"John Williams, Sith Scores Are Your Specialty...!"
Written: Jul 26 '05 (Updated Aug 12 '05)
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Pros: "This time we do it together." - Obi Wan
Cons: "I was just going to say that!" - Anakin
The Bottom Line: "Another happy landing." - Obi-Wan
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| thepremier's Full Review: Star Wars Episode III: Revenge of the Sith - Origi... |
Star Wars Episode III Revenge of the Sith Original Soundtrack
John Williams
2005
~ Warning, possible/probable plot spoilers ahead. ~
At almost 30 years, it is by no means necessary to explain the rich and vivid legacy of music that John Williams has brought to us via the Star Wars saga. It is not necessary to repeat, for the sixth time no less, how passionate his scores are and how integral his music is to the storytelling in the Star Wars universe. His themes and music have become inseparable from the characters, places, and events that they represent, forever weaved into our culture. Williams has achieved an almost mythic status - an aura of infallibility surrounds him and he is credited with ushering in a new Golden Age of cinematic scores. His work here is no different.
This is also some the most unapologetically DARK and tear inducing music in all of Star Wars, combining powerful chorus voices with brooding orchestral melodies. John Williams “… shows no mercy” and “does what must be done”.
Overall Impressions
This final score for the final chapter of Star Wars is a most satisfying score indeed. Much like the movie, the music is up tempo - fast - as the action is. The pressing nature of the music amplifies the score’s softer themes and the films subtler moments as well. As the movie progresses closer and closer to the events of Star Wars: A New Hope - so does the score, incorporating themes not heard since the very first Star Wars soundtrack with plenty of old favorites.
There are two most important new pieces of thematic material. The first, presented in concert version called "Battle of the Heroes" represents the apocalyptic and ever anticipated duel between the two superheroes Anakin Skywalker/Darth Vader and Obi-Wan Kenobi. It is also used during the unbelievable armageddon of the force waged by the two most powerful beings in the galaxy, Palpatine and Yoda during their fateful confrontation. The other major new theme is a mechanical symphony for the surprisingly enjoyable General Grievous and his droid cohorts.
Like much of his recent work, Williams has deftly incorporated voice and chorus into this music, along with innovative string compositions, syncopated and well placed percussion, to accompany his latent skill with brass harmonies and fanfares.
Noteworthy Notes
“Star Wars/The Revenge of the Sith”
As always, the opening crawl music transports us out of our ordinary mindframe and into the Star Wars Universe, sounding very much as it has from Episodes I and II. Immediately following the iconic Star Wars theme is a bold and tense sequence of drums and horns creating a daring military atmosphere followed by and incredible re-inventing of the Force Theme into a military march that is riveting and soaring. Drums and fanfare embody much of the piece as the prowess and skill of Obi-Wan and Anakin are showed off during the dazzling Battle of Coruscant. Also introduced is the lumbering and menacing march of General Grievous - delicious.
“Anakin’s Dreams”
This piece is quiet and string driven, with interesting percussion that sounds like xylophone or glass rods accompanies a particularly teary version of the “Love Theme” from Episode II. It quickly becomes nightmarish with strained dark crescendos ending with deep base and a tiny flicker of the Force Theme, used to represent destiny or foreshadowing.
“Battle of the Heroes”
The concert piece is almost, dare I say it, swashbuckling with it’s quiet build up, it’s dramatic choir, and unrelenting fanfare. However, at times, the choir overpowers the orchestra, which seems to put an extra human significance to the whole thing. You can almost see Obi-Wan’s and Anakin’s light sabers slashing in time to the rhythm, and during the choir’s moment’s of power, you can almost feel the Force war going on between the two characters.
“Anakin’s Betrayal”
Another string driven piece, dark and mournful in nature. I believe this is the music heard during the “Execute Order 66” scenes. A piece of powerfully sorrowful music it almost brings one to tears especially played as Yoda physically staggers - dropping his walking stick - clutching his heart - in time to this music - sensing what is happening across the galaxy. It ends softly with choir.
“General Grievous”
If it isn’t obvious yet, I think this theme is one of the most playful, fitting, and just darn coolest themes for a Star Wars villain. It perfectly represents the cyborg’s propensity for flightiness, his speed, and his shadowy, mysterious allure. Odd and off-beat percussion, blats from the brass section, and even a tambourine create the most exotic and entertaining mechanical march.
“Palpatine’s Teachings”
A truly eerie and bizarre piece, this features a low background drone that is ethereal, hypnotic, almost spiritual. It is paradoxically background - yet all attention grabbing at once. The music’s seducing nature mirror the corruption and the twisting of Anakin’s mind by the bad old Sith Lord, Palpy. The Force Theme finds a cameo appearance in the piece’s darkness, alluding to Anakin’s ultimate destiny. At the very end is a small motif of music used throughout the three prequels whenever the scene segues into the Galactic Senate.
