Year of an Indie Writer: Week 51

I think we all know what event sucked the air out of everything this week: The premiere of Star Wars: The Rise of Skywalker.

My family and I caught the 6pm showing on Thursday night. The theater wasn't packed, but there was a sizable audience. My one-sentence blurb is this:

"Star Wars: The Rise of Skywalker is a rousing, joyful, exuberant, and emotional film that not only successfully brings to a close the story of one family, over nine movies, and 42 years, but does so in a manner that is both nostalgic and fresh."

I'll have more thoughts after I spend more time thinking about it and seeing it again.

The event also prompted me to write an open thank you letter to George Lucas, because without him, none of this exists.

An Open Thank You to George Lucas

I'll have a more detailed movie review at a later time, but I need to say this first:

Star Wars: The Rise of Skywalker is a rousing, joyful, exuberant, and emotional film that not only successfully brings to a close the story of one family, over nine movies, and 42 years, but does so in a manner that is both nostalgic and fresh.

The payoffs are great, some hearken back four decades while others reach back only minutes. Could I find quibbles? Sure, but as a lifelong Star Wars fan, one whose mind was blown open in 1977 by George Lucas's film, this movie did everything I wanted it to and left me sitting in my seat, watching the credits scroll, awash in the music of John Williams, tears in my eyes, knowing my journey with this story is over.

And I am so grateful for it.

Star Wars helped shape me as a youth, a movie watcher, a music listener, a storyteller, and as a creative, imaginative person. I am so glad to have grown up with and experienced it all from the very beginning. It has truly been the adventure of a lifetime.

To all the thousands of people who have made these movies, and to the countless creatives who were inspired by Star Wars, y'all have enriched our lives beyond measure.

But the deepest thanks goes to one man, from whose mind this magnificent story sprang.

Thank you, George Lucas.

Thank you for dreaming, for coming up with this universe, driving to get it created, and sharing it with the world. It has provided the connective tissue for millions of people to imagine, to come together, to create, and to share ourselves.

Your Force will be with us. Always.

Indiana Jones and the Last Crusade at 30

The first major movie of the summer of 1989 was the third Indiana Jones film. It was five years since the second film of the trilogy--Temple of Doom--and the buildup was pretty intense.

It was also well worth the wait.

A Return to the Original Vibe

After my recent re-watch of Temple of Doom on its 35th anniversary, I naturally migrated to Last Crusade for its 30th. Of the two, I know Last Crusade much better largely for two reasons. One, the soundtrack is, more or less, chronological with the film. Since it is one of my favorite soundtracks John Williams ever wrote, I listened to it constantly, internalizing much of it. Two, I had the best summer job ever in that magical year: I worked in a movie theater. I got to slip inside the theater and catch snippets of the movie. In an era before the Internet, I was able to memorize chunks of the movie.

For obvious commercial reasons, Spielberg and Lucas turned their attention back to a Middle Eastern setting and a Judeo-Christian artifact. It worked. They also added Indy's father to the mix, which was brilliant. Loved it in '89. Still love it in '19.

Brody and Sallah Return

It was always great to have these two characters return for the third film. Sallah was pretty much the same, but Brody changed. Well, not entirely. In Raiders, he was the man who said if he was younger, he'd go with Indy. In Last Crusade, right up to the point where he says, "I'll tell him [Donovan] we'll take two [tickets]," he's the Raiders version of himself.

The very next scene, he's already a worry-wart. What gives? Sure, the punchline after Indy convinces the Nazis that Brody could blend in is funny--as is the comment about getting lost in his own museum--but it does disservice to the character. Would have liked him to remain as he was.

The Music is Magical

Still remains one of my all-time favorite soundtracks. Especially loved the music accompanying the motorcycle chase. "Scherzo for Motorcycle and Orchestra" I believe it's called. We even played it in college marching band.

Love the musical cue when Donovan opens his eyes after drinking the water from the fake grail.

New Things I Noticed/Wondered

Speaking of that scene, I wondered if Elsa picked the wrong grail on purpose?

When Indy returns with the magical water, Brody crosses himself. Never noticed that before.

This is the first time I've seen this film all the way through since I became a dad. Henry's calm mention of Indy's preferred name, "Indiana," at that crucial moment brought the emotions to the front. I knew it was coming, but I hadn't experienced it from this side of parenthood. It means everything.

The Sunset

In 2019, we are on the other side of Kingdom of the Crystal Skull and still awaiting a potential Indy 5. This re-watch of Temple of Doom and Last Crusade pretty much means I'm going to re-watch Crystal Skull. But I still contend they should have stopped with Last Crusade.

They literally rode off into the sunset. What better ending is there?

