SW: Episode One Thematic Analysis

[John Crichton 4]

I've written up a quick thematic analysis for TPM. I'd like to get everyone's feedback and after it's polished hope that it deserves a place on the main site. Also, since I have no musical background to speak of if anyone wants to contribute a more technical, Frank Lehman-like side to this feel free to contact me, and I'd be happy to give a co-writing credit .

STAR WARS: EPISODE ONE: THE PHANTOM MEANACE

THEMATIC ANALYSIS

By John Lamm, aka ?John Crichton?

No John Williams score, with the possible exception of Hook, has had the depth and scope of thematic material of The Phantom Meanace. Not even Episode Two: Attack of the Clones has the sheer number of themes Williams presented in Episode One. This makes it perfect for an in-depth analysis of themes and motifs, both new and reused. Please keep in mind while reading this that I have no background or education in music, other than playing in my Junior High band. I?m just an average guy who loves John Williams and knows a thing or two about Star Wars music.

New Themes

Duel of the Fates- One of the two signature new themes. This is a powerful and quasi-religious piece that embodies the eternal fight between good and evil, personified by the battle between the Jedi and the Sith. It consists of three parts. A five note background piece that is the start of almost any statement of the theme, a nine note theme that builds on the background theme, and the choral chants of ancient Sanskrit. The choral Sanskrit is also used as a background motif for Darth Maul (although he has his own theme). The theme as a whole only appears during the Battle of Naboo sequence, acting as the main musical idea throughout the battle.

Anakin?s Theme- The second of the major two new themes. This is one of Williams? most brilliant constructions. Depending on how it?s played, it can convey childlike innocence, heroic bravery, or heartbreaking tragedy. The statements in the film focus on the innocence and heroic aspects, but the concert piece emphasizes the future tragedy of Anakin?s destiny. The last three notes mirror the famous dum-da-dum ending of the Imperial March, again foreshadowing Anakin?s future. In fact, I think it can be argued that this entire theme is based on the B section of the Imperial March. This is the most quoted theme in the film.

Battle Droid March- A brass based theme used to underscore scenes in which we see the Trade Federation?s battle droids. It is used sparingly, mostly in the scenes in which we see large numbers of droids invading Naboo. For this reason it is often erroneously called the Invasion Theme.

Invasion Motif- This is one that has not, to the best of my knowledge, been mentioned before. This motif is mostly played on high strings and/or winds. It appears during Nute Gunray?s first conversation with Amidala, Qui-Gon?s discussion with Boss Nass in the underwater city, and when Padme listens to Sio Bibble?s message after leaving Tatooine. It makes a short appearance in a lower register in the quickie cue when Amidala and Palpatine are talking in Palpy?s quarters before the Senate debate (it plays right after Palpatine says that they are going to have to accept Federation control for the time being).

Qui-Gon?s Theme- A heroic, swashbuckling theme that is loosely based on the Force Theme. Like most other new themes it is used sparingly, despite Qui-Gon?s heavy role in the story. It?s biggest appearance is as the basis of the Maul/Qui-Gon Tatooine duel cue.

Jar Jar?s Theme- A wacky, bumbling, childish cue for the clumsy CG character everyone loves to hate. It?s only real appearances are at the start of Arrival at Tatooine, and the unused portion of the Jar Jar?s Introduction cue that is on the OST. There is a statement of it when Jar Jar is being ?attacked? by a pit droid in Watto?s shop, but this is almost certainly tracked.

Shmi Skywalker?s Theme- Anakin?s mother has a soft, beautiful theme that is introduced in spectacular fashion in The Pod Racer Roars to Life. It is also the basis for the first part of Anakin saying goodbye and preparing to leave. Right when Anakin is saying goodbye for the final time, the theme "evolves? into something a little less warm and a little more longing. This new, ?evolved? theme is used as Shmi?s Theme in Episode Two.

Darth Maul?s Theme- A quick eight note dark fanfare. It is introduced the very first time we see Maul as a hologram standing next to Sidious, and is used in every cue involving Maul on Coruscant (with Sidious) and Tatooine. It?s final appearance is when Maul is boarding his speeder bike to intercept Qui-Gon and Anakin.

Returning Themes

Star Wars Main Title- In the original trilogy this was Luke?s Theme. But despite the fact that he has no role in the prequels, no Star Wars film can start without this, perhaps most famous single John Williams piece ever. There were reports that Williams and Lucas cooked up a darker version of this piece for the prequels, but the idea was rejected early and it was never recorded. Williams even goes a step further than main title continuity, putting quick quotes of this theme into the very first action cue in the film, as well as the Battle of Naboo. It can be seen in the prequels as a kind of battle cry for the Jedi Knights.

The Force Theme- The glue that holds the Star Wars musical universe together. And, in my opinion, the greatest theme Williams has ever written. As with all Star Wars films it gets many moments to shine, most notably when Anakin leaves home and when the Trade Federation ship is destroyed in the Battle of Naboo.

The Rebel Fanfare- Like the main title, in keeping with tradition this theme gets a couple of quick statements at the start of the end titles. It is not used in the film proper, although it seems to be hinted at a couple of times.

The Emperor?s Theme- Used to underscore scenes with Darth Sidious (who looks and sounds remarkably like a certain Emperor in Return of the Jedi). Most statements are the traditonal male chorus we heard in Return of the Jedi that gradually get more intense as the film goes on. However, the last time we hear this is the Coruscant balcony scene. Afterwards, the theme appears when Sidious is talking to Nute Gunray right after the heroes depart Coruscant, but it is played in a much higher register. It is also a portion of what the children are singing in Augie?s Municipal Band at the end of the film. It only gets one statement here in the film version, but several in the album version of the cue.

