10 Great Things about The Phantom Menace

The year is 1999, and a new Star Wars movie was coming out for the first time in 16 years. To say that people were excited is putting it mildly; no film since – not even the sequel trilogy – has come close to the anticipation the world had for Menace. No matter where you went, you were bombarded with commercials, promotions, toys, and this thing. And on May 19th, my family and I went to the theater, took our seats, and were caught up in the thunderous cheers of the audience as the title finally appeared… And then we were informed that the taxation of intergalactic trade routes was in dispute.

Uh oh.

Two hours later, we walked out into the night, and I was… satisfied. The Phantom Menace wasn’t the masterpiece of escapism I had hoped it would be, but I still liked it. Unfortunately, a lot of other people didn’t, and the film became synonymous with everything that was wrong with Star Wars, becoming the butt of a great many (admittedly hilarious) jokes.

Yet, as the decades have passed, views towards The Phantom Menace have softened, to the point where many in the Star Wars fandom look back on it fondly. Thus, in the spirit of celebrating the film’s 25th anniversary, here are 10 great things about The Phantom Menace.

1. It tells a new story

If The Phantom Menace was made today, it would lean heavily on nostalgia and familiar story beats from previous films (as The Force Awakens would do decades later), but George Lucas didn’t do that. Instead, he told a new story about the twilight of a democratic republic that was rotting away from within, a logical counterpart to the original trilogy’s saga of fighting to save the galaxy from a fascist empire. And while we do get some returning characters and locations from the original trilogy, almost everything else in Menace – from Naboo, Coruscant, Luke and Leia’s mom, a look at how the galaxy’s government runs, and our very first look at the Jedi order – are fresh and unique. Even if the story didn’t quite work out as fans had wanted, Lucas is to be commended for trying something new and not just re-telling a story that had already told.

2. Qui-Gon Jinn

While it’s great to see Obi-Wan Kenobi in his younger years (played wonderfully by Ewan Mcgregor), my favorite character of Menace is his tutor, Qui-Gon Jinn. Jinn is a fascinating Jedi who, instead of the orthodox Obi-Wan and dogmatic Yoda, seeks to follow the spirit of Jedi law instead of its letter. He believes in focusing on the moment, listening to the Force, and doing what’s right, regardless of what others think, even if it involves bending the rules to achieve a greater good. But most of all, he’s a good man who doesn’t talk down to others:

With Liam Neeson’s warmth, focus, authority, and just a touch of mischievousness, Qui-Gon remains my favorite Jedi in the Star Wars saga.

3. Anakin Skywalker

Much has been written over the years about how ill-advised it was to have Anakin Skywalker be a 9 year old kid in Menace, and even more has been written about Jake Lloyd’s portrayal of the galaxy’s most infamous Jedi. While I agree that it probably would have been better to introduce him as a teenager, I still think Anakin’s fine in the film; he is, after all, a 9 year old boy and acts like it. And much like how even Sauron was not evil in the beginning, I liked seeing the boy who would be Vader as an innocent kid who – despite being a slave his whole life – is still compassionate and helps total strangers without any thought of reward. It’s a refreshing reminder that Vader didn’t start out as an evil little brat who enjoyed force-choking other kids who stole his blue milk at lunchtime, but an ordinary person who could do either great good or great evil.

4. The Prophecy of the Chosen One

Perhaps no other trope has been done to death than prophecies about chosen ones who will save the world, and Star Wars has its own with the prophecy of the one who will bring balance to the Force. But Menace smartly and cleverly uses this trope to add a whole new layer of depth to Anakin. In the original trilogy, he was little more than glorified muscle for the Emperor, but here we learn that he was created by the Force itself to bring balance, turning Vader into a tragic figure who could have been the most powerful and most famous Force user in history, but became a cripple who lost everything due to his fear of loss. This twist is an excellent example of a prequel enriching a previous story by adding more complexity that originally didn’t exist, letting us see beloved characters in a new light that makes them even more compelling than before.