Indiana Jones and the Last Crusade. What better way to kick of the Summer of 1989?

Indiana Jones and the Temple of Doom at 35

I didn't get to see Indiana Jones at the Temple of Doom on opening day because of school. And my parents.

Back in 1984, I was finishing my freshman year of high school. It was Finals Week. Some of my friends were going to see the movie opening day. My parents said no. It wasn't a full no. It was a no until after finals. I grumbled, knowing I wouldn't be able to see it opening day. But I ended up seeing it.

As a youth, I loved it. It was an Indiana Jones file. What's not to love? Temple of Doom was different than Raiders of the Lost Ark. Not bad. Different. I loved seeing Short Round, a few years younger than my fifteen-year-old self. The love interest, Willie Scott, was not Marion Ravenwood. The music was fantastic. And seeing Indy/Harrison Ford react to the blood of Kali was pretty gripping stuff.

Over the years, I've rarely rewatched Temple of Doom. Once Last Crusade came out, it eclipsed the second movie in my list. Then, when Crystal Skull was released, Temple of Doom was no longer the "worst" Indy film. That's a misnomer. Temple of Doom was never the worst. It was just third in a great trilogy of films.

Now that we've had the 35th anniversary, I felt it was long past time to revisit the movie. I've got a lot more years in me--and a many more stories--so I was able to appreciate Temple of Doom on its own.

The 2019 Verdict

And I really enjoyed it. Yes, it is definitely different in tone, but that's what Lucas and Spielberg wanted. They wanted the darker sequel/prequel to the bright first entry. Granted, Raiders was plenty dark. The vibe Lucas and Spielberg seemed to be going for was the scary adventures of the pulp magazines of the 1930s. I've read and studied much about the pulps by now, and I can easily see they got what they wanted.

I also appreciated Indy's choices in the movie. For all of his heroics in Raiders, he was on a mission for someone else. Well, something else: the US government. In Temple of Doom, Indy is out for himself. He's figured out the missing sacred rock of the village is one of the Shakara Stones. "Fortune and glory" is what prompts him on the journey, but the missing children is what grips his heart.

This is the first time I've watched this movie as a dad. I viscerally felt the anguish of the parents this time. What if some ancient evil took all the children? What if it took my child? What would I do?

What Indy did. His utterance of "All of us" right as he starts the children revolt is striking. Always was, but when you're a fifteen year old, you don't get it as much as you do when you're fifty.

Which made the reunion of the kids with the parents so much better this time. I know all those folks were actors but dang, did the emotions come during that scene. Well done.

I noticed how Ford lightened up Indy a little bit. Despite the darkness of the film, Indy himself is mostly light, especially with the interplay between him and Willie and him and Short Round. I'm sure Ford shaped the character in this manner, and I enjoyed it.

The music! 

I haven't heard this music in a long time, but I was humming it all the time after the re-watch. "Short Round's Theme" and "Mine Car Chase" are as great as always, but "Slave Children Crusade" was extra special this time. 

And I didn't even mind Willie's screaming all the time.

In all, I again thoroughly enjoyed re-watching Temple of Doom.  And no: I cannot believe it has been thirty-five years!

With the Temple of Doom anniversary and Last Crusade anniversary (30, all part of the magnificent Summer of '89 at the movies), I think you know what's coming next.

The Phantom Menace at 20: A Re-Watch and Re-Examination

It was a Star Wars event sixteen years in the making. It was eight years after Timothy Zahn's Heir to the Empire novel filled the void some wondered if anyone wanted filled. It was two years after the triumphal return of the original trilogy returned to the theaters with new content.

And that first trailer was spectacular. Everyone in my office all but crashed the system downloading it and watching it over and over again. New worlds. A young Obi-Wan. And a double-bladed lightsaber! This was going to be an awesome movie!

My wife and I went on opening day. We were engaged and this was the first new Star Wars movie we would share together. She's not the geek like me, but I hoped my enthusiasm might extend a little to her.

She was excited for me...

The music was, of course, fantastic. It was John Williams. What did you expect? Some of the new themes, especially "Dual of the Fates," stands as one of the best pieces of music he's ever done. Someone intermixed this piece of music with dialogue and sound effects from the movie and it's still my favorite thing about this film.

The novelization by Terry Brooks is actually quite good. There's more in it than just the movie. In fact, all of the Prequel novelization are good, and all on Audible.

But what about the movie itself? Well, over the last twenty years, Phantom Menace kept getting bumped lower and lower on the all-time best Star Wars movie list. Well, there's always Attack of the Clones. All of my thoughts about Phantom Menace are now something like fourteen years old. The last time I can remember seeing Episode I was leading up to Episode III. Now, with the twentieth anniversary today, I broke out my DVD and watched Episode I once again.

