Star Wars: Attack of the Clones
My dear reader, I’m sorry. Against all attempts, this is one moviegoing experience during which it is impossible for me to be objective. “Star Wars”- like the re-released “E.T.”- is too personal an experience to try to be objective about. It’s in my blood, and I carry the fond memories of growing up with the films with me into each screening of the new prequel trilogy. Like I will be this coming August, George Lucas’s “Star Wars” saga turns 25 this year (what better way to celebrate that silver anniversary than with the release of a new “Star Wars” film?). Growing up, I played with the toys, watched the movies, and when word got out several years ago that Lucas was completing his epic saga with the prequel trilogy, I couldn’t wait. The movies are my main stake in the franchise, though. I’ve never bought the books, seriously played the role-playing games or video games, or donned Jedi garments for a screening of the films. I’m not that obsessive about the “Star Wars” universe. For me, the movies are my first, last, and only interest- save for the soundtracks and occasional toys- in the world George Lucas has created.
(Oh, and my first real moviegoing memories? Watching “Return of the Jedi” on opening day, though that might be more due to the fact that the projectionist couldn’t get it right than any fonder memories.)
Against my better judgment, both in 1999 and now, I have teased and terrified myself with early reviews of the last two films, “Episode I- The Phantom Menace” and “Episode II- Attack of the Clones” (which debuted Wednesday night at midnight, with regular showings starting Thursday). In 1999, I was thrilled in reading the positive review by Roger Ebert only to cringe reading write-ups by Time, Newsweek, and Rolling Stone. Did it effect my opinion of “Episode I?” Not really; though much dialogue is cringe-worthy (and the vocal characterization of the Trade Federation aliens are blatant Chinese stereotypes), I enjoyed the film as much the 17th time in theatres as I did the first time- a tired, ill-advised midnight showing on Tuesday night, capping a day that included the original trilogy, the first part of the “Buffy” season finale, the “Futurama” season finale, and “Thumb Wars.” This time around, I’ve tried to hide myself from all the major spoilers- not possible- and have read fewer pre-screening reviews, including positive reviews from Rolling Stone, Time, and Ain’t It Cool News honcho Harry Knowles, and a horrifying negative review from Roger Ebert, who gave it two stars, well below the 3 1/2 stars of “Phantom Menace” and 4-stars of the original trilogy. Ebert made me nervous, even though a thumbs-up, however mild, from Rolling Stone’s Peter Travers was promising; when someone that in love with visionary filmmaking (Ebert also praised “Dark City” and “Metropolis,” in addition to the original trilogy) slams a “Star Wars” film, you can’t help but worry.
Reading over what I have so far, I’m finding it difficult to find a direction to take this review. It’s not like my “E.T.” review several weeks ago, which just seemed to flow. There’s so much about “Star Wars”- and “Episode II”- to talk about, it’s tricky to know where to start, and how to go from there.
Let me just say plainly- Lucas has not “raped my childhood,” as so many more immature film geeks have so melodramatically declared with the arrival of both “Clones” and “The Phantom Menace.” Though “Phantom” is- for me- the least likely-to-be-watched “Star Wars” film, it’s still thoroughly enjoyable. Save for the awful dialogue (Least Valuable Dialogue- Moppet Anakin: “You’re a Jedi too? Please to meet you!” D’oh!), the Trade Federation stereotypes, and a minor complaint about the finale (is it just me or do the good guys seem to win more by luck than by being better?), it’s still more fun than the majority of escapism out there. The podrace, the climatic lightsaber fight, the John Williams score, Natalie Portman, the story (underrated in its fascination), Natalie Portman, Coruscant, Naboo, the introductions of R2D2 and C-3PO (and their introduction to each other), the Gungan city, Natalie Portman, and dangit even Jar Jar (sorry ladies and gents, the Gungan is just too good a guy to hate, even if the shtick can get old)- it’s all good in my book.
