|
|
Star Wars: Episode II--Attack of the Clones
By Dave DePino
Writer/director George Lucas, with this fifth installment, "Episode II - Attack of the Clones," seems to have retrieved most of the original enchantment that gave rise to the 25-year-old work-in-progress known as Star Wars. A work which, by the way, is being called more and more a "franchise," which sounds rather too much like business than art and entertainment. The actual magic of the originals can never be totally matched, as most of their dazzle came from their human touch and grand special effects that can be readily seen in TV commercials today. Now, computers have been able to give the maestro new tools in which to carry on his Wars. Perhaps it was the use, or abuse, of this very technical device that might have been the cause of his unstimmulating "Episode I--The Phantom Menace." Its failure can't all be blamed on poor Jar Jar Binks, who, thankfully, has little more than a fleeting cameo in this outing. What Lucas did right this time around was to go back to humans, not computer-drawn humanoids, androids, machineoids and fluffy, stuffed animaloids, to drive his story. The "oids" are there, but it is the humans that give the entire piece heart - no offense to R2-D2 or C-3PO, who, we know, have lots of heart.
Anyway, in the continuing saga (somewhat backward, prequel you know), ten years have passed since "Episode I." Here we are brought closer to the events we were treated to decades ago with "IV," "V" and "VI," which, at that time we thought were 1, 2 and 3 -- who knew? Now, Anakin Skywalker (a cocksure Hayden Christensen) is nineteen years old and under the tutelage and caring wing of Obi-Wan Kenobe (a wonderful Ewan McGregor beginning to take on a comforting, venerable Alec Guinness look and feel). Anakin is a likable, but strong headed, independent, and, at times, impudent lad. Lucas takes several places, one in particular, to help set up Anakin's slow walk to the dark side, to deepen his newly budding malevolence - and his voice - and transition into Darth Vader a.k.a. James Earl Jones.
Returning to this episode is the lovely Queen Padme Amidala (a less restrained Natalie Portman). Padme turned in her crown for a seat in the Senate of the Supreme Council of the Republic. As an outspoken senator, with the deciding vote, she is under threat of assassination. She is put in the protective care of Anakin and Obi-Wan. The big political to-do at this time in history is that there are many thousands of member planets and universes that are thinking of separating from the Republic. This is not a good thing, as the separatists, and the movement itself, are being guided by an old, Jedi-gone-wrong, the Count Dooku (vintage Christopher Lee).
In the meantime, Obi-Wan goes to another, far-off universe to gather info. A forbidden love begins to bloom between the young Jedi-in training and the senator. Obi-Wan gets captured, and Anakin and Padme, now an accomplished Jedi-like fighter herself, go to his rescue.
To prepare for the on-coming, inter-universal and planetary, civil war to defend the Republic, plans had been put into place for a massive army of cloned soldiers. Here, the film gets a bit confusing. The clones are made from a guy that is a bad-guy, but the clones are destined to do good. They do come to the aid of the Republic. By films end - and each episode seems to have an ending of its own, but leads in to the next - all is well, for the moment. Anakin and Padme marry and prepare to parent twins, Luke and Princess Leia.
There is so much to this plot and the interconnecting subplots going back to 1977-1983 that you really need family trees and a guidebook if you want to be a stickler. However, as long as you remember the basics, you'll surely enjoy this movie. It is exciting, romantic, and fun. This time, you have characters to root for. A few of the battle scenes will leave you at the edge of your seat. The obligatory "car chase" takes on new meaning. There is one show-stopping scene where Yoda (Frank Oz) goes into high gear and will, no doubt, bring down the theatre with cheers. This film's design (Gavin Bocquet) seems to have more variety with some of the love scenes looking almost like a Maxfield Parrish painting. Ben Burtt's editing and sound designs are destined to keep you at full attention. Trisha Biggar's costumes are traditionally galactic military and civilian apparel with flair. John Williams's score swells, surges, and ebbs to the dramatic rhythms of the piece. David Tattersall garners kudos as Director of Photography. And, Director Lucas and Writer Jonathan Hales are responsible for the appropriately Star War-esque script. May the force be with you.
|
|
|
|