The verdict?

Well, first some thoughts.

Thoughts on the Movie

Opening sequence - pretty darn good. The Jedi are in full command. Up until now, we've only heard stories about the Jedi. Now we see two. When Qui-Gon sticks his lightsaber in the door and starts to melt it, that is tres cool!

Jar-Jar Binks - Yeah, when we first see him, he's really difficult to understand. But he's not that bad at first. He's a local. Qui-Gon saved him. Jar Jar becomes their guide. What makes the whole Gungan part neat is that we get to see an underwater world in the Star Wars universe. Something new! As the movie went on, however, and I accepted Jar Jar as what he is--comedic relief although at times, he's not that funny--he wasn't as annoying as I remember. Well, he's still annoying at times. And I would have liked for him to rise to the occasion, like in the big battle scenes at the end. But I didn't dislike him as much as I remember.

Anakin as a kid is jarring. Yes, every adult bad guy was once a kid, but it's still a little weird. It is what it is. And Jake Lloyd does his best. Like Jar Jar, I actually found Anakin as a kid less annoying this time. And dang if his phrase "Now this is podracing" right after he blew up the droid ship was a pretty nifty moment.

Coruscant - First heard about in Zahn's trilogy, and seen briefly in the special edition of Return of the Jedi, now, we get to see it writ large.

"He was meant to help you."

So, Qui-Gon and Obi-Wan (QGJ and OWK from now on) just happen to land on the desert planet that happens to have Anakin on it, a boy we are led to understand was the result of immaculate conception. By the midi-chlorians. Is that how it works?

Or did the Force direct  QGJ or OWK to Tatooine?  When Shmi Skywalker says what she says, is this the moment she knew was coming? As the mother of a Force-sensitive person, does some of it stay with her?

Speaking of this, QJG's actions regarding Anakin are rather....self-serving, right? He basically swoops in and takes Shmi's son away because of the Force? Isn't that the kind of Jedi attitude Luke Skywalker eventually rebels against in The Last Jedi?

"Finding him was the will of the Force," QGJ says. Maybe that really is the simple answer.

On the subject of Qui-Gon Jinn, he's a pretty interesting character. In all the movies, he the only one who refers to The Force as the "The Living Force." That's a fascinating concept, something Yoda told Luke about but doesn't get much time in the subsequent. I would have liked more of this philosophy explored. Maybe it is in the novels. If so, please let me know titles.

In some of the novels, Qui-Gon's spirit communicates with Obi-Wan and teaches him how to become one in the Force. His Force Ghost shows up in the novel of Attack of the Clones. How cool would it be if Qui-Gon shows up in Rise of Skywalker.

A thought just occurred to me: in the thirty years since Return of the Jedi, Luke studied the history of the Jedi. He learned about Qui-Gon and the Jedi Master's role in discovering Anakin. With Qui-Gon basically being a Jedi Rebel, might Luke's actions in The Last Jedi be more akin to Qui-Gon than any other Jedi?

Oh, and this time watching Anakin leave his mother behind? Well, that'll be me next year. Didn't even affect to me back in 1999. Now, all the emotions come to the front.

The Lightsaber Battle is Awesome!

As I think over all the lightsaber battles we've had to date, I think the one between OWK, QGJ, and Darth Maul might be the best. It in itself is a three-act play. Finally, we get to see three combatants, each at their prime, fighting each other with all their skills. A villain who can hold his own against two Jedis. Excellent stuff.

The Verdict

Twenty years ago today, I watched The Phantom Menace for the first time. Then, it was new, the first new Star Wars film in sixteen years. I remember loving it, but I had doubts. Over the years, I relied on my memories or memes to remember what happened in this movie. But there's nothing like watching it again to either reinforce what I remember or form a new opinion. That's what I did yesterday.

And, dang, if I didn't enjoy it. Actually I enjoyed it quite a bit. Yeah, Jar Jar was still annoying at parts--like when he and QGJ and OWK jump from the balcony and saved the queen, Jar Jar slips on the rampart and squeals--but I found myself getting into the show even though I knew what was on the way.

But keep this in mind. Up until 1999, George Lucas always talked about how he saw Star Wars in his head and, up to that time, it had never materialized on screen. The Phantom Menace was the first one where he had complete control and all the money to realize his vision. Attack of the Clones and Revenge of the Sith are just more of the same. Lucas's vision was fully realized with The Phantom Menace.

And, visually, it is stunning. The worlds. The ships. The aliens. It all came together.

In an odd bit of ironic timing, I'm listening to the six-part podcast series called Blockbuster. It's about how Lucas and Steven Spielberg created Jaws, Close Encounters, and Star Wars in the 1970s. Lucas's vision of the original Star Wars was a great adventure with heart. The Phantom Menace doesn't have as much heart as Star Wars, but it's clearly in that wheelhouse.