Those trying to get back the interstellar action space opera of the original- their attempts are futile. Though part of the same story, the prequel trilogy is more a political thriller than adventure flick. It’s purpose is to show us the demise of the Republic, the rise of the Empire, the decimation of the Jedi, and the transformation of Anakin Skywalker to Darth Vader, the black-caped badass from the original trilogy who stunned the world when he said he was Luke’s father. (Am I really giving anything away by saying that? I doubt it.) You can’t look at it the same way you do the original trilogy of “A New Hope,” “The Empire Strikes Back,” and “Return of the Jedi,” which are the consequences of the actions of this prequel trilogy, beginning with “The Phantom Menace,” continuing this year with “Attack of the Clones,” and concluding in 2005 with the as-yet-untitled “Episode III.” Any attempt to do so, of course you’ll be disappointed. If you go in with the mindset of leaving your memories of what “Star Wars” used to be (which is to say, a full-speed ahead action thriller), and look at the prequel trilogy as a completely different story (which I have unconsciously done), and a completely different type of story, you’ll be much a happier “Star Wars” fan.
That said, does “Attack of the Clones” stand up to close scrutiny with the other parts of the series? Yes. Is the dialogue- this time Lucas has help from Jonathan Hales- Shakespearen? No, but it’s not nearly as sickening as some that was in “Episode I”; here, it’s serviceable- and particularly hokey during the romantic moments- though not memorable in any way (good or bad). Is the acting on par with Olivier or Brando? No, but more fun was obviously had this time around than in “The Phantom Menace.” Ewan McGregor- now pardoned from being in “Moulin Rouge” for me- as Obi-Wan Kenobi has been freed up from being Qui-Gon (Liam Neeson) Jinn’s Padawan- Jedi student- and it shows; McGregor’s cooler and looser than he’s been since his breakthrough in 1996’s “Trainspotting,” and it shows in every seen, especially in a Galactic sports bar and while getting information from an informant on an assassination attempt on Senator Padme Amidala (Natalie Portman). Samuel L. Jackson’s Jedi Master Mace Windu has an extended part to play this time around, and Jackson brings out some “Pulp Fiction” badness to go with the Jedi contemplation (it’s hard to not dig hearing Windu say “This party is over” before the show-stopper of a climax). Portman- though the acting highlight of “Episode I” as the regal Queen Amidala, and a highlight in general for me- is even better this time around. Like McGregor, she’s freed from the limitations of her role this time- Padme’s a Senator in “Episode II,” a la Hillary Clinton- and having a bit more fun while being a sight to behold as the doomed romance between her and Anakin- she’s the beautiful, kind, but sad mother Leia remembers in “Jedi”- heats up (yup, this is the lovey-dovey chapter of the trilogy). Plus, she still kicks butt with a laser, and she can handle herself in a bind (her fight with an especially creepy beast called Nexu in an arena is a high point; more on that later, though). As Anakin, the much-maligned Jake Lloyd has been replaced by Hayden Christensen in this installment, which takes place 10 years after “The Phantom Menace.” Christensen’s Anakin is a live-wire lightyears away from the playful kid of “Menace,” cocky and arrogant, feeling reigned in by mentor Kenobi, and missing his mother, still a slave on Tatooine. Like the other actors, despite the limitations of Lucas’s dialogue and direction of actors, Christensen rises above the material, allowing feeling to come through, especially in hinting at the dark sides of Anakin’s nature and his affection for Padme. We can surely expect him back in Episode III, and can’t wait to see him give himself over completely to the dark side of the Force. We also get to see the beginnings of the beautifully comic friendship between C-3PO (who’s particularly funny in this one) and R2D2 (who knew the droid could fly?).
And yes dear readers, we get Jar Jar Binks back. Not for the endurance-testing 120 minutes we had of “Menace”; not again. This time, the Ahmed Best-voiced CG creation has probably 10 minutes of actual screen time. But like in “Menace,” the screen time is indelible, though in a good way. Because you see, there’s a method to Lucas’s madness, and contrary to popular belief, Jar Jar- whom I can personally tolerate everytime I see “Episode I” (same for the Ewoks in “Jedi”)- was more than the comic relief and inherent goofiness in “Menace” that defined his character. He has a very important part to play in “Clones.” What part is it? I’ll put it simply: He’s weak-minded. If you’ve seen “Episode I,” know the players from that film and their future destinies, and understand the Force, you’ll know what I mean by that.
Putting Jar Jar aside, there’s the matter of the real bad guys of “Episode II.” Start with Jango Fett, the bounty hunter papa of original trilogy fave Boba Fett, and model of the Clone army being created on the planet of Kamino. The performance by Temuera Morrison as Jango isn’t earth-shaking evil, but you can definitely see where young Boba learns his values from. The father and son Fetts are also part of one of the film’s most exciting sequences, an asteroid field chase with Obi-Wan (a la “The Empire Strikes Back”) that sees the use of sonic mines by the Fetts that have a shattering effect on the ears and nearby asteroids (the sound design and editing by Ben Burtt- also responsible for both areas in “Menace”- is interstellar work here as well).
We are also introduced to Count Dooku (AKA Darth Tyranus), the former Jedi who is leading a group of systems to secede from the Uni…I mean Republic. He is brought to chilly life by the great Christopher Lee, the man also responsible for dark wizard Sarumon in Peter Jackson’s “Lord of the Rings” trilogy. Isn’t it against some cosmic law for one actor to be known for two such highly regarded- and influential- fantasy sagas? No matter. Dooku is a wicked pleasure, and the sparks fly in the finale, when we get the crowd pleaser scene de resistance, a stunning lightsaber battle between him and Yoda (yes, the diminutive Jedi Master picks up a saber thanks to the restriction-less use of CGI over Frank Oz’s beloved puppet creation, though Oz continues to voice Yoda with heart and feeling) after Dooku defeats Obi-Wan and Anakin. It’ll be ridiculous to some, thrilling to others. I was in the latter. You don’t want to miss this.
Much has been made of the fact that Lucas filmed “Episode II” on digital video. Unfortunately, this will matter little to the majority of people who see the film, as only 19 theatres- listed on the official “Star Wars” website- in the US are equipped with digital projection. None are in Georgia, meaning most of you will be watching the film as transferred from digital video to film stock. Ebert made a big noise about the switch in his review, basically saying the film was fuzzy and hard to see. Of course, he also admits he saw it on a larger-than-normal screen, and informs us that digital images contain less information than film images, meaning spread over too big a surface, of course picture will be underwhelming. I have seen the film twice, in different theatres, and while I’m far an expert when looking at film in terms of print quality, both prints I saw of the film in traditional projection were clean and wondrous to behold. I hope to see the film projected digitally somehow, but doubt I will get the chance before it hits DVD this Fall (LucasFilms has already all but confirmed that it’ll show before Thanksgiving).
