When you consider its predecessors, it looks even worse. This is possibly the stupidest, most contrived moment in recent movie history. But fear not! A nine-year old boy (Anakin) will take control of a starfighter, with no previous experience or training, join the battle against the Federation droid control ship and blow it up. Amidala then persuades the Gungans, natives of Naboo and a supposedly peaceful people (who have an entire war machine ready to use) to rally against The Federation. Qui Gon goes ahead anyway, and thus he is responsible for the defeat of the Galactic Republic and the rise of Darth Vader and the Empire. Qui-Gon Jin (Neeson) wants Anakin to be trained as a Jedi. After a long chain of events which involves the Queen of Naboo, Amidala, the ship the Jedi are on lands for repairs on a desert planet named Tatooine, where they meet Anakin Skywalker. Rather than use any other method, the federation try to gas them and the Jedi escape to Naboo. Our two Jedi are sent as negotiators, but The Trade Federation attempts to murder them. Why? I don’t know! That’s one of the main problems with the movie, the main motivation for this whole plot is hardly explained. The plot goes as follows: The Trade Federation want to invade and take over the planet Naboo. Most of the characters are just plain annoying, especially Jar Jar and Anakin Skywalker (played by Jake Lloyd ) In fact, the only characters that actually seems to move the story along are the villains: The Trade Federation and Darth Sidious. They’re not funny, and they don’t really move the story along either. The Jedi (played by Liam Neeson and Ewan McGregor) can’t connect with the audience because we can’t relate to them. Unfortunately, very few characters accomplish any of the above elements. They progress the story, they can provide humour and they can connect with the audience. The Episode I score bears more consideration than the trio of earlier scores, and it is a small regret that more material was not included (thus making this a two-CD set that would fit nicely with the special edition releases of the originally trilogy scores.) The overall development of Williams' musical palette bodes well for the greater emotional requirements of Episode II.Characters are the most important part of any movie. Just as George Lucas intended his movie to reflect an earlier time in the life of his universe, Williams' music follows suit, with choral passages that bring to mind both Prokofiev and Carl Orff (insofar as the choral material brings to mind Orff's interpretation of the Carmina Burana). Of course, "new" is a relative term when it comes to film music Williams' use of dramatic dissonance and discordance is somewhat innovative for the Star Wars series, as are the bravura choral passages, the score deliberately references the great film composers of the '30s and '40s. The multi-themed "Duel of the Fates", in particular, uses the complete dynamic range of the digital studio for an effective punch. Composer John Williams continues to use his Boston Pops experience to good advantage, turning in a score that echoes the music and themes for the original trilogy of films (particularly the brooding theme for Darth Vader) while charting a direction for the new film. What's open to question is whether or not long-term fans will be as overjoyed with the remainder of the score. This may be an artifact of the digital age, however - that fabled, oft-mentioned "transparency." Regardless, Star Wars fans will thrill at the sound of it. The familiar fanfare is there, in all of its swaggering-brass glory, though it seems a little less expansive in the actual depth of its instrumentation.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |