Film Review: Star Wars Episode I: The Phantom Menace (1999)

A long time ago, in a movie studio far far away, three Star Wars films were filmed and released onto an unsuspecting generation. Over twenty years passed in which the saga captivated the hearts and imaginations of fans young and old. However, it was the middle of a planned epic that originally spanned three trilogies. The films always had clues and references to a much deeper history and lore that begged to be explored. By the 1990s, George Lucas finally had the tools and techniques to revisit this galaxy with a fresh trilogy. This time, he would capitalize off of emerging computer technology to tell the story from the beginning, and deliver the untold origins of Anakin Skywalker.

Episode I brings us to the age of the Old Republic, where a galaxy thrives under the rule of a sprawling senate. When the Trade Federation blockades a seemingly inconsequential planet, a pair of Jedi Knights are sent to keep the peace: Obi-Wan Kenobi (Ewan McGregor) and Qui-Gon Jinn (Liam Neeson). The situation escalates into a full-blown invasion, forcing the duo to flee with the Naboo Queen (Natalie Portman). On their way to make a plea to the senate, fate brings them to a backwater desert planet where a young boy in slavery (Jake Lloyd) is discovered to be a prophecized "chosen one" who will one day bring balance to the Force.

One had to have simply been there in the summer of 1999--The Phantom Menace was the first major Star Wars film in decades, so the hype and anticipation was boundless. At the time, the film seemed to deliver tremendously, wasting little time in setting the stage for swashbuckling Jedi combat, massive space battles, and as the film's centerpiece, a rip-roaring race involving chariot-like machines. Even the sight of Coruscant--a city that takes up an entire planet--was a thrilling sight. The film pushed the limits of technology and special effects to offer an experience that had never been seen before.

Unfortunately, the experience is far from perfect, and it has left many fans disappointed. One of the most overbearing culprits is Jar Jar Binks (Ahmed Best--but it's not like it's all his fault, be nice). His slapstick antics and goofy language will induce more cringes than laughs. Fans will be quick to pick apart various quirks in the script, such as the concept of midichlorians.

The story has a shape I can admire--one that mirrors A New Hope in terms of structure and certain repeated motifs. There is a sense of triumph in watching the heroes achieve their freedom, even when figures of authority keep denying them help. Once the party reaches Tatooine, however, the plot stalls, and can't pick up again until the characters go through predictable motions. These are motions that become procedural rather than organic. The script has a bad habit of hinging on flat, passionless exposition, and it offers no sense of agency or choice for the characters.

The effect is further compounded by rather stilted performances (the rumor I've always heard is that Lucas shot the whole film using one take per shot--if that's true, it shows). I can't really fault the actors though--Ewan McGregor is an exceptional fit for Obi-Wan, and even with a diminished role I still admire the effort he puts into this film. Jake Lloyd is often criticized for his corny dialogue, but one can't deny the sheer exuberance and spirit he shows. Natalie Portman plays it really stiff and cold as the Queen, but it might be on purpose. Liam Neeson is badass as ever, but shows admirable zen that befits a Jedi. The supporting cast is impressive too--Samuel L. Jackson as a stoic Mace Windu, Frank Oz returning as Yoda, Anthony Daniels still fits in the C-3PO suit, Ian McDiarmid is still a slimeball we love to hate, Terrence Stamp commands authority as a Supreme Chancellor. I even get a kick out of the fleeting shots of Warwick Davis chilling with Watto.

As grand as the cast is, I can't help but to see the script as the source of the film's issues--there is absolutely no effort put into defining character motivations and exploring the reasons why things happen. Anakin's bid for freedom happens without his actual say, even though the film makes it a point to push that goal against his feelings for his mommy. He goes on his grand adventure because the franchise demands it--he is the chosen one (oh god, what a cliche this is). Some details are even more head-scratching--why does Darth Sidious keep demanding a treaty to make an invasion legal? Why do the Sith chose this moment to reveal themselves, when stealth could have helped them more? This film could have done with more finesse in choosing what to show and tell (notice, for example, how the film has to tell us constantly that people are dying on Naboo, but it never shows us? We can't feel the threat or stakes this way, George). Perhaps the worst transgression is that the film just drags throughout its middle acts, even with a Podrace.

There is no denying that plenty of love was put into making the film look good (at least the best it can with a record-breaking amount of late-90s CGI). Photography is often composed with solid quality to showcase exotic locations (including some beautiful Italian palaces and Tunisian deserts), flamboyant costumes (the Queen's costume looks ripped out of a wuxia film), and a plethora of imaginative new spaceships, aliens, creatures, weapons, and worlds. Sound design is nice and punchy (and my god, the Podracer engines will rock your ears off). Most of this is brought to life with digital technology that often paints gorgeous backgrounds and space battles, but it shows its age horribly with creature effects and certain camera movements. One reliable constant is John Williams' music--it's spectacular as ever, and adds some much-needed feeling to the experience.

Depending on who you ask, The Phantom Menace will either be one of the worst films of the series, or a misunderstood classic. It was quite the event film of 1999--parts of it didn't age well, and it has caused many fans to become spiteful. Despite all the obvious blemishes, I still watch this episode often. There is a certain child-like innocence and nativity that lends the film a sense of wonder, which is more than can be said for other movies in the series. That bold confidence is enough to cut through all the camp and breathe life into this familiar fantasy.

7/10