Why mention this, since it won’t make much a difference to most of you seeing it? Simply as transition from the performances to the visual effects and CG work by Lucas’s Industrial Light & Magic. As usual with the “Star Wars” saga, they’re at the top of their game, be it revisiting old sites (like Coruscant and Naboo) or creating new ones. With the exception of a breathless chase through the metropolis chasms of Coruscant and the aforementioned Dooku-Yoda lightsaber fight, the visuals of “Clones” lack the pizzazz of a “Lord of the Rings” or “Matrix,” and are used to create environments, massive droid and Clone armies, and new characters. Digital projection or no, the visionary pull of the film will guarantee many a viewing from me. I loved visiting the rain-soaked “Waterworld”-esque planet of Kamino and it’s Clone manufacturing plants, while in awe with the designs of the beings that inhabited the planet (similar to the aliens of “Close Encounters” and advanced mechas of “A.I.,” but with a personality and look all their own); loved being introduced to the new character Dex, a slob of a cook at a diner that can help Obi-Wan find Padme’s assassin; the Mars-like surface of Geonosis, it’s underground production factory (reminiscent of “Indiana Jones and the Temple of Doom”), and the insect-like inhabitants all exert a powerful hold, while the rocky terrain and ancient arena provide a stunning backdrop for the most remarkable and epic battle we’ve seen in any “Star Wars” film, the battle that pits Clones and Jedi against a massive droid army in an all-out assault that marks the beginnings of the Clone Wars that were mentioned in the 1977 “A New Hope,” and will likely be seen in the upcoming “Episode III.” Shot by David Tattersall (also responsible for “Episode I’s” cinematography), the film lacks the cinematic scope that was felt in “Lord of the Rings,” but that’s nothing to hold against the film; “Episode II” feels more intimate despite the planet-hopping and massive action involved in the film, which is very much in the film’s favor. The action works, like it has in the past, because we follow the protagonists as they battle unspeakable odds. The film may play a bit cold at times, but that could be said about any FX-heavy film; that Lucas tries to alleviate that coldness with feeling and wit make it work better than it should. This is especially true of the last 1/3 of the film, as every setback for the heroes is met with quiet disapproval by the audience. If “Episode I” was the breakthrough for CG-animation (I’m still convinced it deserved an Oscar over “The Matrix”), “Episode II” is the delivery on that promise. I can only imagine what they have up their sleeves for “Episode III” to close out the saga.
And then, there’s John Williams. At this point, do I really need to say that he’s a genius? I doubt it. I already reviewed the soundtrack album for “Episode II” (see below). Now that I’ve heard the music with the images, it can be fully looked at. Sadly, “Attack of the Clones” is probably the least-successful film when it comes to the melding of music and visuals. As said in my review, “Clones” does contain some of Williams’s finest individual moments (especially that soaring- and sorrowful- love theme, the music in the arena, and the chase through Coruscant), but overall, the score just seems to recycle past themes, without really adding anything new to the “Star Wars” repertoire, save for the love theme (which Williams does get a lot of mileage out of). You get “Duel of the Fates” from “Menace,” the Force theme, Yoda’s theme, the “Star Wars” fanfare, and several other previously-written pieces, and while the result is appropriately rousing, it’s a tad disappointing coming from such a master of the medium. Nothing for Count Dooku? Damn. Still, a disappointment by Williams is far superior to an excellent outing for a lesser composer.
So, how does “Attack of the Clones” stack up in the series? It depends on who you talk to about that. Die hards- those who can’t abide the Ewoks in VI or Jar Jar in I- will likely put it above “Return of the Jedi” and “Phantom Menace,” but below “Empire” and “A New Hope,” both widely considered the best of the series. Purists who felt their childhood has been raped by Lucas’s focus of visuals over character will certainly put it over “Menace,” but far below the original Holy Trilogy (as it was dubbed in Kevin Smith’s “Chasing Amy”). Regular moviegoers will likely do the same.
As far as I’m concerned, I’m closer to the die hards who’ll put it plainly in the middle of the saga, though not because I hated the Ewoks or Jar Jar. It ranks in the middle because while it is a distance behind “A New Hope”- which (in its original 1977 form) feels as fresh and entertaining as ever- and “The Empire Strikes Back,” it has a more engrossing story without the feeling of tying up loose ends- as with “Return of the Jedi”- and better dialogue and less coincidence than “The Phantom Menace.” It hits just the right balance between story and spectacle, character and CG-creation, the visuals feel fresh and exciting, and that onslaught of action in the finale begs for repeat viewings galore on the big screen. To say it’s a true big screen event is an understatement; aside from the analyst-defying box-office climber “Spider-Man,” this is the only one you really have to worry about for a month, until Lucas pal Steven Spielberg brings out “Minority Report” on June 21.
