Original subtitles

>> HERE THEY COME.

>> HERE THEY COME.

>> Narrator: IT BEGAN AS A

>> Narrator: IT BEGAN AS A

SIMPLE TALE OF GOOD VERSUS EVIL

SIMPLE TALE OF GOOD VERSUS EVIL

AND BECAME A WORLDWIDE

AND BECAME A WORLDWIDE

PHENOMENON.

PHENOMENON.

>> Colbert: "STAR WARS" CAME

>> Colbert: "STAR WARS" CAME

OUT, AND WE WENT TO SCHOOL THE

OUT, AND WE WENT TO SCHOOL THE

NEXT DAY UNABLE TO EXPLAIN TO

NEXT DAY UNABLE TO EXPLAIN TO

OUR FRIENDS HOW EVERYTHING WAS

OUR FRIENDS HOW EVERYTHING WAS

DIFFERENT NOW.

DIFFERENT NOW.

>> Smith: SO MUCH OF MY

>> Smith: SO MUCH OF MY

CHILDHOOD WAS SPENT THINKING,

CHILDHOOD WAS SPENT THINKING,

DREAMING, WATCHING, PLAYING

DREAMING, WATCHING, PLAYING

"STAR WARS."

"STAR WARS."

>> Narrator: "STAR WARS" EVOLVED

>> Narrator: "STAR WARS" EVOLVED

INTO A SIX-CHAPTER CINEMATIC

INTO A SIX-CHAPTER CINEMATIC

SAGA, ONE THAT RESONATES WITH

SAGA, ONE THAT RESONATES WITH

SOME OF THE MOST ENDURING THEMES

SOME OF THE MOST ENDURING THEMES

FOUND IN LITERATURE...

FOUND IN LITERATURE...

MYTHOLOGY...

MYTHOLOGY...

RELIGION...

RELIGION...

AND HISTORY.

AND HISTORY.

>> Rather: WHAT "STAR WARS" DID

>> Rather: WHAT "STAR WARS" DID

WAS BRING THEM RIGHT UP TO DATE

WAS BRING THEM RIGHT UP TO DATE

AND REACH A NEW GENERATION.

AND REACH A NEW GENERATION.

>> Pelosi: IT BROKE NEW GROUND

>> Pelosi: IT BROKE NEW GROUND

IN TERMS OF COMMUNICATING A

IN TERMS OF COMMUNICATING A

MESSAGE.

MESSAGE.

>> HELP ME, OBI-WAN KENOBI.

>> HELP ME, OBI-WAN KENOBI.

>> Connelly: I WAS WITNESSING

>> Connelly: I WAS WITNESSING

THE CREATION OF MODERN MYTH.

THE CREATION OF MODERN MYTH.

>> Narrator: BUT JUST WHY IS

>> Narrator: BUT JUST WHY IS

"STAR WARS" CONSIDERED THE EPIC

"STAR WARS" CONSIDERED THE EPIC

TALE OF OUR TIME?

TALE OF OUR TIME?

>> Brokaw: FUTURE GENERATIONS

>> Brokaw: FUTURE GENERATIONS

WILL STILL BE ENTHRALLED BY IT.

WILL STILL BE ENTHRALLED BY IT.

>> Narrator: FIND OUT AS THE

>> Narrator: FIND OUT AS THE

"STAR WARS" LEGACY IS FINALLY

"STAR WARS" LEGACY IS FINALLY

REVEALED.

[crowd chanting]

[crowd chanting]

"STAR WARS" WAS CONCEIVED BY

"STAR WARS" WAS CONCEIVED BY

WRITER AND DIRECTOR GEORGE

WRITER AND DIRECTOR GEORGE

LUCAS DURING THE EARLY 1970s,

LUCAS DURING THE EARLY 1970s,

A TIME OF INTENSE POLITICAL

A TIME OF INTENSE POLITICAL

UPHEAVAL AND SOCIAL UNREST,

UPHEAVAL AND SOCIAL UNREST,

ESPECIALLY IN AMERICA.

ESPECIALLY IN AMERICA.

>> Ellerbee: IT WAS NOT A

>> Ellerbee: IT WAS NOT A

HOPEFUL TIME IN AMERICA.

HOPEFUL TIME IN AMERICA.

WE WERE CYNICAL.

WE WERE CYNICAL.

WE WERE DISAPPOINTED.

WE WERE DISAPPOINTED.

OIL PRICES WERE THROUGH THE

OIL PRICES WERE THROUGH THE

ROOF.

ROOF.

OUR GOVERNMENT HAD LET US DOWN.

OUR GOVERNMENT HAD LET US DOWN.

>> Nixon: I SHALL RESIGN THE

>> Nixon: I SHALL RESIGN THE

PRESIDENCY EFFECTIVE AT NOON

PRESIDENCY EFFECTIVE AT NOON

TOMORROW.

TOMORROW.

>> Brokaw: AMERICA HAD BECOME

>> Brokaw: AMERICA HAD BECOME

UNHINGED IN A WAY, FOR GOOD OR

UNHINGED IN A WAY, FOR GOOD OR

FOR BAD, DEPENDING ON YOUR

FOR BAD, DEPENDING ON YOUR

POINT OF VIEW.

POINT OF VIEW.

EVERYTHING FROM DRESS TO THE

EVERYTHING FROM DRESS TO THE

USE OF DRUGS TO RELATIONSHIPS.

USE OF DRUGS TO RELATIONSHIPS.

THE CULTURE IN THIS COUNTRY HAD

THE CULTURE IN THIS COUNTRY HAD

BEEN TURNED UPSIDE DOWN.

BEEN TURNED UPSIDE DOWN.

>> Gingrich: THE COUNTRY WAS

>> Gingrich: THE COUNTRY WAS

DESPERATELY GROPING FOR REAL

DESPERATELY GROPING FOR REAL

CHANGE.

CHANGE.

"STAR WARS" CAME ALONG, AND IT

"STAR WARS" CAME ALONG, AND IT

REVALIDATED A CORE MYTHOLOGY,

REVALIDATED A CORE MYTHOLOGY,

THAT THERE IS GOOD AND EVIL,

THAT THERE IS GOOD AND EVIL,

THAT EVIL HAS TO BE DEFEATED.

THAT EVIL HAS TO BE DEFEATED.

>> [laughs]

>> [laughs]

>> Narrator: "STAR WARS" WAS

>> Narrator: "STAR WARS" WAS

FILLED WITH IMAGERY AND

FILLED WITH IMAGERY AND

CHARACTERS THAT HARKENED BACK TO

CHARACTERS THAT HARKENED BACK TO

MANY OF THE MOVIES AND BOOKS

MANY OF THE MOVIES AND BOOKS

THAT HAD CAPTIVATED GEORGE LUCAS

THAT HAD CAPTIVATED GEORGE LUCAS

DURING HIS CHILDHOOD IN MODESTO,

DURING HIS CHILDHOOD IN MODESTO,

CALIFORNIA.

CALIFORNIA.

AND AS THE SAGA CONTINUED TO

AND AS THE SAGA CONTINUED TO

UNFOLD, EACH NEW CHAPTER BECAME

UNFOLD, EACH NEW CHAPTER BECAME

RICHER AND DEEPER BY

RICHER AND DEEPER BY

INCORPORATING REFERENCES TO

INCORPORATING REFERENCES TO

POLITICS...

POLITICS...

PHILOSOPHY...

PHILOSOPHY...

RELIGION...

RELIGION...

HISTORY...

HISTORY...

AND MYTHOLOGY.

AND MYTHOLOGY.

>> Connelly: WHAT'S SO EXCITING

>> Connelly: WHAT'S SO EXCITING

ABOUT APPROACHING THE "STAR

ABOUT APPROACHING THE "STAR

WARS" CYCLE, IT'S VERY MUCH LIKE

WARS" CYCLE, IT'S VERY MUCH LIKE

AN ARCHAEOLOGICAL EXCAVATION.

AN ARCHAEOLOGICAL EXCAVATION.

ON THE SURFACE, ALL OF US CAN

ON THE SURFACE, ALL OF US CAN

SAY, "AH-HA, EXCALIBUR IS TO BE

SAY, "AH-HA, EXCALIBUR IS TO BE

SEEN IN THE LIGHT SABER."

SEEN IN THE LIGHT SABER."

IF YOU GO TO A DEEPER LEVEL,

IF YOU GO TO A DEEPER LEVEL,

YOU MAY COME TO THE ENTERING

YOU MAY COME TO THE ENTERING

INTO THE DEATH STAR AND SAY,

INTO THE DEATH STAR AND SAY,

"AH-HA, LET US REMEMBER THE

"AH-HA, LET US REMEMBER THE

GREEK HERO ODYSSEUS IN THE

GREEK HERO ODYSSEUS IN THE

UNDERWORLD."

UNDERWORLD."

>> THIS IS RED FIVE, I'M GOING

>> THIS IS RED FIVE, I'M GOING

IN.

IN.

>> Connelly: BUT THEN YOU CAN GO

>> Connelly: BUT THEN YOU CAN GO

DEEPER IN THE STRATOGRAPHIC

DEEPER IN THE STRATOGRAPHIC

LEVELS.

LEVELS.

AND WHAT'S FUN FOR ME PERSONALLY

AND WHAT'S FUN FOR ME PERSONALLY

IS WHEN I GET TO A POINT WHERE

IS WHEN I GET TO A POINT WHERE

I SAY, "DID GEORGE LUCAS MEAN

I SAY, "DID GEORGE LUCAS MEAN

FOR THIS CONNECTION TO BE MADE,

FOR THIS CONNECTION TO BE MADE,

OR AM I MAKING IT?"

OR AM I MAKING IT?"

AM I PARTICIPATING AS PART OF

AM I PARTICIPATING AS PART OF

THE POET, THE CREATOR IN SEEING

THE POET, THE CREATOR IN SEEING

CONNECTIONS?"

CONNECTIONS?"

AND THAT IS THE MYTHOLOGICAL

AND THAT IS THE MYTHOLOGICAL

PROCESS: EVERYONE SEES THEMSELF.

PROCESS: EVERYONE SEES THEMSELF.

>> Jackson: MYTHIC STORIES WERE

>> Jackson: MYTHIC STORIES WERE

ORIGINALLY DESIGNED AS

ORIGINALLY DESIGNED AS

CAUTIONARY TALES.

CAUTIONARY TALES.