So I've changed my mind on The Phantom Menace. It is not as bad as I remember. It's actually a pretty decent movie, and I thoroughly enjoyed the re-watch.

Spielberg, Lucas, and Williams: The Blockbuster Podcast as Old Time Radio

Aural perfection.

That's what I think about Blockbuster, the six-part podcast that focuses on the friendship of Steven Spielberg and George Lucas in the 1970s. The third member of this revolutionary team was composer John Williams.

Look, I would have listened to a plain old podcast just reciting the events of these visionary directors in the 1970s as they created from whole cloth the blockbuster movie. I am part of the Star Wars generation. I never tire of hearing or watching World War II histories, so, too, do I never tire of hearing about 1970s film making.

But creator Matt Schrader went one better. He scripted this story as if it were an old time radio. Don't be fooled by this phrase. This movie-of-the-mind is utterly current, with the latest technology brought to the sound design, that makes me hopeful things like this might come around more often.

I can't even be sure how the podcast popped up on my radar in the last week or two, but it did. Five of the six episodes are available. Like I said, I'm a sucker for this stuff, but by the first few minutes of episode one and I was hooked. It is an excellent piece of craft, and the storytelling is rich and immersive.

How immersive? Well, when they get to late 1976 and early 1977 when each director faced massive challenges to complete their respective films, you're actually wondering if they'll get the movies done. In fact, in episode 4, there's a moment with the Star Wars production that actually made me swear under my breath...and I knew the end result!

The voice cast is stellar. I don't know their names, but the folks who bring Spielberg, Lucas to life, as well as their friends Francis Ford Coppola and Martin Scorsese are spot on. And don't get me started on the casting calls for Han Solo.

Heck, I even learned something about John Williams I never knew.

 I'm starting episode 4 later today on my home commute and I think episode six drops next week. It'll end up being a three-hour movie for your mind.

Just give it a listen. If you're even remotely interested in the stories of these two friends and rivals, you'll have a blast.

UPDATE:

Now, I've listened to episode five, the one where the characters first hear the music John Williams composed for Star Wars. At the time, Lucas was quite depressed. He didn't think his movie would be very good. It wasn't well received by his small group of peers. The executives at Fox, including champion Alan Ladd, Jr., had all but given up and expected a flop.

There, Lucas sat in the recording studio in London. There, Williams stood on the podium, ready for that initial baton drop.

And the music started.

I've always been an easy cry, but just hearing this famous music in this one scene, knowing the stakes, it was emotional. Goosebumps and some extra tears behind the lids.

It was a great moment in this incredible series and in the history of cinema. That the creators of Blockbuster nailed it as well as they did is yet more proof how good this podcast series is.

UPDATE 2:

Episode 6 dropped this morning and I couldn't wait for my morning commute.

And I was incredibly rewarded.

What makes Blockbuster so magical is the intimacy of the story. Now, in 2019, Lucas and Spielberg are legends, larger-than-life masters of film, but in the 1970s, they're just young directors trying to make things work despite uncountable challenges and setbacks. Matt Schrader wrote the scenes you wished you could have witnessed. Not the interviews or awards ceremonies, but the ones where George and Steve just talk. Brilliant.

The best thing about episode six, titled "May 25, 1977," is how the characters learn about the success of Star Wars. We know what happens, but George, Steve, and Marcia Lucas in Blockbuster don't. Wonderful. I actually had goosebumps ripple across my skin when Marcia looks across the street and realizes the line around the Chinese Theater is for "You're movie, George!"

A large part of this podcast series features the music of John Williams. Perhaps the best scene in the entire series was when George heard the Star Wars theme the first time. When you have Williams's music, I imagine it would be a difficult challenge to compose original music. But Ryan Taubert and Benjamin Botkin knocked it out of the park. There's a special magic when you watch movies like Star Wars, Jaws, Raiders of the Lost Ark, ET, Superman, Jurassic Park, and Harry Potter 1 when the visuals on the silver screen and the music you hear instantly transport you. Taubert and Botkin nailed the intimate vibe of this series. How good is the music? If I didn't know any better, I would have sworn John Williams himself wrote the score.

It's one thing to have content like this available for free. But it's another thing entirely when, upon completing the entire broadcast, I happily headed over to their site and donated money. It's one of the best investments you can make. I can't wait to hear what comes next.

How good is this nearly three-hour Blockbuster podcast series? It's one of the best films of the year. Never mind that it's audio only. In some ways, that makes it better.

Well done, everyone involved with Blockbuster. Very well done.