Much has been made in “Menace’s” wake of disappointment about “The Matrix”- and now “Lord of the Rings”- being the new “Star Wars,” as if Lucas, “Rings’s” Peter Jackson, and “The Matrix’s” Wachowski Sisters were all in competition to create the ultimate cinematic action/fantasy saga. Listen up. There’s only one “Star Wars,” and George Lucas has it. Naysayers of “Menace” and “Attack of the Clones” be damned; Lucas- for better or worse- is the keeper of the One Series, the cinematic series by which all others will be compared to. Even if the quality level of Peter Jackson’s “Lord of the Rings” trilogy is higher when it’s all said and done, it’s still based on another person’s masterwork (Tolkien’s fantasy standard-bearer), not Jackson’s imagination (however rich his is). Even if “The Matrix’s” visuals are slicker and more experimental, it’ll still always be a pastiche of cliches and other people’s creations, a pretentious, revisionist Christ story with machine guns, kung fu, and contradictions that allow the seams to show. Will I pretend that “Star Wars” is original? Hardly. Lucas has borrowed the Christ principle of the Virgin birth (established in “Episode I”; it’s just as pretentious as “The Matrix’s” own cribbing from the Bible), the mythological ideas of Joseph Campbell, the archetypes of Saturday matinee serials, included a comic relief duo- C-3PO and R2D2- inspired by Kurosawa and Laurel and Hardy, and has been inspired visually in his saga by everything from “2001” to “Blade Runner” to even “Waterworld.”
The difference? Lucas also includes a quasi-spiritual idea in the center of his saga- The Force- that “he Matrix”- for all it’s visual virtuosity- and “Lord of the Rings”- for all it’s mythic grandeur and thematic power- can’t touch, and that makes it accessible to nearly everyone. Besides, how many epic storytellers can- mid-story- shift the focus of the story away from it’s initial subject- Luke Skywalker- to another (Anakin Skywalker)? That’s a slight of hand I don’t even think “The Matrix” could pull off, and it is a stroke of genius.
Now to get in line for “Episode III.”
Brian’s 10 Favorite “Star Wars” Action Sequences:
1. Luke & Leia Speeder Chase (“Return of the Jedi”)
2. Arena Battle/Republic Offensive (“Attack of the Clones”)
3. Death Star Dogfight (“A New Hope”)
4. Luke & Darth Vader Lightsaber Fight (“Return of the Jedi”)
5. Podrace (“The Phantom Menace”)
6. Dooku/Kenobi/Anakin & Dooku/Yoda Lightsaber Fights (“Attack of the Clones”)
7. The Battle of Hoth (“The Empire Strikes Back”)
8. Obi-Wan/Qui-Gon/Darth Maul Lightsaber Fight (“The Phantom Menace”)
9. Chase Through Coruscant (“Attack of the Clones”)
10. The Battle of Endor (“Return of the Jedi”)
Brian’s 5 Favorite “Star Wars” Locations:
1. Gungan City
2. Kamino
3. Endor
4. Death Star #1
5. Tatooine
Date: Tue, 23 Apr 2002 16:57:35 -0700 (PDT)
Snooch to the Nooch!
We are less than a month away from the release of George Lucas’ fifth film in his six film “Star Wars” saga. On May 16, “Star Wars: Episode II- Attack of the Clones” hits theatres, and believe me when I say…I’ll be there. In fact, I’ll be making of point of trying to be there 20 times in the upcoming months. My most times of seeing a movie in theatres is 18 times; the movie that holds that distinction is “Ransom” (remember, my mother is a huge Mel Gibson fan; it’s nothing weird or disturbing like that). I saw “Star Wars: Episode I- The Phantom Menace” 17 times; I am determined to make a “Star Wars” film the holder of that distinction.
