Star Wars: Revenge of the Sith has proved a force to be reckoned with as its return to cinemas, two decades after it was first released, collected an estimated $42.2 million at the worldwide box office.
This is one of the top-grossing re-release weekends in domestic industry history, playing behind Star Wars: Episode IV – A New Hope ($36 million from the January 1997 Special Edition release) and The Lion King ($30 million from the September 2011 3D release). Moreover, it is a huge win for the once-loathed Prequel Trilogy of the Star Wars Saga.
The Star Wars prequel trilogy really played the long game and now fans look back on it with appreciation and gratitude. Mainly, after the unfortunate turn of the sequel trilogy, they are perhaps grateful to this once-reviled set of films for being the vision of a man who loved his craft and his audience.
Revenge of the Sith always stood as the best of the bunch. For Phantom’s sluggish pace and Clones’ hilarious ineptitude, Sith was the favourite even to those who loathes the trilogy. For sure, there are the common complaints: the overuse of cgi, the bad dialogue which leads to generally robotic acting, rushing through Anakin’s official turn etc etc. Not to say this isn’t valid criticism, but I think it is time to move past that and appreciate what George Lucas was onto.
Simply put, the movie holds up well with how it couples with the OG trilogy but also contrasts it: whereas that trilogy was hopeful and colourful, Sith, is drab, shadowy and a Shakespearean tragedy. It’s certainly nice to see substance to a script that references preceding films beyond nostalgia bait or mimicking storylines for the sake of it. Because Anakin’s story is of failure and Luke’s is of growth, this contrast works perfectly.
The movie is PURE sci-fi from scope, spectacle and world building. Every world feels alive and you notice the detail in every framework. Simply from the way it is far more action packed than Phantom or Clones right from the get go, you can tell George Lucas has saved his energy for this as it opens a thrilling, awe consuming battle.
It also has a pretty good blend of humour that works to establish a sturdy relationship between the characters. After two movies of underdevelopment between Anakin, Obi Wan and Padme (this trilogy’s Han, Luke and Leia), this final entry gets it right… for the most part that is. It’s at least the first time you see and feel Anakin and Obi Wan as friends through unexpectedly endearing chemistry from actors, Hayden Christensen and Ewan McGregor.
McGregor is iconic as Obi Wan, what else is there to say? However, he’s letdown by the script which has his character doing questionable things. I always hated the fact that Obi Wan opted for killing Anakin upon the latter’s turn. I also think the reaction he has to his supposed friend turning is very weak; not at the fault of McGregor, but of Lucas. Natalie Portman is very inconsistent and has little to do; although she does get one of the saga’s best lines.
Ian McDirmond steals the show, although thats the case in all of these films. Palpatine is arguably my favourite character: a major presence who is always felt, whether he be a sleazy politician or the dark lord himself. And McDirmond’s never-failing enjoyment in relishing the villainy of his character, regardless of how each film varies in quality, makes me smile.
Now for Hayden Christensen, the Anakin Skywalker of real life – at first vilified for his performance only to achieve a dramatic redemption in the fandom’s eyes, again after the downfall of the Sequel Trilogy. The people who heckled him now love him and gladly associate him with the franchise. And I’m happy for him. The guy, despite having to say some of the worst dialogue any actor is unfortunate to speak, is perfect casting! He looks the part and is particularly strong when conveying emotion through his expressions.
Iconic scenes are too many to count! The climatic face off between Obi Wan and Anakin, the Opera house scene, Order 66, the birth of Vader and the final montage that leads into the OG trilogy. All accompanied by the prowess of John Williams’ score that sets the pulse raising or halts one’s breathing. Revenge of the Sith has aged like fine wine. Its merits hold up because of the tight spot Disney Star Wars has put itself in; it’s the vision of a man who loved his craft. Although at times out of his comfort zone as a director and writer, Lucas clearly wanted to produce a poetic night-and-day to his tale of six films.