THEY'RE STORIES WHICH INSTRUCT

THEY'RE STORIES WHICH INSTRUCT

US HOW WE SHOULD BEHAVE, HOW WE

US HOW WE SHOULD BEHAVE, HOW WE

SHOULD CONDUCT OURSELVES.

SHOULD CONDUCT OURSELVES.

>> ATTACHMENT LEADS TO JEALOUSY.

>> ATTACHMENT LEADS TO JEALOUSY.

TRAIN YOURSELF TO LET GO OF

TRAIN YOURSELF TO LET GO OF

EVERYTHING YOU FEAR TO LOSE.

EVERYTHING YOU FEAR TO LOSE.

>> Paglia: MYTHS IN EVERY

>> Paglia: MYTHS IN EVERY

CULTURE EMERGED OUT OF RELIGION.

CULTURE EMERGED OUT OF RELIGION.

THEY WERE WAYS TO MAKE SENSE

THEY WERE WAYS TO MAKE SENSE

OF THE UNIVERSE.

OF THE UNIVERSE.

THEN OVER TIME, MYTHS BEGAN TO

THEN OVER TIME, MYTHS BEGAN TO

ACCRUE AROUND WARRIOR FIGURES,

ACCRUE AROUND WARRIOR FIGURES,

HERO FIGURES.

HERO FIGURES.

AND I BELIEVE THAT IN ALL SIX

AND I BELIEVE THAT IN ALL SIX

"STAR WARS" FILMS, YOU JUST FEEL

"STAR WARS" FILMS, YOU JUST FEEL

THE SENSE OF THE WHOLE HISTORY

THE SENSE OF THE WHOLE HISTORY

OF MYTH AND ARCHETYPE.

OF MYTH AND ARCHETYPE.

>> Narrator: THE CONNECTION

>> Narrator: THE CONNECTION

BETWEEN "STAR WARS" AND

BETWEEN "STAR WARS" AND

MYTHOLOGY IS ALSO STRENGTHENED

MYTHOLOGY IS ALSO STRENGTHENED

BY THE DIRECT INFLUENCE OF

BY THE DIRECT INFLUENCE OF

FAMED MYTHOLOGICAL HISTORIAN

FAMED MYTHOLOGICAL HISTORIAN

JOSEPH CAMPBELL.

JOSEPH CAMPBELL.

>> Henderson: JOSEPH CAMPBELL

>> Henderson: JOSEPH CAMPBELL

WAS A PROFESSOR, AND HE WROTE A

WAS A PROFESSOR, AND HE WROTE A

VERY IMPORTANT BOOK ABOUT MYTH.

VERY IMPORTANT BOOK ABOUT MYTH.

AND THIS BOOK WAS USED ON

AND THIS BOOK WAS USED ON

COLLEGE CAMPUSES ACROSS THE

COLLEGE CAMPUSES ACROSS THE

COUNTRY.

COUNTRY.

AND THIS WAS A BOOK THAT GEORGE

AND THIS WAS A BOOK THAT GEORGE

LUCAS READ.

LUCAS READ.

IN IT, JOSEPH CAMPBELL SAID MYTH

IN IT, JOSEPH CAMPBELL SAID MYTH

IS A METAPHOR FOR THE EXPERIENCE

IS A METAPHOR FOR THE EXPERIENCE

OF LIFE.

OF LIFE.

>> Campbell: MYTHS AND DREAMS

>> Campbell: MYTHS AND DREAMS

COME FROM THE SAME PLACE.

COME FROM THE SAME PLACE.

THEY COME FROM REALIZATIONS OF

THEY COME FROM REALIZATIONS OF

SOME KIND THAT HAVE THEN TO FIND

SOME KIND THAT HAVE THEN TO FIND

EXPRESSION IN SYMBOLIC FORM.

EXPRESSION IN SYMBOLIC FORM.

>> Young: JOSEPH CAMPBELL WAS

>> Young: JOSEPH CAMPBELL WAS

VERY INFLUENCED BY CARL JUNG.

VERY INFLUENCED BY CARL JUNG.

AND JUNG'S THEORIES OF

AND JUNG'S THEORIES OF

PSYCHOLOGY EXPLAIN THAT WE

PSYCHOLOGY EXPLAIN THAT WE

PROCESS EXPERIENCE VISUALLY,

PROCESS EXPERIENCE VISUALLY,

THAT DEEPER THAN IDEAS OR

THAT DEEPER THAN IDEAS OR

FEELINGS, THERE'S A VISUAL FLOW,

FEELINGS, THERE'S A VISUAL FLOW,

VERY MUCH LIKE A MOVIE.

VERY MUCH LIKE A MOVIE.

>> Henderson: GEORGE LUCAS

>> Henderson: GEORGE LUCAS

STUDIED THE WORK OF JOSEPH

STUDIED THE WORK OF JOSEPH

CAMPBELL, AND, OF COURSE, HE

CAMPBELL, AND, OF COURSE, HE

WAS ALSO A FILMMAKER.

WAS ALSO A FILMMAKER.

AND IN THE "STAR WARS" FILMS,

AND IN THE "STAR WARS" FILMS,

GEORGE LUCAS HAS MADE A VERY

GEORGE LUCAS HAS MADE A VERY

COMPELLING USE OF ONE OF THE

COMPELLING USE OF ONE OF THE

MYTH FORMS, WHICH IS THE HERO'S

MYTH FORMS, WHICH IS THE HERO'S

JOURNEY, AND THIS IS BY FAR THE

JOURNEY, AND THIS IS BY FAR THE

MOST COMMONLY FOUND FORM IN THE

MOST COMMONLY FOUND FORM IN THE

HISTORY OF MYTHOLOGY.

>> Young: "STAR WARS" IS WHAT'S

>> Young: "STAR WARS" IS WHAT'S

SOMETIMES CALLED THE HERO'S

SOMETIMES CALLED THE HERO'S

JOURNEY.

JOURNEY.

IT'S THE INITIATORY PATTERN

IT'S THE INITIATORY PATTERN

THAT IS A JOURNEY STORY THAT

THAT IS A JOURNEY STORY THAT

REPRESENTS A TRANSITION, MOVING

REPRESENTS A TRANSITION, MOVING

FROM ONE IDENTITY, SAY, YOUNG

FROM ONE IDENTITY, SAY, YOUNG

ADULTHOOD, INTO ANOTHER

ADULTHOOD, INTO ANOTHER

IDENTITY, SAY, FULL ADULTHOOD.

IDENTITY, SAY, FULL ADULTHOOD.

>> Narrator: OVER THE COURSE OF

>> Narrator: OVER THE COURSE OF

THE "STAR WARS" SAGA, TWO

THE "STAR WARS" SAGA, TWO

CHARACTERS SET OUT ON THE HERO'S

CHARACTERS SET OUT ON THE HERO'S

JOURNEY, ANAKIN SKYWALKER AND

JOURNEY, ANAKIN SKYWALKER AND

HIS SON, LUKE.

HIS SON, LUKE.

>> Lyden: EACH OF THEM IS

>> Lyden: EACH OF THEM IS

CALLED TO AN ADVENTURE.

CALLED TO AN ADVENTURE.

EACH OF THEM DOES NOT EXPECT

EACH OF THEM DOES NOT EXPECT

TO BE A HERO.

TO BE A HERO.

EACH OF THEM BECOMES DRAWN INTO

EACH OF THEM BECOMES DRAWN INTO

THIS STRUGGLE BETWEEN GOOD AND

THIS STRUGGLE BETWEEN GOOD AND

EVIL WHERE THEY HAVE TO CHOOSE

EVIL WHERE THEY HAVE TO CHOOSE

WHAT SIDE THEY WILL ALIGN

WHAT SIDE THEY WILL ALIGN

THEMSELVES WITH.

THEMSELVES WITH.

>> Narrator: FOR ANAKIN, THE

>> Narrator: FOR ANAKIN, THE

JOURNEY WILL BE A TRAGIC ONE,

JOURNEY WILL BE A TRAGIC ONE,

AS HIS ARROGANCE...

AS HIS ARROGANCE...

FEAR...

FEAR...

>> I WON'T LOSE YOU, PADME.

>> I WON'T LOSE YOU, PADME.

>> Narrator: AND DESIRE FOR

>> Narrator: AND DESIRE FOR

POWER ULTIMATELY TURN HIM FROM

POWER ULTIMATELY TURN HIM FROM

THE HERO'S PATH AND LEAD HIM TO

THE HERO'S PATH AND LEAD HIM TO

THE DARK SIDE, WHERE HE BECOMES

THE DARK SIDE, WHERE HE BECOMES

THE EVIL DARTH VADER.

THE EVIL DARTH VADER.

>> IF YOU ONLY KNEW THE POWER

>> IF YOU ONLY KNEW THE POWER

OF THE DARK SIDE.

OF THE DARK SIDE.

>> Narrator: AND LUKE'S JOURNEY

>> Narrator: AND LUKE'S JOURNEY

ULTIMATELY BECOMES A QUEST TO

ULTIMATELY BECOMES A QUEST TO

REDEEM HIS FATHER.

REDEEM HIS FATHER.

>> [deep mechanical breathing]

>> [deep mechanical breathing]

>> LUKE!

>> LUKE!

TAKE THESE TWO OVER TO THE

TAKE THESE TWO OVER TO THE

GARAGE.

GARAGE.

I WANT THEM CLEANED UP BEFORE

I WANT THEM CLEANED UP BEFORE

DINNER.

DINNER.

>> Henderson: LUKE STARTS OUT AS

>> Henderson: LUKE STARTS OUT AS

BEING NOBODY.

BEING NOBODY.

AND WHAT HE NEEDS IS A CALL TO

AND WHAT HE NEEDS IS A CALL TO

ADVENTURE TO GET HIM STARTED.

ADVENTURE TO GET HIM STARTED.

>> Help me, Obi-Wan Kenobi.

>> Help me, Obi-Wan Kenobi.

You're my only hope.

You're my only hope.

>> WHAT'S THIS?

>> WHAT'S THIS?

>> [beeping and whistling]

>> [beeping and whistling]

>> HE SAYS THAT HE IS THE

>> HE SAYS THAT HE IS THE

PROPERTY OF OBI-WAN KENOBI, A

PROPERTY OF OBI-WAN KENOBI, A

RESIDENT OF THESE PARTS, AND

RESIDENT OF THESE PARTS, AND

IT'S A PRIVATE MESSAGE FOR HIM.

IT'S A PRIVATE MESSAGE FOR HIM.

