Return of the Jedi

Some observations:

1. The Empire is back. With a new, formidable weapon. A weapon so powerful that it will finally crush the rebellion and make the Empire the reigning power for a thousand years.

This new weapon is —

THE DEATH STAR.

And THIS time — it’s UNDER CONSTRUCTION.

NOTHING will penetrate the defenses of this awesome, under-construction weapon.

Except, perhaps, a fleet of rebel fighters.

2. Jabba the Hutt: why doesn’t he wipe his chin? It’s disgusting.

I mean, apparently he NEVER wipes it. Because the spittle on his chin is in multiple layears, and it’s caked dry. He’s a wealthy slug, he’s got dozens of employees, flunkies and hangers-on. Why isn’t it someone’s job to wipe his chin? If it’s spilling down onto his chest, obviously it’s a chronic problem.

I understand he doesn’t need clothes, that’s fine. He’s a slug, he would find them constricting. And I understand that constant secretion of mucus comes part-and-parcel with being a giant slug. But then why would he allow it to dry and cake on his non-slimy skin? For that matter, why would a giant slug choose to live on a desert planet? Why doesn’t the giant slug do a property swap with Yoda? Jabba would have done very well on Dagobah and Yoda could have added years to his life in the dry heat of Tatooine. But no, the giant slug lives on a desert planet in a palace filled with stairs and narrow hallways far too small to accommodate his bulk. No wonder he spends all his time in his lair, he’s outgrown his hallway. How unhappy he must be.

3. How exactly does Leia manage to strangle a giant slug to death? He has a trachea? Lungs? Why not just dump a vat of salt onto him?

4. My favorite moment in the movie: Lando Calrissian enters Jabba’s lair and adjusts his mask. His eyes are already plainly visible, so obviously he can see, but he adjusts his mask, apparently so that his mustache can see.

5. There’s a scene between Vader and Sidious that goes something like this:

VADER: Those rebels that landed on Endor? My son is among them.
SIDIOUS: Really? How do you know?
VADER: I’ve felt his presence.
SIDIOUS: Really? That’s weird, I haven’t, and I’m ten times more psychic than you are. Oh well, what do you want to do about it?
VADER: Let me go find him.
SIDIOUS: No, I’ve got a better I idea. You stay put and let him come to you.
VADER: You think he’ll do that?
SIDIOUS: Yes. I have forseen it.

Now, I know ROTJ is a sitting duck, and I love these movies as much as anyone, but Huh? Sidious didn’t know Luke was there, but he has already forseen what Luke would do after he got there?

My guess is that there was another half-page of dialogue that got cut.

VADER: You — what — what do you mean?
SIDIOUS: I have FORSEEN it.
VADER: But — a minute ago —
SIDIOUS: Young Skywalker will seek you out and together we will DESTROY him.
VADER: But —
SIDIOUS: I have SPOKEN.
VADER: Well — okay —
SIDIOUS: You doubt my word?
VADER: I — well, your excellency, look, I know you’re the boss and all, but — I just, I gotta say, sometimes I think you’re just fucking with my head.

6. Now, as you all know, in the DVD edition os ROTJ, at the end of the movie (SPOILER ALERT) Darth Vader dies and Luke pries off his helmet, and there’s kindly old Humpty Du — er, Anakin Skywalker, and he and Luke have a moving little scene. Then, later, the teddy bears set Darth Vader’s body on fire and Luke looks over and hey, there’s Alec Guiness and — and — Hayden Christensen.

This isn’t a complaint against Mr. Christensen. He’s proven himself to be an actor of depth and range elsewhere and I’d work with him in a heartbeat. What I don’t understand is, how on earth does Old Anakin Skywalker suddenly get turned into Young Anakin Skywalker for the end of ROTJ? Oh, I suppose one could say that Hayden is the image of Anakin before he turned into Darth Vader, but, but, but —

Okay, I know I shouldn’t even spend my time worrying about this. But one day soon, I’ll be showing these movies I love to my children. And I will be the first to say that I prefer the DVD editions to the versions shown in theaters back in the day. I don’t miss the clunky special effects, the added sequences don’t bother me (well, one of them does) and the transfers are all jaw-droppingly beautiful.

But listen. When I show these movies to my kids, I will, obviously, show them Star Wars (that is, ANH) first. Not because it was the first one made, but because if a child is going to connect to these movies, they’re going to connect to the swift, involving, swashbuckling Episode 4, not the clunky, dense, confusing Episode 1. Besides which, it’s going to be a long time before they’re old enough to watch Revenge of the Sith.

So they’ll watch ANH, then they’ll watch TESB, then they’ll watch ROTJ, and at the end of ROTJ, right when they’re supposed to be learning what this whole thing all means, they’re going to see a funeral for Darth Vader, and Luke looking over and seeing ghosts of Good Old Obi-Wan Kenobi, who turns and smiles at — some guy with long hair. Oh, I get it, everything’s okay because Obi-Wan’s not really dead and in the afterlife he’s reunited with, with some guy with long hair. Who is that? We’ve never seen him before. What was wrong with the scene before? Why does Obi-Wan get to come back as himself, but Anakin only appears as his young self? Why doesn’t Ewan McGregor appear next to Hayden Christensen? Why does Obi-Wan get stuck spending eternity as a seventy-year-old, but Anakin is eighteen forever?
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Who Framed Roger Rabbit?

Quite a step up from The Money Pit, Roger Rabbit is a masterpiece of theme.

It asks one question: what if toons existed in our world? And every scene revolves around this question, with expertly rendered results.

This is what I expect from an eighties Spielberg production: a fountain of imagination and a generosity of spirit that makes other movies seem dull and uninpired in comparison.

The plot, no one here need be reminded, is a direct lift from Chinatown. But look what happens when you change one plot point. Take out the San Fernando Valley, put in Toontown, and you’ve got a whole different movie.

The special effects, while of their time, are so intricately interwoven with the live action you have no trouble believing any of it. And yet somehow, somehow they don’t call attention to themselves. The real-life props are chosen to be perfectly ordinary, keeping the tension between toon and real constant, so that when we get to Toontown (surely one of the most surreal and disorienting sequences in film history) the difference is completely jarring.

Walking the line is Christopher Lloyd, always and still one of the great actors of our day.

And just think! Bob Hoskins used to be a movie star!

Studio Executive: We need a million-dollar peg to hang this movie on. Get me Bob Hoskins!
D-Girl: But boss! He’s a gold-plated movie star! And he’ll only work with Joanna Cassidy!
SE: Do whatever it takes, but GET ME HOSKINS!

And you know, I went looking for this in the Family section of my local video store, and it wasn’t there. I wondered why. And my goodness, how adult this movie is! Toons swear like sailors, meet violent deaths, smoke and drink and have sex.

And then I remembered: the cartoons that Spielberg and Zemeckis are saluting were not always intended for a juvenile audience, they were simply popular entertainments. And when this movie came out, there was no Cartoon Network, these things weren’t being broadcast 24 hours a day, there was barely even a home-video market. The movie was intended to prod the memories of an audience old enough to remember seeing those characters on a movie screen.

And my goodness, when the wall at the end of the picture comes down (oops, spoiler alert) and all those characters come spilling out, it’s almost too much for an animation fan to take.

Can anyone imagine any filmmaker today, even someone with the power of Spielberg, managing to get all those characters into one movie together? The liscensing battles alone would cripple the production, now that all of those characters are worth millions to the studios that own them.

If Mr. R. Sikoryak is out there, can you tell me why Mel Blanc is credited for the voice of Tweety Bird, Bugs Bunny, etc, but someone else is credited for Yosemite Sam?
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