Well this is awesome article posting some of those feelings...
Phantoms From The Past
Imagination, Design, and the Tragic Love/Hate Relationship between a Film and its Audience
Dateline: Monday, April 5, 2004 11:37 PM EST
By: Alexander F. Newton
What makes a relationship healthy and interesting? What aspects of marriage are needed to keep a couple together? Most would initially say happiness is the key, when in fact disaster and conflict is the true elixir. Yes, a good fight is what keeps connections strong and durable. After all, a relationship without conflict is a pretty dull and boring affair. As humans we fight to release emotions and create a balance, all in an effort to better understand one another.
The Phantom Menace is the broken vase, the forgotten anniversary, or perhaps even the cheap affair had on the side in the Star Wars relationship. It occupies the other end of the spectrum within the series, and most are willing to leave it at that. But we must look into the face of our loved ones in the aftermath of a fight and find peace, beauty, and understanding within the anger. There is value hidden within the mostly berated film that goes overlooked and unloved.
It is time to dust off the design and artistry of this piece and praise its genius now that the vicious fight has waned.
PRONOUCEMENT
There are a few issues however that must be addressed before any real analysis can begin. There is a vacuum of worthless and pointless blabber still hanging in the air over the heads of movie geeks whose opinions solely consist of the words 'rocks' and 'sucks.' While it is tempting, there is no point in digging up beaten horses labeled kiddie movie, wooden dialogue, Jar Jar, and so on, and so, such arguments will not be exhumed here. On the other side of the fence are those who are close to making film their new religion, taking entertainment thinly laced with myth and philosophy as doctrine. Frankly, it's scary to analyze these or any films beyond the existing storytelling and filmmaking elements, and those who do so would better spend their time reading or perhaps rediscovering their own spirituality. Films should inspire, not instruct. This is not the gospel of Lucas, or dare I say the Wachowski brothers.
The Phantom Menace is a tragic film, and yet it is a noteworthy film; the challenge of looking beyond popular opinion to find the man, the circumstances, and the results behind the Menace will allow for a reconciliation, or at least an acceptance of the dichotomy of Star Wars land.
GEORGE LUCAS – FASTER, MORE INTENSE
George Lucas is not a legend. George Lucas is not a God. George Lucas is a filmmaker, and a damn good one. One need only look at his portfolio for evidence.
THX-1138, certainly one of the most visually striking avant-garde films ever to be backed by a major Hollywood studio. American Graffiti, which introduced multiple storylines that overlapped and merged, redefining story structure. Star Wars, which sent Hollywood on the sometimes smooth, often rocky path it is on even to this day, with an underlying mythical structure and a pioneering visual focus.
It is understandable therefore, that we expect much from this one man, the grandfather who sat us on his lap to tell us stories of far off worlds and strange creatures, of daring adventurers fighting off evil Nazis, and so on. He has a history of pleasing our imaginations. So what then happened between the Golden Age of the Geek Gods (1972-1993) and today?
From the very beginning of what we now call "Star Wars," there existed a back-story behind the original, easy-access episode. There was always an intent therefore to someday return to the drama which took place before the lighthearted 1977 effort. So around 1994, Lucas began sifting through the old notes, reconstructing an old dream.
The George Lucas of the 90s was a very different man from the one who made the films of the 70s and 80s. He was divorced (his wife having left him for another man), and a father (supporting three adopted children). What effect did this have on his vision? It is no different than say, any father's life; one's perspectives, motives, and goals can shift dramatically in a family setting. This of course does not mean every new father or mother suddenly becomes incapable of using their proven skills to achieve success, but it remains a factor nonetheless.
So, George Lucas sat down to return to a life he once lived, to try his hand at regaining an old wish he carried; an ancient world draped in political intrigue, with fantastical landscapes, new creatures and worlds - worlds that had never been seen before.
GEORGE LUCAS – SAME THING, ONLY WORSE
The duty to one’s imagination should not be taken lightly, no matter what the craft or position may be. One can neither take their gifts for granted, nor can they leave their work unchecked. There was a point in the making of The Phantom Menace, a watershed in the filmmaking process, where the talents and abilities of one man which had been stifled for years came rushing out of their cages. The result is cathartic if somewhat chaotic and tragic; there was too much opportunity in this pioneering venture, and not enough deliberation. Too many ‘Yes’ men, and not enough checks and balances. “I may have gone too far,” Lucas said after seeing an early cut of the film, immediately aware of his own defeat.
Episode One is the moment where Lucas’ imagination got the better of him, where opportunity overshadowed the execution of ideas. A man, standing on the edge of innovation and discovery, goes too far with his own incredible talents and abilities – now that would make a great picture.
What happened? There was energy in the piece, but it was misguided. Buster Keaton turned in his grave when Jar Jar became an homage, a good idea poorly executed. What is past is truly prologue, but couldn't we have a few intimate scenes of dialogue between the Jedi and his apprentice? Between the Queen and her aides? A few stolen moments to encapsulate this grand Machiavellian landscape and its noble inhabitants? But all of this is just more ranting by a Star Wars fan who struggles to understand this new world where the greatest saga of all time is now weak and vulnerable.
The truth remains that it is incredibly easy to look back years later and criticize. At the time however there was no bar to reach, no standards to match. This was unexplored land. What Lucas did with Episode One was make and break rules, allowing future filmmakers to make better films.
But Lucas’ failure does not disqualify the Phantom as nothing more than black sheep fodder. There are beauties and wonders here that represent some of the most imaginative filmmaking achievements to date. The source of these achievements can be found in design.
THE TRIUMPHS OF A MENACE
"Norman Rockwell once said design is like throwing a ball against a wall. The final design is the ball coming back, and it never comes as hard as you throw it, so throw it really hard. That's the theory. Design really wild, way out there. And then George Lucas will pull it back to where it needs to be." -– Ian McCaig
The key to design in the Star Wars films has always been to present things in an unfamiliar context, to draw from the past rather than the future for inspiration. Ralph McQuarrie, the original trilogy's head concept artist, used his bold colorful style in conjunction with Lucas' weathered universe. Each world had a mood and function; the Hoth paintings done by McQuarrie were more stylized than realistic, with vibrant electric blues that helped capture the mood of the location.
When it came time for Phantom, Lucas wanted something unexpected, but in the end, quite brilliant - chrome, sleek ships, Art Nouveau, and Art Moderne. It was to be