>> REST EASY, SON.

>> REST EASY, SON.

YOU'VE HAD A BUSY DAY.

YOU'VE HAD A BUSY DAY.

>> Young: THE CALL IS AN EVENT

>> Young: THE CALL IS AN EVENT

THAT PULLS US AWAY FROM FAMILIAR

THAT PULLS US AWAY FROM FAMILIAR

COMFORTS.

COMFORTS.

>> BEN?

>> BEN?

BEN KENOBI?

BEN KENOBI?

>> Young: IT PULLS US AWAY FROM

>> Young: IT PULLS US AWAY FROM

EVERYTHING THAT IS FAMILIAR TO

EVERYTHING THAT IS FAMILIAR TO

US, INCLUDING WHAT WE KNOW HOW

US, INCLUDING WHAT WE KNOW HOW

TO DO.

TO DO.

>> This is our most desperate

>> This is our most desperate

hour.

hour.

>> Young: WE'RE OUT IN A

>> Young: WE'RE OUT IN A

SITUATION THAT IS ENORMOUSLY

SITUATION THAT IS ENORMOUSLY

CHALLENGING.

CHALLENGING.

>> YOU MUST LEARN THE WAYS OF

>> YOU MUST LEARN THE WAYS OF

THE FORCE IF YOU'RE TO COME WITH

THE FORCE IF YOU'RE TO COME WITH

ME TO ALDERAAN.

ME TO ALDERAAN.

>> Jackson: LUKE FULFILLS A ROLE

>> Jackson: LUKE FULFILLS A ROLE

AS A MYTHIC HERO BECAUSE THEY

AS A MYTHIC HERO BECAUSE THEY

USUALLY START OUT AS BEING VERY

USUALLY START OUT AS BEING VERY

SIMPLE, SLIGHTLY INSECURE

SIMPLE, SLIGHTLY INSECURE

CHARACTERS.

CHARACTERS.

FOR EXAMPLE, CHARACTERS LIKE

FOR EXAMPLE, CHARACTERS LIKE

DOROTHY FROM "THE WIZARD OF OZ,"

DOROTHY FROM "THE WIZARD OF OZ,"

LIKE HARRY POTTER, LIKE KING

LIKE HARRY POTTER, LIKE KING

ARTHUR, THEY ARE WHAT'S CALLED

ARTHUR, THEY ARE WHAT'S CALLED

EVERYMAN.

EVERYMAN.

THEY'RE US.

THEY'RE US.

THEY HAVE THE SAME INSECURITIES

THEY HAVE THE SAME INSECURITIES

AND FEARS AS WE DO.

AND FEARS AS WE DO.

>> I CAN'T GET INVOLVED.

>> I CAN'T GET INVOLVED.

I'VE GOT WORK TO DO.

I'VE GOT WORK TO DO.

IT'S NOT THAT I LIKE THE EMPIRE.

IT'S NOT THAT I LIKE THE EMPIRE.

I HATE IT, BUT THERE'S NOTHING I

I HATE IT, BUT THERE'S NOTHING I

CAN DO ABOUT IT RIGHT NOW.

CAN DO ABOUT IT RIGHT NOW.

>> YOU MUST DO WHAT YOU FEEL IS

>> YOU MUST DO WHAT YOU FEEL IS

RIGHT, OF COURSE.

RIGHT, OF COURSE.

>> Young: THERE IS THE

>> Young: THERE IS THE

POSSIBILITY OF REJECTING THE

POSSIBILITY OF REJECTING THE

CALL.

CALL.

THAT IS, YOU SEE WHAT IS ASKED

THAT IS, YOU SEE WHAT IS ASKED

OF YOU, YOU SEE WHAT YOU COULD

OF YOU, YOU SEE WHAT YOU COULD

RISE TO AND YOU SAY, "I DON'T

RISE TO AND YOU SAY, "I DON'T

WANT TO GO."

WANT TO GO."

BUT MORE OFTEN, IT'S A KIND OF

BUT MORE OFTEN, IT'S A KIND OF

STRUGGLE, AND THERE'S A

STRUGGLE, AND THERE'S A

PREPARATORY TIME THERE, A KIND

PREPARATORY TIME THERE, A KIND

OF DRESS REHEARSAL WHILE A

OF DRESS REHEARSAL WHILE A

PERSON IS SAYING, "I'M NOT DOING

PERSON IS SAYING, "I'M NOT DOING

THIS."

THIS."

IN FACT, MENTALLY THEY'RE

IN FACT, MENTALLY THEY'RE

BRACING THEMSELVES.

BRACING THEMSELVES.

>> IF THEY TRACED THE ROBOTS

>> IF THEY TRACED THE ROBOTS

HERE, THEY MAY HAVE LEARNED WHO

HERE, THEY MAY HAVE LEARNED WHO

THEY SOLD THEM TO, AND THAT

THEY SOLD THEM TO, AND THAT

WOULD LEAD THEM BACK... HOME.

WOULD LEAD THEM BACK... HOME.

>> WAIT, LUKE!

>> WAIT, LUKE!

IT'S TOO DANGEROUS!

IT'S TOO DANGEROUS!