5. The Jedi Order aren’t the heroes we thought they were

Throughout the original trilogy, the Jedi were revered as mythical beacons of truth, justice, and the American way. In Menace, we finally see them in their heyday… and discover that they’re a dogmatic, self-righteous cult. While the corruption and fallibility of the Jedi would be explored in subsequent movies (and get really torn apart in The Last Jedi decades later), Menace shows how, as the Republic became corrupt and decayed from within, so too, did the Jedi order, and nowhere is this more telling than when the Jedi council tests Anakin:

Rather than being compassionate and understanding towards this little boy who has do to leave everyone and everything he’s ever known to follow a dream, they treat him with contempt and refuse to take him on because he’s too old, revealing that the Jedi – for all intents and purposes – brainwash children into their order without giving them a choice on if they want to join or not. And in one of the saga’s biggest twists of irony, this lack of compassion and decency towards Anakin sows the seeds of the council’s own destruction at his hands years later. (Notice the death-glare Anakin gives Mace when he says that Anakin won’t be trained.)

The Last Jedi may have been mocked for trying to subvert audience expectations, but Menace did it first by making the Jedi order horribly flawed instead of morally pure defenders of the light. While their individual members may be good beings dedicated to doing what’s right, their organization was as decayed as the Republic they served.

6. The Beauty of Naboo

While Tatooine once again comes back to showcase its endless seas of sand, dirt, and rock, Menace takes us to two new planets: Coruscant and Naboo. Coruscant is a breathtaking example of a city-planet, but Naboo easily takes the award for the most beautiful planet in the Star Wars universe.

With beautiful rolling green hills, towering waterfalls, Byzantine buildings, and Baroque/Rococco interiors, Naboo is a gorgeous example of a sci-fi society that has achieved harmony with nature, and becoming a place you’d actually want to visit and live in. (Yeah, electing pre-teens to be their leaders is an odd quirk, but eh.)

7. The Podrace

If someone asked you to imagine The Phantom Menace with a single scene, the climactic lightsaber fight at the end would probably come to mind. But coming in close behind would probably be the podrace, and with good reason: ILM pulled out all the stops to create a fast-paced, exciting, outer-space remake of the legendary chariot scene from Ben-Hur, and they succeeded.

While its story purpose is a bit silly (Anakin needs to win so that his new friends can get a new engine for their spaceship), the sequence is a visual and audio marvel, and gives Anakin a chance to show off his mechanical and piloting skills. It’s a scene like no other in the Star Wars saga, and a thrill ride no matter how may times you see it.

8. Sio Bibble

There’s a politician in the Star Wars universe named Sio Bibble who looks like he’s a human-sized gnome. I love it!

9. Duel of the Fates

It may still be affectionately mocked 25 years after it was released, but The Phantom Menace does one thing perfectly, and that’s the legendary battle between Obi-Wan, Qui-Gon, and Darth Maul at the film’s climax. Before the film came out, lightsaber fights were slow, grounded, and realistic duels between inexperienced moisture farmers, old men, and asthmatic space cyborgs. But here, George Lucas showed what duels were like between Force-users in their prime with jumping, flipping, and multiple combatants, double-bladed lightsabers, and one of the most incredible pieces of music John Williams has ever composed. Lucas succeeded so well that this type of fighting remains the standard in all Star Wars media to this day, and the fight itself remains arguably the most epic in any of the films.

But beyond the exciting visuals and music, there’s a deeper theme at work here: This fight isn’t just about Jedi fighting Sith, but is a duel for the fate of Anakin’s soul. If Qui-Gon won, he could have potentially helped Anakin stay in the light… but Obi-Wan was left to take up Anakin’s training, a move that, as he will admit to Luke many years later, had disastrous consequences for the galaxy.

