Which Dutch-speaking people tend to do. It was my mum who told us. As for the “bold claim”… compared to some other stuff we’ve discussed as a family about films, this isn’t terribly out there. My mum is a mystery fan who must figure out whodunnit before the reveal, and hates it when films like horror movies cheat with deus ex machinas.
Our idea of a spoiler is, “Damn, I thought it was the other guy.”
“You will go to the Dagobah system. There you will learn from Yoda, the Jedi Master who instructed me.”
Pretty sneaky complete elision of Qui-gon Jinn’s role in his training, though, wasn’t it?
This isn’t something the Jedi would talk about, but everyone called him Qui-gon Jinn and Tonic behind his back.
Master Jules Windu would even say it to his face.
He was everyone’s favorite drunk uncle. But behind closed doors, he would lay into Obi Wan when he was truly pissed. It really wasn’t something Obi Wan wanted to talk about and part of the reason they let he be “Master Obi Wan” after QG got Mauled. It was something of a pity promotion.
well, i always just figured it was because Qui-gon died before Obi-wan’s training was complete, so Yoda took over. Yoda was his “last master.”
Obi-wan was granted the rank of Knight after defeating Darth Maul. His training was already complete, or he wouldn’t have been allowed to take Anakin on as a Padawan.
I just thought that he was talking about who taught him the very basics, like Luke was about to be taught.
Yeah. I mean, if Lucas knew anything about any prequel details in 1979, he’d have had Obi-wan say “there, you will learn from Yoda, one of the Jedi Masters who instructed me.” But what the hell, not every retcon can be perfectly elegant.
Hey, while we’re talking about these guys, was it ever established that Obi-wan Kenobi and Qui-gon Jinn originated from the same planet or culture? The similarity of the structure of their names is striking.
I have an easier solution. The “prequels” are an abomination and should be ignored at all times in all ways.
Congratulations, young Paduan. You have passed the test for discriminating bullshit narrative from something believable.
hmm, good point. i had forgotten about that.
eh, i disagree. i think kenobi’s arc is the best thing about the prequels, and is worth keeping. it adds to what we learn and know from the original trilogy. but i agree there’s a lot that can be ignored.
The plot of the prequel trilogy is pretty solid. It contradicts a fair amount from the EU, but the EU’s been completely binned anyway. I would say that the only real plot point that should have been excluded was the midichlorians, and that’s just because it’s trying to make a space opera into hard sci-fi.
The problem with the prequel trilogy is that it was just so horribly executed. Too much CG, lackluster performances, pacing and dialogue problems… George Lucas should have written the screenplays, passed them off to someone more competent at screenwriting to rewrite, and then stood back and watched someone else turn it into something better. Instead, he micromanaged things everything, even (especially) things he wasn’t very good at, and, well…
I mean, listen to The Saga Begins. Even as a parody song, the story is compelling. But when Weird Al can tell your story better in a few minutes than you can in a couple of hours… Yeah, that’s not the story’s fault.
yeah, all true. lucas let his fear and aversion to the larger hollywood machine rule his decisions, i think, all to the detriment of the prequels. i mean, not all hollywood is great, but it’s not all terrible, either. he should have sketched out his original ideas and let someone else work with them and make them a reality. i also think that there was SO much expectation and pressure on everyone that people were afraid to say “no” to anything he said, which also was just a terrible environment to work in.
Last master is all that counts for the Sith, so why not? The only real disagreement between the two sects is whether or not the “dark side” has more or less value than the “light side”. The force is indifferent and neutral, balance isn’t necessary unless you’re running a religious cult that requires a rival religious cult. At least in what is shown to us on the large and small screen, this is what I’ve learned, particularly from Rebels and it was touched on in TLJ.
Also, the alleged prequels are crap, shouldn’t have been made, and do a terrible job as backstory fillers. FFS, the most interesting character of the entire trilogy is on screen for about 5 minutes total before being cut in half. At some point, I rather expect Disney to attempt these movies again. With any luck, they won’t be a hot mess.
I admit that McGregor gave possibly the only non-cringeworthy performance in all of the so-called prequels, but I’m afraid keeping it is not an option.
nope, denied. so tired of arguing the prequels, been doing it since they came out. let’s move on.
Yes, let’s.
I saw a decent one and a great one this week.
First, Jessica Chastain, Sam Rockwell, and Michael Greyeyes as Sitting Bull in Woman Walks Ahead. A little heavy on the white savior complex a la Dances With Wolves, but good acting nonetheless.
The really powerful one, though, was Sweet Country, with Bryan Brown (Breaker Morant, F/X, The Good Wife), Sam Neill, and a great performance from newcomer Hamilton Morris. Not going to spoil this one, but I suggest you watch it when you can give it your undivided attention.
Which oddly enough, came up in a Kevin Smith comic book.
Phantom of the Paradise (1974) with William Finley, Paul Williams, Jessica Harper and Gerrit Graham
Brian De Palma’s Rocky Horror Picture Show predecessor, a comic/horror/musical re-telling of Phantom of the Opera, Faust, and one or two other hoary old chestnuts. But, it never took off like RHPS (except, to a certain extent, in Winnipeg, Guy Maddin’s stomping grounds). The tunes aren’t as immediately catchy (composer/star Paul Williams was obviously saving his more hooky material for the Carpenters and Bowie), it’s nowhere near as sexy (not that it seems to try), and most damningly, it fails to be liberatory. Sure, the forces of repression triumph at the end of Rocky Horror, but at least this is presented as tragedy. Phantom holds out no hope, showing contempt for the mass audience, and scarcely any affection for its leads. (One can hear this in “The Hell of It,” which plays over the end credits, a song which could be condemning almost anyone in the film.)
All that said, I still think it’s fairly great. The tunes mostly sink in eventually, the brilliant trickery of De Palma’s high-energy direction perfectly suits the over-stuffed story, and it can be quite funny too, especially Gerrit Graham as glam rocker Beef. And, if it’s overly cynical and nihilistic, well, it is supposed to be a horror movie, and even scarier, a portrait of the music industry.
I keep hearing about this movie, I never knew it was Brian De Palma, though. It must be early. I think the earliest thing of his I saw was Blow-Out which seems later than '74.
If you are a cinema geek it is worth seeing. The sets and costumes are fun enough on their own.