Anyway, today, “Star Wars” multimedia hit stores in the form of toys, action figures, games, books, and such. The most coveted item on this list for me- however- was the first edition soundtrack of John Williams’ latest entry into the “Star Wars” musical canon. It is the second “Star Wars” soundtrack I’ve bought prior to seeing the movie (I also bought “Phantom Menace” early), and joins the company of “Fellowship of the Ring” and “Crouching Tiger, Hidden Dragon”, and the several Hans Zimmer scores I’ve purchased prior to my first viewing of the film.
So how is the dang thing already? The best way for me to do that is to go one track at a time. Sorry.
(The track titles below are potential **Spoilers** for the film. Having not seen the film, the music is being judged solely on criteria of mood and relation to previous “Star Wars” music.)
1. “‘Star Wars’ Main Title and Ambush on Coruscant”- The first part is pretty self-explanatory; if you don’t recognize that music, no need seeing the film. It’s what comes after that counts, and this has to be the most evocative and subtle post-scrawl music since “The Empire Strikes Back.” By the way, that’s a good thing.
2. “Love Theme from ‘Attack of the Clones'”- One question- where did “Across the Stars” come from as a title for this piece? It’s not on the cover anywhere. Actually, it’s the name of the music used for the music video, but that’s another story. It matters not, this is where Williams buries every film composer in history the most- his leitmotifs (that is, themes for specific characters or places). More than Han and Leia’s love theme from the original trilogy, this piece is the centerpiece of the album, and it is a masterpiece. The forboding, the exhilaration, the feeling. This is perhaps the finest love theme in film since Bernard Herrmann’s haunting strains for “Vertigo” nearly 45 years ago. Bravo John!
3. “Zam the Assassin and The Chase Through Coruscant”- To evoke the more primitive and youthful excitement in Episode I, Williams used percussion to create fluid and complex rhythmic action sequence cues. He continues that “evolution”- one might say- here, and the result is one of the most exciting action sequences I have yet to see. For all out daring in the Williams canon, Williams even uses riffs on a rock-metal guitar to highten the excitement. It seems out of place on the first pass through the soundtrack, but since Anakin seems to be behaving like a punk-assed teen throughout the film, it does make some sense, and goes perfectly with the tricky and trippy percussion work Williams employes.
4. “Yoda and the Younglings”- This is for those of you who yearn for the innocence of the Ewoks in “Return of the Jedi” and “The Phantom Menace” with it’s kiddie Anakin and his cute relationship with Natalie Portman’s Padme (if there are such fans). Themes that can be heard are the love theme, Yoda’s theme, the Force theme from the original trilogy (which still has the power to send chills up your spine), while the music brings to mind Williams’ touching work for the last third of “A.I.”
5. “Departing Coruscant”- A well-crafted track, but I’ll be honest, I’ll need to hear it with the movie to say how well it works.
6. “Anakin and Padme”- As the doomed romance between Anakin and Padme grows, Williams brings a lush, romantic swoon to his music that sets the mood for their blossoming love, and it’s inevitable consequences. That love theme is really working for John, and the final passages are haunting.
7. “Jango’s Escape”- The main attraction on the bad guy front appears to be Jango Fett, Booba Fett’s father. The title says it all- more action, more syncopated percussion, more brass, more vintage “Star Wars” adventure music. But Williams isn’t phoning in his parts- this is a fresh take on the “Star Wars” adventure score. You know what? I like it.
8. “The Meadow Picnic”- There are other times the score comes close to sounding like “Harry Potter,” but it doesn’t come closer than it does here. He does some nice things with the love theme and evocative passages in the score, leading me to believe this part of the film will be more than advertised here.
9. “Bounty Hunter’s Pursuit”- Another vintage “Star Wars” track, this one bringing to mind the Battle on Endor in “Jedi” and parts of “Menace’s” epic scoring. It gets the imagination going, but that could be said about many a film soundtracks experienced before the film. Another track I’ll have to hear with the movie to really evaluate. It does bring back one of the more powerful pieces of music from “Phantom Menace,” though.