>> Galipeau: THE JOURNEY OF LUKE

>> Galipeau: THE JOURNEY OF LUKE

IS AN ARCHETYPAL JOURNEY, LIKE

IS AN ARCHETYPAL JOURNEY, LIKE

ODYSSEUS, FOR INSTANCE, OR EVEN

ODYSSEUS, FOR INSTANCE, OR EVEN

BIBLICAL FIGURES LIKE MOSES.

BIBLICAL FIGURES LIKE MOSES.

THEY DON'T NECESSARILY EVEN

THEY DON'T NECESSARILY EVEN

WANT TO DO WHAT THEY ARE CALLED

WANT TO DO WHAT THEY ARE CALLED

TO DO, BUT LIFE CONTRIVES TO

TO DO, BUT LIFE CONTRIVES TO

SEND THEM ON THE JOURNEY.

SEND THEM ON THE JOURNEY.

>> UNCLE OWEN?!

>> UNCLE OWEN?!

>> Abrams: AT THE HEART OF THE

>> Abrams: AT THE HEART OF THE

STORY IS SOME KID WHO IS BEING

STORY IS SOME KID WHO IS BEING

CALLED TO SERVICE, TO DEAL WITH

CALLED TO SERVICE, TO DEAL WITH

SOMETHING THAT IS SO MUCH BIGGER

SOMETHING THAT IS SO MUCH BIGGER

THAN HIM.

THAN HIM.

SUDDENLY THERE'S THIS VIOLENT,

SUDDENLY THERE'S THIS VIOLENT,

HEARTBREAKING MURDER OF HIS

HEARTBREAKING MURDER OF HIS

AUNT AND UNCLE, AND ALL OF A

AUNT AND UNCLE, AND ALL OF A

SUDDEN, THIS KID'S LIFE CHANGES.

SUDDEN, THIS KID'S LIFE CHANGES.

>> THERE'S NOTHING YOU COULD

>> THERE'S NOTHING YOU COULD

HAVE DONE, LUKE.

HAVE DONE, LUKE.

>> I WANT TO COME WITH YOU TO

>> I WANT TO COME WITH YOU TO

ALDERAAN.

ALDERAAN.

THERE'S NOTHING FOR ME HERE NOW.

THERE'S NOTHING FOR ME HERE NOW.

>> MOS EISLEY SPACE PORT.

>> MOS EISLEY SPACE PORT.

YOU WILL NEVER FIND A MORE

YOU WILL NEVER FIND A MORE

WRETCHED HIVE OF SCUM AND

WRETCHED HIVE OF SCUM AND

VILLAINY.

VILLAINY.

WE MUST BE CAUTIOUS.

WE MUST BE CAUTIOUS.

[lively music playing]

[lively music playing]

>> Young: THE CANTINA SCENE IS

>> Young: THE CANTINA SCENE IS

WHAT JOSEPH CAMPBELL REFERRED TO

WHAT JOSEPH CAMPBELL REFERRED TO

AS THE THRESHOLD CROSSING.

AS THE THRESHOLD CROSSING.

THIS IS A MOMENT WHEN YOU ARE

THIS IS A MOMENT WHEN YOU ARE

PROFOUNDLY AWARE THAT YOU'RE

PROFOUNDLY AWARE THAT YOU'RE

NOT IN KANSAS ANYMORE.

NOT IN KANSAS ANYMORE.

YOU ARE GOING INTO A BIZARRE

YOU ARE GOING INTO A BIZARRE

PLACE, AND IT'S VERY DANGEROUS.

PLACE, AND IT'S VERY DANGEROUS.

>> [growling gutturally]

>> [growling gutturally]

>> Young: AND THE CHARACTERS YOU

>> Young: AND THE CHARACTERS YOU

WILL BE DEALING WITH ARE NOT

WILL BE DEALING WITH ARE NOT

LIKE THE FOLKS BACK HOME.

LIKE THE FOLKS BACK HOME.

>> HE DOESN'T LIKE YOU.

>> HE DOESN'T LIKE YOU.

>> I'M SORRY.

>> I'M SORRY.

>> I DON'T LIKE YOU EITHER.

>> I DON'T LIKE YOU EITHER.

YOU JUST WATCH YOURSELF.

YOU JUST WATCH YOURSELF.

>> I'LL BE CAREFUL.

>> I'LL BE CAREFUL.

>> YOU'LL BE DEAD!

>> YOU'LL BE DEAD!

RAGH!

RAGH!

[blasters firing]

[blasters firing]

>> AAAGH!

>> AAAGH!

>> Whedon: LUKE SKYWALKER'S

>> Whedon: LUKE SKYWALKER'S

JOURNEY IS THE SIMPLE, CLASSIC

JOURNEY IS THE SIMPLE, CLASSIC

HERO THING OF, "I AM AN

HERO THING OF, "I AM AN

ADOLESCENT WHO IS ABOUT TO BREAK

ADOLESCENT WHO IS ABOUT TO BREAK

FROM A MUCH SMALLER VIEW OF THE

FROM A MUCH SMALLER VIEW OF THE

WORLD TO A MUCH LARGER ONE.

WORLD TO A MUCH LARGER ONE.

AND I'M GONNA GO THROUGH A

AND I'M GONNA GO THROUGH A

REALLY PAINFUL JOURNEY IN ORDER

REALLY PAINFUL JOURNEY IN ORDER

TO DO THAT."

TO DO THAT."

