooth that it looks like gauze. “Dreams
pass in time,” Obi-Wan reassures Anakin, though Mr. Lucas’ dreams, however
muddled, never seem to quite pass for us.
Yes, there definitely is poetry to be found here: one of my personal favorite moments is immediately following Anakin's nightmare, where we then see him meditating before a beautiful shot of the sunrise amidst the clouds. That is one of the moments where I really feel the Force, as you transition from the terrifying darkness straight into the calming power of the light.
ReplyDeleteAnyway, good review once again Ben. I'm sure by now you know my personal take on the prequels (meaning I really like this one too), but your points are again well taken. I simply see this story as more of a forbidden love representative of the fall from grace, rather than a love we are actually supposed to root for.
Your bit about the gladiatorial sequence and Obi-Wan in general reminds me that I also see this as the Star Wars movie with the biggest attempt at swashbuckling sensibilities as possibly its most prevalent stylistic homage (think of the romance, the mystery, Count Dooku's graceful fighting style, the moment where Obi-Wan and Anakin leap off of the Clone Ship, lightsabers in hand as they race towards their fight as the ship is immediately shot down). Again, I understand that it is not always the most well-executed in the eyes of many, but I see a true vision in this story.
I agree with you, Cody; true vision is something that George Lucas has always had. I think it's what makes his movies interesting (and I think the lack of vision, at least in my opinion, is what makes "The Force Awakens" disappointing). You're right, too; the moment after Anakin's nightmare is beautiful. Thanks again for your thoughtful comments; I'd love to hear your thoughts on "Revenge of the Sith" as well!
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