The ‘Clones’ Reviewed: 
The Force is Back

by Moshe Glasser

The latest “Star Wars” movie cannot be understood in a vacuum. It is part of a larger story, and must be viewed in that context. To truly understand “Star Wars” and its appeal to modern man, one must first understand the goal of its creator. “Star Wars” has been called science fiction, science fantasy, space opera, and other more or less conceptually accurate titles. But the most accurate is, of course, the one given by George Lucas: “The modern myth.”

For “Star Wars” is indeed a modern myth in every sense of the word. It is the story of good against evil, of the fallen knight and his redemption, of coming of age and mystic powers reserved for the pure of heart. Is Yoda any different from Merlin, and is the Emperor anyone other than Hades with a nicer apartment? Many aspects of the “Star Wars” story encompass parallel dimensions of the classical Arthurian legends or Greco-Roman mythology— with a new cloak wrapped around them to provide a better way to identify with ideas that, while centuries old, are still applicable.

“Episode I— The Phantom Menace” described the rise of Palpatine (Ian McDiarmid) to power as well as the beginning of Anakin Skywalker’s (Jake Lloyd) entry into the galaxy at large (the main focus of the story— Palpatine’s rise to power— was masked, one within the other— a phantom, if you will). “Episode II— Attack of the Clones” focuses on the next stage— the descent of the galaxy into conflict and chaos, which paves the way for Palpatine’s future grab for power and the creation of the Empire (known to true fans as the “Declaration of a New Order”). These events are set against Anakin’s (here played by Hayden Christensen) own personal journey of self-discovery (training and first assignments), loss (his mother, Shmi Skywalker, played by Pernilla August), and love (Senator Padmé Amidala, played by Natalie Portman). The massive battle scenes and special effects, while tempting eye candy, only serve to enhance the real story being told— that of a man’s journey through his formidable life. The events that surround him put that life into context and allow us to understand him, but they are not the true focus.

Many voiced disappointment with the movie itself. Naysayers claimed there was a poor script, bad acting, and some silly characters (especially the much-abused Jar Jar Binks, voiced by Ahmed Best). Some of these charges are indeed true, and yet they did not hurt the popularity of the “Star Wars” saga. Why? Because, like all the great myths from which it draws, it has already moved beyond the realm of critics and criticism. Its story is so compelling that fans can look beyond what appears onscreen and into the heart of the message being conveyed. This is the greatness of all myths, and the source of their enduring popularity.

And how does “Star Wars” parallel the great myths? Among the many examples is the elite class of Jedi Knights (note the use of the identical term from days of yore), wielding the Force (read: magic) against evil. Jedi are cautioned not to get too close to women in government (recall Lancelot and Guinevere’s doomed union).

While the universe crumbles around them, the “star cross’d lovers” (a term often applied from a slightly less ancient myth) attempt to build a lasting relationship out of a forbidden union.The awkward scene of Anakin trying almost poetically to declare his love for Padmé (a scene that generated much of the criticism of the script) is simply a modern revival of the ancient art of chivalry. While the modern-day Mr. Christensen would sweep Ms. Portman off her feet and the two would make out in the back of a Camaro, Lucas takes a cue from tales of old and creates a more gradual, developing relationship. One must listen both to what is said and what is not said, what is done and what they refrain from doing. The knight is gallant, bold, daring, skilled, and charming; the lady is beautiful, intelligent, with a strength and determination that rivals that of her romantic opposite. This style is most emphatically not used by Han Solo (Harrison Ford) in his pursuit of Princess Leia (Carrie Fisher) back in the original three “Star Wars” films. Anakin and Padmé are having a romance of old, while the newer generation is less refined. This older relationship seems particularly awkward for many viewers and, indeed, for the characters themselves, because the last time that Anakin and Padmé saw each other was when they were nine and fourteen years old, respectively. But it is that transformation of two talented children into two powerful adults that marks this tale. It is yet another aspect of Lucas’s skill at telling a story, a talent many directors have lost.

The important thing to remember is that George Lucas did not only attempt to create a modern myth, but actually succeeded in doing so. At one time, every child knew the mythology of the day backwards and forwards: Odysseus, Zeus, Hercules, Hades, Arthur; even the stories of the Bible were included in that list. Today we have Conan, Indiana Jones, Superman, Batman, and others. “Star Wars,” by inserting itself into the vernacular and culture of America, is certainly deserving of a place in the new Pantheon. I remember once walking down a street in Manhattan, hearing two businessmen talking about a negotiation they were preparing for. “When he pulls out a knife,” one told the other, “you’ve got to pull out a lightsaber!” Even John Williams’s unforgettable score has become etched indelibly in the American psyche as a representation of good and evil: In Yankee Stadium, the opposing team is announced against the musical backdrop of the “Imperial March,” while the Yankees themselves are given the “Victory March” from the end of “Episode IV— A New Hope.” In fact, I just saw an episode of “The Powerpuff Girls” that made an obvious reference to…well, you get the picture.

The central place of “Star Wars” in American culture has ensured that it will succeed no matter what any naysayer will claim. No critic can challenge it and no review will discourage the masses from taking their children and grandchildren to experience what opened their own eyes in wonder just a few years ago. Indeed, “Star Wars” fans big or small, dedicated or casual, are found everywhere and will spring up whenever the opportunity arises. When the trailer for “The Phantom Menace” was playing before showings of the film “Meet Joe Black,” grown men left their offices in the middle of the day to pay full price for a movie they would not stay to watch. John “You’ve Got Mell” Mell, then-president of the Yeshiva College Student Council, acquired two tickets to Manhattan’s Zeigfield Theater’s second showing of “Episode I,” which began at 2:30 A.M., as a birthday present for me. When my father and I got there, we saw the fans- ordinary people dressed up as “Star Wars” characters, their faces painted, holding inventively-conceived lightsabers, and generally going crazy now that “Star Wars” was back.

Personally, I’m honored to be among their number.