10. The Phantom Menace

Though there are deaths, military occupations, and Anakin leaving his mother, The Phantom Menace is a lighthearted story that ends on a happy note: Naboo is liberated, Darth Maul is vanquished, The Trade Federation can kiss their trade franchise goodbye, and Anakin begins his Jedi training… but as the film’s credits come to an end, and the final, quiet notes of Anakin’s theme fades out, we hear the distant echo of Darth Vader breathing.

For years, I’ve just enjoyed it as a chilling easter egg reminding us of Anakin’s dark destiny, but it wasn’t until recently that I realized that, in a way, Anakin himself is the Phantom Menace. Though Palpatine is the greatest evil in the Star Wars galaxy and has started his plan to gain ultimate power, it’s Anakin who will destroy the Jedi, terrorize the galaxy, and, in the end, kill Palpatine. He’s the ultimate threat to everyone in the film, and no one – not even Palpatine himself – suspects this. Thus, hearing Vader’s breathing is a reminder that while Palpatine is the one calling the shots, it’s Anakin who will bring them all down.

Those are my favorite ten things about The Phantom Menace. What are yours? Sound out below in the comments!

What we can learn from: ‘Killer Fish’

NOTE: My apologies for posting this two days late: Christmas and all it’s related fiascos has been taking up more of my time than I expected.

https://youtu.be/dnqKrZNd9K0

Forget Jaws. Forget ‘Deep Blue Sea’, ‘47 Meters down’ or ‘The Shallows’. If you’re looking for man vs killer aquatic animal action, look no further than the 1979 Italian caper, ‘Killer Fish’, a gripping, heart-pounding tale of criminals vs some of the most ferocious fish ever known to mankind!

Okay, it’s not that exciting. Or quick-paced. Or even on league with the aforementioned films. ‘Killer Fish’ won’t win any awards or be remembered out of bad film circles, but with its beautiful scenery, silly effects, and groovy 70’s soundtrack, it’s good for a laugh or two. Let’s dig in and see what writers can learn from this tale of diamond thieves vs fish.

When doing a killer monster movie, give a tease of your monster at the beginning

It may be a cliché, but giving your audience a tease of the monster at the beginning of the story (without fully revealing it, of course) gives them a delicious tease of the carnage to come after the inevitable first-act setup. In ‘Killer Fish’, however, the piranha are nowhere to be seen for the first half hour, as the film instead focuses on people blowing up a refinery, stealing diamonds, and then sneaking through a jungle and starting to argue with each other at a resort, leaving the audience wondering if they came to the wrong movie by accident; they came to see piranha wreaking havoc, not a criminal heist movie.

As a writer, keep the characters, plot, and action tied to the killer monster, even in the first scene: Imagine ‘Jaws’ without the opening attack; the film would have a much slower, less interesting start, and a bored audience will quickly become an audience that walks away.

Consider having the antagonist’s plan to use the monster backfire

Unlike most monster stories, where the beasts are either discovered or accidentally released to wreak havoc, ‘Killer Fish’ is unique in that the leader of the thieves release the piranha into the lake to guard ‘his’ diamonds, a refreshing change from the usual ‘monsters are accidentally released or are discovered’ storyline we frequently get. What’s great about this subversion (beyond giving the main antagonist an admittingly clever idea for guarding the treasure) is that it also sets up the inevitable moment where the antagonist is done in by their own plan, which is always a crowd pleaser.

Unless you’re going for a jumpscare, foreshadow big events in your story

When the piranha finally claim their first victim, the moment we’ve been waiting a half hour to see, it happens so quickly that – aside from seeing some terrifying bubbles – there’s no foreshadowing of the piranha’s attack. We, the audience, expect that the diver will go down, there’ll be a minute or two before something happens, and… oh, wait. He’s already being attacked. Nevermind.

