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Why do people prefer the Disney Trilogy to the Prequels?


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I’m sorry but if a diverse cast is really that distracting to a viewer I have exactly no sympathy.   Watching the new trilogy I never once found myself conscious of the fact I was watching a

I find AOTC in no way an improvement over TPM personally.   Those "love scenes" are rank!

Because they are much more entertaining!!  The characters in the PT, other than Obi Wan and Palpatine are awful.  The acting is awful.  The dialogue is awful. Anakin's turn is awful.  It didn't appear

Lucas definitely had the broad brushstrokes of a plan for the prequel trilogy, though.

 

He always had in mind for Anakin and the Princess to fall in love, intending to dedicate the bulk of the second film to it, and then making it (being a love forbidden by the Jedi order) the instrument of Anakin's fall. He always intended for Boba Fett to appear as a clone in the second film, and explore the Clone Wars, he obviously always intended for Palpatine to be Darth Sidius, etcetra.

 

Its not much, but its there, and while it does often help the prequel trilogy, I'd be lying if I said it makes it superior to the sequel trilogy. You just can't replace the craftmanship of those films.

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2 hours ago, Gruesome Son of a Bitch said:

I like how Lucas was always ahead of the curve with his storytelling in the prequels. They're about the rise of tyranny and feature attempts to remove a tyrant from office.

A few of the deleted scenes of Revenge of the Sith featuring Padmé and other senators, namely Mon Mothma, would've made for great intrigue in the film had they been kep. I know people would instantly complain it's more boring politics, but I thought they were quite important at showing the unrest and uneasiness surrounding Palpatine's alarming thirst for power and eventual tyranny. As I've previously mentioned how maligned they are, I believe the real creative endeavor Lucas had for the Prequels was in Palpatine's character, at least that's where he seemed to be wanting to focus the story.

 

Alas, there simply wasn't enough time in the film to dwell too deeply on the multiple story threads of the film.

 

 

3 hours ago, Chen G. said:

If it is a problem, its a minor one to be sure.

 

My issues with The Last Jedi lay elsewhere entirely.

Indeed. It's a small issue but one which only feeds the haters. It gives them focus. Makes them stronger...

 

 

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2 hours ago, Chen G. said:

Its funny, people not only bitch and moan about the lack of a plan for this trilogy when the classic trilogy is just as "tainted" by it; but they also forget that the prequel trilogy wasn't much better off for having a plan.

 

Its very lobsided actually. There's nothing in TPM that is important in the later films save the fact that Anakin meets Padme and gets trained as a Jedi. And Chancellor Valorem gets deposed.

 

All the trade federation stuff, Naboo and the Gungans, and all the world building there, isnt really relevant to what happens next.

 

ROTS on the other hand is an incredibly overstuffed film.

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Yeah, that's the puzzling thing: he clearly had this little outline and yet his first film does very little to forward the overriding narrative. You could almost start watching the trilogy in Attack of the Clones and not miss a beat.

 

Goes to show that the only way to construct a truly cohesive trilogy is to shoot the whole thing in one go. An outline is nice, but by its very nature it changes when you have to actually write a script out of it, and then again when you write the script to the next film.

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The Phantom Menace was the last time Lucas really tried to expand the Star Wars universe IMO, after that it was back to basics with stormtroopers, Imperial March, fairly predictable stuff.  I think TPM doesn't get enough credit really, it's a nice family movie and I always thought that.  Attack of the Clones is truly bad, easily the worst Star Wars movie to this day.  ROTS was pretty decent but I think TFA is better, personally.

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1 hour ago, Stefancos said:

I think people absolutely hating Jar Jar might have something to do with it.

 

Oh, Jar Jar was obviously intended to be an integral part of the "gang" for the whole of the trilogy, but fan reaction led Lucas to dial him back. That's actually an instance where a filmmaker wasn't so obstinate as to stick with something that clearly didn't work.