>> Lyden: JUST AS HERCULES AND

>> Lyden: JUST AS HERCULES AND

OTHER HEROES OF CLASSIC

OTHER HEROES OF CLASSIC

MYTHOLOGY HAD TO UNDERGO CERTAIN

MYTHOLOGY HAD TO UNDERGO CERTAIN

TASKS TO PROVE THEIR WORTH, SO

TASKS TO PROVE THEIR WORTH, SO

LUKE DEVELOPS AS A CHARACTER

LUKE DEVELOPS AS A CHARACTER

THROUGH THE TASKS HE UNDERTAKES.

>> FOR LUCK.

>> FOR LUCK.

>> Lyden: HE RESCUES PRINCESS

>> Lyden: HE RESCUES PRINCESS

LEIA.

LEIA.

HE HELPS TO ATTACK THE DEATH

HE HELPS TO ATTACK THE DEATH

STAR, WHERE HE IS A KEY PLAYER.

STAR, WHERE HE IS A KEY PLAYER.

>> ARE YOU ALRIGHT?!

>> ARE YOU ALRIGHT?!

>> I GOT A LITTLE COOKED, BUT

>> I GOT A LITTLE COOKED, BUT

I'M OKAY.

I'M OKAY.

>> Lyden: HE'S SWEPT UP IN THE

>> Lyden: HE'S SWEPT UP IN THE

BATTLE ON HOTH AND IS ABLE TO

BATTLE ON HOTH AND IS ABLE TO

DEAL WITH THAT.

[Chewbacca roars]

[Chewbacca roars]

>> AIIGH!

>> AIIGH!

>> Lyden: HE RESCUES HIS FRIENDS

>> Lyden: HE RESCUES HIS FRIENDS

FROM JABBA THE HUTT.

FROM JABBA THE HUTT.

>> LET'S GO, AND DON'T FORGET

>> LET'S GO, AND DON'T FORGET

THE DROIDS.

THE DROIDS.

>> WE'RE ON OUR WAY.

>> WE'RE ON OUR WAY.

>> Lyden: ALL OF THESE THINGS

>> Lyden: ALL OF THESE THINGS

ARE PART OF HIS PROVING HIMSELF.

ARE PART OF HIS PROVING HIMSELF.

ALTHOUGH HIS BIGGEST STRUGGLE IS

ALTHOUGH HIS BIGGEST STRUGGLE IS

WITH HIS OWN FATHER.

WITH HIS OWN FATHER.

>> HOW DID MY FATHER DIE?

>> HOW DID MY FATHER DIE?

>> A YOUNG JEDI NAMED DARTH

>> A YOUNG JEDI NAMED DARTH

VADER, HE BETRAYED AND MURDERED

VADER, HE BETRAYED AND MURDERED

YOUR FATHER.

>> LUKE.

>> LUKE.

[deep mechanical breathing]

[deep mechanical breathing]

>> Paglia: THE WAY DARTH VADER

>> Paglia: THE WAY DARTH VADER

LOOMS AS THIS DARK, FACELESS

LOOMS AS THIS DARK, FACELESS

FIGURE OVER HIM IS EXACTLY THE

FIGURE OVER HIM IS EXACTLY THE

WAY THE DEAD FATHER OF HAMLET

WAY THE DEAD FATHER OF HAMLET

LOOMS IN THE PLAY "HAMLET" AS A

LOOMS IN THE PLAY "HAMLET" AS A

WALKING GHOST, A GHOST CLAD IN

WALKING GHOST, A GHOST CLAD IN

ARMOR WITH A SEPULCHRAL VOICE.

ARMOR WITH A SEPULCHRAL VOICE.

>> YOUR DESTINY LIES WITH ME,

>> YOUR DESTINY LIES WITH ME,

SKYWALKER.

SKYWALKER.

>> Rubino: THE STRUGGLE BETWEEN

>> Rubino: THE STRUGGLE BETWEEN

FATHER AND SON IS VERY PRESENT

FATHER AND SON IS VERY PRESENT

IN GREEK MYTH.

IN GREEK MYTH.

FOR EXAMPLE, ZEUS CAME TO POWER

FOR EXAMPLE, ZEUS CAME TO POWER

BY STRUGGLING WITH HIS FATHER,

BY STRUGGLING WITH HIS FATHER,

AND HIS FATHER BEFORE HIM

AND HIS FATHER BEFORE HIM

STRUGGLED WITH HIS FATHER.

STRUGGLED WITH HIS FATHER.

HIS WEAPON IS A THUNDERBOLT,

HIS WEAPON IS A THUNDERBOLT,

LIGHTNING.

LIGHTNING.

SO WHEN I SAW DARTH VADER

SO WHEN I SAW DARTH VADER

FIGHTING WITH LUKE SKYWALKER

FIGHTING WITH LUKE SKYWALKER

WITH THESE LIGHT BEAMS, I

WITH THESE LIGHT BEAMS, I

THOUGHT OF THE THUNDERBOLT OF

THOUGHT OF THE THUNDERBOLT OF

ZEUS.

ZEUS.