There’s something to be said about giving audiences what they want in a monster film, but it’s important to remember that building up to the carnage makes the payoff even sweeter. Knowing that they’re finally on the verge of seeing the juicy bits lets creators ratchet up the tension and suspense before a monster attacks. This also applies to non-monster attacks; “Killer Fish’ features a tornado that destroys a dam, unleashing a tidal wave. The problem is, there’s no foreshadowing, or even hints about the tornado’s appearance, making it feel like something the script threw in to keep the plot moving, instead of a well-thought out event that feels logical and not a Diabolus ex Machina.

Consider having your character’s place of refuge slowly fall apart around them

Much like ‘Deep Blue Sea’ 19 years later, ‘Killer Fish’ smartly has the characters trapped in a location that’s slowly sinking, meaning that if they don’t find a way to escape to shore, they’re doomed to a terrible, fishy death. By preventing them from just sitting around and waiting for rescue, the story ensures that they have to stay active and work hard to ensure their survival, which keeps things moving forward. Even better, almost all those on board are thieves who want the diamonds and are willing to betray each other to get them, making their interactions more interesting than ordinary people just trying to stay alive.

Consider having your jerk have one completely selfless moment of compassion for others

Ollie the photographer is a pretty standard camera snob who’s only interested in getting his shots throughout the film (but with Brazil’s gorgeous scenery, can you blame him?). But in a smart move, Ollie does get one good moment on the sinking boat where he tries and help an injured crewmember without any ulterior motives. While he’s not the standard, ‘heartless, smug professional who’s not interested in helping others’ type, it is a nice, effective redemption moment for him.

Having a selfless moment for your own jerk characters allows you to make them more interesting: Imagine a snob who is mean to everyone they meet throughout your story. They insult, put down, and offend everyone they can, just because they can. Then, imagine that they’re seen handing out food and supplies to the homeless in subzero weather without any regard to their own comfort. Though it won’t automatically make them a well-rounded, compelling character, such opposites will help in developing them, and maintain the interest of the audience.

Consider having two characters who hate each others guts declare a truce during a bigger disaster

It’s always interesting to see character who hate each other’s guts being forced to work together, which is what happens with Robert and Paul, who have to put aside their desire to kill each other to survive piranha who want to kill them both… at least, until they can both survive long enough to try and kill each other again.

While mutual survival is the most common reason for enemies to work together, writers have a great opportunity to try many different things with such a relationship:

*The two can learn to like each other and become friends.

*The two work to irritate each other as much as possible.

*The two gain a begrudging respect for one another that lasts after the crisis has passed.

*The two still try to kill each other at every available moment.

*The two immediately fall in love and marry each other (not likely)

The possible outcomes for such a relationship are almost endless; few storytelling techniques leave your audience completely in the dark on what can happen, making for compelling drama, comedy, or whatever genre you want to explore.

If you’re doing a monster story, have the monsters be the focus of said story

Perhaps the biggest error ‘Killer Fish’ makes is that it’s not a movie about killer fish: it’s a film about thieves betraying each other and trying to get some diamonds while having to deal with the inconvenience of piranha stopping them from getting away with said diamonds. Most of the film revolves around them betraying each other, with the aquatic menace being regulated to a subplot, instead of the other way around.

No matter your genre, remember to keep the focus on what your audience came to see, whether it’s monsters, a natural disaster, aliens, etc. To use ‘Jaws’ as an example again, imagine if the film revolved around Brody and Co. fighting to save Amity’s only seafood restaurant, with them having to fight the shark to retrieve the sunken deed to the building. Yes, they’d still blow it up, but at the end of the day it would be about saving a restaurant, not saving Amity from a killer shark. Audiences would be disappointed that they didn’t get a shark-focused story, and would be angry at having been tricked into seeing a story about saving a restaurant.

The Takeaway

When doing a monster movie, keep everything focused on the monster, including opening with a tease of its fearsome abilities, foreshadowing its appearance later on (along with any other disasters that might occur). When everything falls apart, consider having your character’s place of safety slowly fall apart, forcing two characters who hate each other to work together for survival, giving a jerk a chance to do one truly selfless, charitable act.