“Grievous and the Droids”
More of that wonderful battle music. The piece is an excellent backdrop for Obi-Wan’s rumble with the droids and with Grievous himself - towards the end is even a tiny stanza or three of that wonderful military motif from the first track.
“Padme’s Ruminations”
A unique piece, it features that similar hypnotic and dreamy background spiritual music coupled with a chorus voice that sounds as if it is originating light-years away.
“Anakin vs. Obi-Wan”
Basically “Battle of the Heroes” as it is heard in the movie - a little crisper with the brass, and a little more emphasis on the percussion. It is spliced with snipits of “Vader’s Theme” reminiscent of the duel between Luke and Vader in Empire Strikes Back, only here they sound particularly vengeful and angry. I don’t know how he does it, but again, as lighsabers clash, and as they leap from rock to rock to platform, it is all in time with the music - it’s shear poetry and art to hear/watch.
“Anakin’s Dark Deeds”
This piece is downright funerary in its lament over the horrific slaughter committed by Anakin in Confederacy‘s headquarters and also in the Jedi Temple as he mercilessly hacks and slashes everyone to pieces. There’s a terrifying verse of an enraged choir chanting unintelligibly and also you can somewhat make out a silhoette of Vader's Theme somewhere in there as well. There is also a fantastic and thunderous conclusion of shear biblical proportions to the piece!
“Enter Lord Vader”
During this music and scene, we see the brooding Anakin presiding over his lava fortress, teeming with Dark Side rage within him. The piece is perhaps, a eulogy for Anakin Skywalker, and a grim introduction to his future self, as he lords over the hell planet.
“The Immolation Scene”
Yet another sorrowful piece - throughout the movie we have seen Anakin’s intellectual conversion to and his emotional plunge into the Dark Side. Now, with “Immolation Scene” created to almost pity the wretched creature Anakin has been reduced to - we bare witness to his final and painful physical transformation into the incarnation of evil.
“Grievous Speaks to Lord Sidious”
This contains part of the “General Grievous” proper concert piece during the beginning, but also adds a dashing flourish of a verse from the chorus. The latter half is dark and brooding.
“The Birth of the Twins/Padme’s Destiny”
The birth scene is underscored by lovely xylophone, soft strings and harp, and then becomes louder, then more subdued as the babies are first introduced and named. As Padme’s destiny is revealed, the funeral pyre music from Phantom Menace loaded with more pomp, emotion, and ceremony serves as the proper tribute to Naboo’s beloved Padme.
“A New Hope/End Credits”
The shear brilliance of the vignette of wordless scenes at the end of the movie is a showcase for William’s nostalgic return to the future, so to speak. “Leia’s Theme”, heard not since the briefest of appearances in Return of the JedI returns as we are taken to the strikingly beautiful (and earth-like) Alderaan - conversely, a bittersweet “Luke’s Theme” is lovingly played by the strings as we are taken once again to Tatooine. Naturally, the “Force Theme” from “Binary Sunset” featured in the very first Star Wars soundtrack segues into the all too familiar End Credits.
However, breaking with tradition, Williams creates his most ambitious End Credits, which seems to go on, not wanting to end.
Beginning, as usual, with the “Rebel Fanfare” and “Luke’s Theme“, the credits then prominently feature “Leia’s Theme”, “Battle of the Heroes”, and “Throne Room” (From the last scene of A New Hope, and “The Force Theme” - all in that order and in full concert version dress. All of this is before another, but altered rendition of “Throne Room” again do we finally get to the ending part - the familiar “Rebel Fanfare” and finally, the dramatic end crescendo. Phew!
Bonus DVD
The bonus DVD contains the most popular themes spanning the entire Star Wars (sextology?) saga. Scenes from the movies combine to form music videos and there is narration by Star Wars’ most capable actor, the great Ian McDiarmid, who incidentally steals the spotlight of Revenge of the Sith.
Conclusions
Oh Sith! It’s the last Star Wars score. Ever. (The Star Wars television series would simply used recycled Star Wars music arranged by a non-Williams imposter.) It is wonderfully dark yet within the music is disguised beacon of light for the galaxy, that light is, of course, a new hope. The score suffers mainly from it’s non-chronological layout of the tracks, but it’s a minor fault which will more than likely be remedied in the future in a long awaited ultra mega anthology of Star Wars soundtracks - Star Wars, the Search for more money!
Also, most disappointing for me - "The Emperor's Theme", so maliciously and well executed in Return of the Jedi's "Emperor's Throne Room" among other pieces of that score, did not make any appearance here - despite Palpatine's overwhelming dominance in the film.
But, bring on Episode IV!
“The circle is now complete.” ~ Darth Vader.
The Premier
Epinions - July 2005
Recommended:
Yes
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Member: Constantinos Kolios
Location: Rochester, New York
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