 

I hear Rose has been treated similarly here?

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18 minutes ago, Chen G. said:

 

Oh, Jar Jar was obviously intended to be an integral part of the "gang" for the whole of the trilogy, but fan reaction led Lucas to dial him back. That's actually an instance where a filmmaker wasn't so obstinate as to stick with something that clearly didn't work.

 

I hear Rose has been treated similarly here?

 

I liked Rose :(

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Was this during the phase where Anakin was the "there is another" before they settled on making Leia a secret Skywalker and Star Wars was never the same again?

 

 

23 minutes ago, Romão said:

The Phantom Menace also has one of the best and more stand alone scores in the saga. In fact, if you remove the main title and the Force Theme, everything else is pretty much its own thing

 

Its probably Williams' best score for a bad film. You can sense he really worked on it.

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38 minutes ago, Stefancos said:

Was this during the phase where Anakin was the "there is another" before they settled on making Leia a secret Skywalker and Star Wars was never the same again?

 

Anakin was never the “other”. When Brackett worked on the script, Vader and Luke’s father (the name Anakin didn’t stick quite yet) were still separate characters and Yoda mentions a sister. 

 

When Vader and Luke’s father were amalgamated, the “other” thread was dropped entirely, before being reinstated as a generic “another” in later drafts.

 

I don’t think Lucas was ever setting-up stuff thinking further than one sequel ahead at a time, so that “other” was going to be revealed in the next chapter, and possibly help lead into the original episodes VII-IX; the difference being that those were most likely going to take place with the Empire still reigning.

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1 minute ago, Chen G. said:

Anakin was never the “other”. When Brackett worked on the script, Vader and Luke’s father (the name Anakin didn’t stick quite yet) were still separate characters and Yoda mentions a sister. 

 

Wrong, at one point. Possible TESB where Yoda's hint came from the intention was Luke's dad would turn out to be alive.

 

Vader had lied to Luke.

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50 minutes ago, Stefancos said:

It seems so much like a given now. But Star Wars as the Skywalker family saga actually started in 1983.

 

I only watched these films starting 2015, beginning with the prequels, and yet it never seemed to me to be a soap opera, as its often hailed now. Rather, I saw it as a series regarding the conflict between the Sith/Jedi (and subsequently Rebels/Empire), with drama wrung from familial ties being torn across both sides of the conflict.

 

Honestly, that element (introduced with the Vader twist in 1980, but indeed set in stone with the sister reveal in 1983) wore thin very quickly for me. Watching The Force Awakens for the first time, I never thought Rey was of any particular lineage. Its part of why I didn't appreciate The Last Jedi for making a big reveal out of it.

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2 hours ago, Stefancos said:

Was this during the phase where Anakin was the "there is another" before they settled on making Leia a secret Skywalker and Star Wars was never the same again?

 

 

 

Its probably Williams' best score for a bad film. You can sense he really worked on it.

Assuming it's a "bad film", would this make The Phantom Menace the greatest film score to a bad film ever?

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Planet of the Apes was a cool film, but it's not one I watch over and over again.  I've seen Alien and Total Recall multiple times

 

I will say that I have been playing the hell out of the score since the box set came out however, and it's glorious

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6 hours ago, First TROS March Accolyte said:

Which scores to bad films by Goldsmith would you say are better than TPM's?


Well I think that becomes a matter of personal taste. TPM is good but far from my favorite SW score. There’s maybe 30 minutes of it I would listen to frequently (including the excellent Flag Parade) if I made a mini-album out of it. Lots of low key noodling for dialogue scenes. I actually consider it on par with Star Trek: Nemesis, Jerry’s final Trek score (for the worst Trek film by far, at least until Into Darkness came along), which I think has absolutely fantastic highlights but is one of the few Goldsmith scores that benefits from some pruning for listening purposes (99% of his scores I prefer in complete form).

 

Yavar

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