Posted: 04/13/2000

Star Wars: Episode I – The Phantom Menace

(1999)

by Tom Morgan

My, the Force sure has changed!

If you’re among that one-percentile who didn’t see Star Wars: Episode 1—The Phantom Menace in its theatrical run, here’s what happens: two seemingly stoic men appear to negotiate trade talks a long time ago in a galaxy far, far away. The deal sours, thus an intergalactic struggle ensues. Meanwhile on a nearby planet, a young boy with the gift of the Force (which, thankfully, is defined after 22 years of guessing) is taken into training as a Jedi Knight. It’s all explosions and swordplay from here on in, a glimpse of what what we hope is to come?

My first thought was, “There was too much to see: the picture was too clear, there were too many things going on, too much sound, etc.” My second thought is, “How will writer-director George Lucas keep a younger generation interested in a story that their parents may have grown up on?” So, the world waited, and waited, and then there was Star Wars: Episode 1—The Phantom Menace, Lucas’ epic vision.

Our two negotiators are Jedi Knights and are none other than a young dashing Obi-Wan Kenobi, played by Ewan McGregor (a la the original, Sir Alec Guiness), and Qui-Gon Jinn, played by the thundering Irishman, Liam Neeson. They have robes, they have hairdos, they have light sabers, they kick butt. They are negotiating on behalf of Queen Amidala (Natalie Portman), whose planet is subsequently invaded and plundered.

Phantom Menace’s oft-cited comic relief, an amphibious groovster known as Jar-Jar Binks, is a poor replacement for the nobler Chewbacca of the original Star Wars. The comedic element works even if it bellows “CGI!!” But be that as it may, the disgruntled amphibian in dreads shucks and jives his way through Phantom and does provide the necessary breather to the ‘drama.’ And though it’s very hard to hear just what Jar-Jar?s saying, you get the point: he means well, even if he was banished from his underwater world.

As promised, Lucas “introduces” the original series’ favorites (and the galaxy’s most famous androids) R2D2 (Kenny Baker) and C-3PO (Anthony Daniels), and everyone’s favorite Jedi Knight, Yoda, who still looks good at 800 years old!

Let’s talk diversion for a moment. The mind-blowing race sequence, whose participants include the child Anakin and this dastardly thing called Sebulba, is probably the most amazing, digitally rendered racing sequence the world has ever known. You are literally breathless throughout the trippy rocket ride as “you” careen (via young Anakin’s POV) through canyons and over vast plains. The winner is, of course—well, you’ll just have to see it and find out for yourself. But this sequence sets up-

The Showdown.

The fight between Good and Evil, Dark and Light! You paid good money to see it, and Man!—was it worth it!

Enter the most badass element of the movie, the character who should have appeared on more school lunch boxes: Darth Maul (key word: maul), a Sith who is played by world-class martial artist Ray Park. I mean, you cheer when he whips out that double light saber and starts to take on the Jedis. It’s a battle for the ages!

But perhaps the most powerful element of Phantom Menace, and what certainly shows veteran George Lucas’ talent as a filmmaker (even if he hasn’t been behind the camera in 20 years), is his incredibly delicate treatment of the ending, of which he sets up the next installment. The subtleties of the camera work and rack focus are right on the money and it’s at that moment I realized just who the chancellor is. He -

I promised myself I wouldn’t give it away for the one-percentile.

Technically, the transfer from big screen to small works, the sound is beautiful, though you may notice just how quiet the world is when the films slows. Otherwise, it’s Star Wars, it’s fun, it’s a total escape. Do I recommend Star Wars: Episode 1—The Phantom Menace?

Absolutely. It’s popular culture at its best and though the actors appear, at times, to be merely reading their lines, the film is a fabulous example of the seemingly limitless computer-film possibilities.

Tom Morgan is a writer and editor living and working in the industry in Los Angeles.

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