Yoda?s Theme- The little green guy?s theme gets one quick but beautiful statement at the end of the film, in the transition shot before we see him and Obi-Wan talking.

Jabba?s Theme- Gets a huge, fanfare statement when he appears before the start of the pod race, although it is hard to discern as it is buried in the orchestration.

Imperial March- To the untrained ear, this theme only makes a brief appearance at the end of the film when Yoda is warning Obi-Wan about Anakin?s potential future. However, from the start of the Tatooine sequence on, the famous dum-da-dum that is used as the end of Anakin?s theme is used throughout the score as a hint of things to come. Some are more obvious than others, but it is there frequently, and is so fully integrated into the underscore that sometimes you?re not sure what you heard. Absolutely brilliant.

[Trumpeteer 243]

I'll let my signature express my feelings about this analysis.

[Henry B 49]

Invasion Motif- This is one that has not, to the best of my knowledge, been mentioned before. This motif is mostly played on high strings and/or winds. It appears during Nute Gunray?s first conversation with Amidala, Qui-Gon?s discussion with Boss Nass in the underwater city, and when Padme listens to Sio Bibble?s message after leaving Tatooine. It makes a short appearance in a lower register in the quickie cue when Amidala and Palpatine are talking in Palpy?s quarters before the Senate debate (it plays right after Palpatine says that they are going to have to accept Federation control for the time being).

Huh, really? Never noticed that...should listen to the UE again... *mumbles*

Imperial March- To the untrained ear, this theme only makes a brief appearance at the end of the film when Yoda is warning Obi-Wan about Anakin?s potential future. However, from the start of the Tatooine sequence on, the famous dum-da-dum that is used as the end of Anakin?s theme is used throughout the score as a hint of things to come. Some are more obvious than others, but it is there frequently, and is so fully integrated into the underscore that sometimes you?re not sure what you heard. Absolutely brilliant.

There is an unreleased quote of the Imperial March that shows up in The Phantom Menace for PC and Playstation. The general consensus is that this underscores the cut "Ascension Guns" sequence. I don't really know what that is. Anyway, this cue isn't a straight playing of the March but it's pretty obvious what the music is, and, unless I'm much mistaken, it's not exactly John Williams' best use of leitmotif ever. Not a great loss as far as musical continuity is concerned.

[Lurker 5]

I'll let my signature express my feelings about this analysis.

You probably shouldn't use "Quick Reply" then.

Neil

[Henry B 49]

Maybe his lack of a signature implied that the analysis lacks any real insight or depth...?

[Luke Skywalker 1,284]

I think Williams made if not leifmotifs at least mood music for Naboo, Taooine and Coruscant.

Cerrabore, i dont recall any imperial march on that part or game, you may refer to a very good unreleased rendition to the Federation March. Though as you say it is not plain showed. I'll have to give another listen

[Jim Ware 428]

There is a four note 'Tatooine' motif that appears in Imperial Attack from Star Wars (on the wide shot of the pod descending to the planet) which forms the basis of Arrival at Tatooine.

Also, the 7/4 motif from Battleship Destroyed made an appearance in Take To Your Ships, but was not used in the final version of the film. It may also have made an appearance in other unused, unreleased cues.

One last observation, there is a hint of the Droid Battle material in Jar Jar's Introduction. That part of the cue is dialled out in the film, but was intended to underscore Qui-Gon describing what the droids would do to Jar-Jar if they found him ("Do you hear that?").

[Jim Ware 428]

Another one. The loud fanfare in the middle of Running Out of Time (the Maul/Sidious balcony scene) is a separate motif that appears in several other cues (such as the first half of You're Under Arrest).

[Jim Ware 428]

What do you make of the theme that appears at the start of Talk of Podracing? It puts in another appearance towards the end of the film, but I've never figured out what it's supposed to represent.

I'll stop replying to myself now.

[Jim Ware 428]

Or maybe not...

The general consensus is that this underscores the cut "Ascension Guns" sequence. I don't really know what that is.

This unreleased, unused cue (officially titled Up The Wire) was intended to come immediately after Droid Battle in the film. The two cues crossfade into one another quite nicely.

If anyone feels like syncing it with the film (it still fits) start it on the shot of Amidala as she looks up and prepares to fire the ascension gun (as the Droid Battle cue ends and the tracked Duel of the Fates material begins).

[Morlock 9]

Great analysis!

[John Crichton 4]

Whoa, welcome back Jim Ware. I'd like to discuss all this with you, I'll PM you when I get a chance to put something together.

Thanks to everyone who's responded for the compliments, and criticisms.

[Luke Skywalker 1,284]

I cant find that imperial march. Could anyone tell me its location?

[Henry B 49]

The quote of the Imperial March is SQGRIPPING2 from the Phantom Menace game, use ScummRev to get it.

There is a four note 'Tatooine' motif that appears in Imperial Attack from Star Wars (on the wide shot of the pod descending to the planet) which forms the basis of Arrival at Tatooine.

Thank God, someone else noticed it. This theme also shows up in Episode II in the middle of "Bounty Hunter's Pursuit," but it seems to be misused; the cue underscores Jango's Geonosis landing.

[QMM 4]

Fantastic Analysis!