10. “Return to Tatooine”- One of the soundtrack’s best tracks, bringing us back to some of the cues from Tatooine in Episode I, and reminding this listener a bit of “Lawrence of Arabia,” but punching it up with some exciting music a good ways in, like a reprise of Episode I’s central work, “Duel of the Fates,” bringing in the Force theme- sounding as it did in Episode IV (the orig. “Star Wars”), but creating something much more compelling and dramatic than your average action cue. Something tells me this will be something pretty cool in the film. (OK, now I’m stretching, but what do you want? I haven’t seen it yet.)
11. “The Tusken Camp and The Homestead”- I’ve got little idea what this cue is supporting visually, but it’s a great example of a composer enjoying one of the most fruitful collaborations in his career. Plus, he can still show the youngins’ how it’s done with a vet’s passion and skill. I’m immediately intrigued to learn more.
12. “Love Pledge and The Arena”- As no one tops Williams in thematic composition, he’s the composer par excellence of orchestral action cues, where he let’s the bombast rip and tear through the speakers to your eardrums. In this and Episode I, it’s ripped in thrilling and suprising ways (think tracks 14 & 15 of the 1st edition “Menace” score), and no where is that more evident than in this full-scale action piece. This is going to be a huge set piece for Lucas to pull off, and my bet is, he will. Williams afficianados will recognize parts of it (derived from “Menace” material and some of the more rhythmically challenging parts of his underrated “Lost World” score), but it’s all in the way he mounts it (one senses an epic sequence here) that makes it sing of Williams mastery.
13. “Confrontation with Count Dooku and Finale”- Does Episode II end in a cliffhanger, or was this the only way they could fit both of these pieces onto the 73-minute CD? No matter. The “Confrontation” part of the track has me wanting to find out. You get to hear a little of the love theme, a little of the “Imperial March,” and a little of “Duel in the Fates” from Episode I.
So how does this effort compare to the remainder of the saga? Too early to tell; I’ll let you know May 17th. I will say that it has some of Williams’ finest individual moments of the series, and even if an “Ultimate Edition” of the soundtrack is inevitable in the future (as it was with “Phantom Menace”), you won’t be wasting your money checking this effort out. I will rank the “Star Wars” soundtracks below though based solely on musical merit (and personal favorites), as well as my 10 favorite “Star Wars” cues of all-time.
The “Star Wars” Saga: The Soundtracks
1. “Episode V- The Empire Strikes Back” (1980)
2. “Episode I- The Phantom Menace” (1999)
3. “Episode IV- A New Hope” (1977)
4. “Episode II- Attack of the Clones” (2002)
5. “Episode VI- Return of the Jedi” (1983)
The “Star Wars” Saga: The 10 Favorite Cues
**All tracks from two-disc “Special Editions” of scores unless otherwise noted.
1. “Rescue From Cloud City/Hyperspace” (from “The Empire Strikes Back”)
2. “The Battle of Endor II (The Dark Side Beckons/The Emperor’s Death)” (from “Return of the Jedi”)
3. “Passage Through the Planet Core” (from “The Phantom Menace”, 1st edition soundtrack)
4. “Love Theme from ‘Attack of the Clones'” (from “Attack of the Clones”, 1st ed. soundtrack)
5. “The Emperor Arrives/The Death of Yoda/Obi-Wan’s Revelation” (from “Return of the Jedi”)
6. “Love Pledge and The Arena” (from “Attack of the Clones”, 1st ed. soundtrack)
7. “The Clash of Lightsabers” (from “The Empire Strikes Back”)
8. “The Throne Room/End Title” (from “A New Hope”)
9. “Duel of the Fates” (from “The Phantom Menace”, 1st ed. soundtrack)
10. (tie) “Star Wars Main Title” & “Boarding the Federation Battleship” (from “The Phantom Menace”, Ultimate Ed. soundtrack)
Viva La Resistance, and May the Force Be With You!
