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Holy sith—it’s over!

Let’s annoy the faithful first. As a stand-alone film, “Star Wars:

Episode III—Revenge of the Sith” (its pedigree name) is an adequate, okay space adventure, heavy on special effects but terribly light on plot motivation and meaningful dialogue. It’s a nifty piece of cinematic eye-candy, but you won’t confuse it with “The Godfather” or “Dr. Zhivago.” Cynics may even argue that “Star Wars III” is just another space fantasy, a genre that’s been far too saturated over the last 25 years.

But, as most of us already know, “Star Wars III” is more than simply another space fantasy. Put in perspective, it’s a piece of modern cinema legend, the final slice of film history. Even more importantly for you and me, when our friends are throwing all-night “Star War” DVD parties a few years hence, this one will be exactly where it’s supposed to be, building momentum and leading us breathlessly toward Episode IV. As a segue film, it’s exciting, intriguing—and invaluable. It is that necessity which makes this film a must-see for the Lucas faithful.

Let’s face it, had the Wright Brothers not flown the first airplane (and many argue they didn’t), we would still have Boeing 747s, 90minute LAX lines and space travel today. If Alexander Graham Bell hadn’t invented the telephone (and many argue he didn’t), we would still have global digital communications, video cell phones and indecipherable seven-page Verizon bills. However, had George Lucas not daydreamed and then directed his extraordinary mythological space opera (complete with light sabers and hyperspace jumps), American cinema would not be where it is today. I truly believe “Indiana Jones” would not exist and probably not “Spider-Man.” Not the screen’s recent legion of CGI-laden comic book heroes. Perhaps not even Pixar.

Why?

Film is an exacting combination of art and science, a delicate, leftbrain, right-brain balancing act. In 1977, “Star Wars” made going to the movies fun again. The popularity of that film (and the inspired brilliance of its director) made special effects—computer-generated effects—an integral part of the tale.

Lucas broke new ground and expanded cinematic possibilities. His Industrial Light and Magic—the special effects wizardry behind numerous great films—was a feat of creative genius. Even more remarkable, 1980’s “The Empire Strikes Back” returned the serial cliffhanger to cinema. Sure, we’d had sequels before, but not since Buck Rogers had we been left hanging, open-mouthed, in our theater seats.

Now, “Star Wars: Episode III” picks up where Episode II ended.

After years of fighting the Clone Wars, Obi-Wan Kenobi (an earnest Ewan McGregor) and Anakin Skywalker (Hayden Christensen) have finally—albeit surprisingly easily— slain the evil Gen. Grevious. But the ambitious Skywalker is not content with victory or with his fledgling status in the Jedi Council. Loyal to the scheming Chancellor Palpatine, he begins to flirt with the Dark Side.

When Skywalker dreams that his pregnant wife, Padme (Natalie Portman), will die in childbirth, Palpatine tells him that only the Dark Side holds the secret to immortality. To save her, Skywalker must learn to use that power, under the Chancellor’s tutelage. Skywalker and Palpatine (a Sith, could he be?) plot to exterminate the Jedi knights—and very nearly succeed. A few Jedi survivors, including Obi-Wan and Yoda, manage to escape and flee into exile.

They will remain in hiding until the Jedi can reemerge to battle Palpatine’s evil empire.

Episode III is clearly the best of the “prequels”—certainly after many critics’ assertions that Episode II was little more than a political quagmire in space and after Episode I contained one Jar Jar too many. Episode III returns viewers to the epic space adventure that the original “Star Wars” instilled in moviegoers.

Yet the simplicity and the innocence of that first “Star Wars” is nowhere to be found. “Episode III” moves at a frenetic pace, surprisingly complex with interwoven themes—and no wonder, since director Lucas must tie off numerous loose ends. He does so, but at a price. For every scene that sizzles, another plods resolutely toward Episode IV. Anakin’s fall to the Dark Side seems much too hasty here and his relationship with Padme is likewise rushed.

Anakin’s faltering relationship with Obi-Wan is also forced—although the film’s best scenes feature an inspired McGregor as the young Obi-Wan as well as that little CGI-miracle named Yoda. Even though their fates are all known, seared into our collective consciousness, the final showdown between Anakin and Obi-Wan is quite marvelous.

The icing on this particular cake is, of course, the emergence of Darth Vader from the ruined ashes of the once brash Anakin.

It is the film’s best moment and a fitting prologue to the film that started it all—the watershed Episode IV.

George Lucas once envisioned nine episodes in his space saga. Rumor is that Episodes VII, VIII and IX still exist in Lucas’ mind although, nearly a generation since “Star Wars’” inception, he has no plans to film the final three. We’ll see. For now, most of us will happily settle for six.


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