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4.0 out of 5 stars
Politics, intrigue, and the boy who would be Vader....., April 29 2004
I have been fascinated with screenplays and the art of writing them since I read my first copy of Carol Titleman's The Art of Star Wars, a trade paperback which, along with production paintings, costume designs, photos of models, composites, and storyboards, contained the uncut fourth draft of Star Wars: Episode IV A New Hope. (This, by the by, was the first time I saw the new moniker for the film everyone still calls "Star Wars.") In that book, I not only read lines of dialogue and relived some of my favorite movie moments (this was before I owned my first VCR), but I also saw scenes that had been left out of the final film, either left unshot or deleted after filming (such as Han's encounter with Jabba the Hutt.)Shortly before the premiere of Star Wars Episode I: The Phantom Menace, I was stunned when I saw The Illustrated Screenplay and Terry Brooks' novelization at my usual bookstore. Lucas had clamped down on the release of the Return of the Jedi novelization 16 years before (to prevent certain plot revelations from getting out too soon), and I had expected him to do the same with The Phantom Menace. Being the dedicated Star Wars fan that I am, I bought both and read them as the soundtrack album played in the background. The Illustrated Screenplay's version of The Phantom Menace differs somewhat from the finished movie. It is essentially the same, of course, following the Naboo Crisis from the arrival of Qui-Gon Jinn and his Padawan Obi-Wan Kenobi aboard the Trade Federation flagship to the parade at Theed. However, in an attempt to cut the film's running time to just over two hours, several heavily political scenes set in the Galactic Senate were nixed, which in a way helped the film. Sadly, a few lines which I really liked, including one involving Obi-Wan and a shorted out lightsaber, didn't make it to the finished film. (Other scenes, which were filmed but later deleted, can be read in their entirety and in context; it's up to the reader to decide whether or not deletion was necessary.) To me, reading the screenplay ahead of the May 19, 1999 premiere enhanced rather than detracted from the enjoyment of the picture. In fact, even while I was watching the much maligned Episode I (I think I am one of only the few non-Lucasfilm-connected persons on Earth who really likes The Phantom Menace) I not only understood what Palpatine was up to, but I could also see parallels between Anakin Skywalker's experiences and his son Luke's in Episode IV (which is set 32 years later). The storyboards presented in this book are only a fraction of the thousands used during the pre-production stages, yet they give the reader a hint of the film's visual rhythm and energy. They are almost as good as the ones by legendary visual artist Joe Johnston, who worked on the more popular "classic" Star Wars trilogy more than 20 years ago. For anyone interested in the finer points of screenplay writing and/or the strengths and weaknesses of the prequel saga, Star Wars Episode I: The Phantom Menace: The Illustrated Screenplay is a good reference. Alex Diaz-Granados
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