>> Galipeau: THE LUKE/VADER

>> Galipeau: THE LUKE/VADER

RELATIONSHIP, IT'S ACTUALLY A

RELATIONSHIP, IT'S ACTUALLY A

BIBLICAL THEME IN THE SENSE THAT

BIBLICAL THEME IN THE SENSE THAT

THE BIBLE TALKS ABOUT THE SINS

THE BIBLE TALKS ABOUT THE SINS

OF THE FATHERS WILL BE PASSED ON

OF THE FATHERS WILL BE PASSED ON

TO THE SONS AND DAUGHTERS TO THE

TO THE SONS AND DAUGHTERS TO THE

FIFTH AND SIXTH GENERATION.

FIFTH AND SIXTH GENERATION.

>> YOU ARE BEATEN.

>> YOU ARE BEATEN.

IT IS USELESS TO RESIST.

IT IS USELESS TO RESIST.

DON'T LET YOURSELF BE DESTROYED

DON'T LET YOURSELF BE DESTROYED

AS OBI-WAN DID.

AS OBI-WAN DID.

>> Mitchell: THERE'S ALWAYS A

>> Mitchell: THERE'S ALWAYS A

SENSE THAT, BASICALLY, EVIL IS

SENSE THAT, BASICALLY, EVIL IS

INESCAPABLE IN ALL OF US AND

INESCAPABLE IN ALL OF US AND

GUILT IS INESCAPABLE IN ALL OF

GUILT IS INESCAPABLE IN ALL OF

US, AND WE HAVE TO ACKNOWLEDGE

US, AND WE HAVE TO ACKNOWLEDGE

THAT.

THAT.

>> WE'LL TAKE HIM TOGETHER.

>> WE'LL TAKE HIM TOGETHER.

YOU GO IN SLOWLY--

YOU GO IN SLOWLY--

>> NO, I'M TAKING HIM NOW!

>> NO, I'M TAKING HIM NOW!

>> NO, ANAKIN, NO!

>> NO, ANAKIN, NO!

>> Mitchell: LUKE'S FATHER IS

>> Mitchell: LUKE'S FATHER IS

SCARRED.

SCARRED.

>> AAH!

>> AAH!

>> Mitchell: AND PASSES THE SCAR

>> Mitchell: AND PASSES THE SCAR

ON TO HIS SON.

ON TO HIS SON.

IT'S A PASSING DOWN OF THE MARK

IT'S A PASSING DOWN OF THE MARK

OF CAIN.

OF CAIN.

>> AGGGGH!!

>> AGGGGH!!

>> Mitchell: FINALLY, ALL THIS

>> Mitchell: FINALLY, ALL THIS

COMES TO REST IN LUKE SKYWALKER.

COMES TO REST IN LUKE SKYWALKER.

>> OBI-WAN NEVER TOLD YOU WHAT

>> OBI-WAN NEVER TOLD YOU WHAT

HAPPENED TO YOUR FATHER.

HAPPENED TO YOUR FATHER.

>> HE TOLD ME YOU KILLED HIM.

>> HE TOLD ME YOU KILLED HIM.

>> NO.

>> NO.

I AM YOUR FATHER.

I AM YOUR FATHER.

>> NO!!

>> NO!!

NO!

NO!

>> Mitchell: LUKE HAS TO REALIZE

>> Mitchell: LUKE HAS TO REALIZE

THAT HE'S A PART OF A FAMILY AND

THAT HE'S A PART OF A FAMILY AND

TO NOT CARRY ON THE SINS OF THE

TO NOT CARRY ON THE SINS OF THE

FATHER.

FATHER.

>> JOIN ME, AND TOGETHER WE CAN

>> JOIN ME, AND TOGETHER WE CAN

RULE THE GALAXY AS FATHER AND

RULE THE GALAXY AS FATHER AND

SON.

SON.

[wind whistling]

>> Young: IN A DRAMA, THERE

>> Young: IN A DRAMA, THERE

WILL BE A SERIOUS BATTLE AND A

WILL BE A SERIOUS BATTLE AND A

SERIOUS WOUNDING.

SERIOUS WOUNDING.

>> UGH...

>> UGH...

>> Young: THROUGHOUT THE REST OF

>> Young: THROUGHOUT THE REST OF

THE DRAMA, THE EFFECT OF THAT

THE DRAMA, THE EFFECT OF THAT

WOUND WILL SHAPE THE ACTIONS OF

WOUND WILL SHAPE THE ACTIONS OF

THE HERO.

THE HERO.

>> ANAKIN!

>> ANAKIN!

>> Young: IT IS LETTING US KNOW

>> Young: IT IS LETTING US KNOW

THE DANGERS OF ADULTHOOD.

THE DANGERS OF ADULTHOOD.

>> LEIA...

>> LEIA...

>> Young: THE REAL INJURIES OF

>> Young: THE REAL INJURIES OF

LIFE ADD UP AS WE GO ALONG.

THAT IS THE MAKING OF CHARACTER.

THAT IS THE MAKING OF CHARACTER.

>> OW.

>> OW.

>> Young: THAT IS WHAT MAKES US

>> Young: THAT IS WHAT MAKES US

HUMAN AND ADULT AND, IN A WAY,

HUMAN AND ADULT AND, IN A WAY,

WISE.

[high-pitched scream]

[high-pitched scream]

>> [beeps]

[beeps]

[beeps]

>> HELLO, THERE.

>> Narrator: YODA.

>> Narrator: YODA.

>> YOU MUST UNLEARN WHAT YOU

>> YOU MUST UNLEARN WHAT YOU

HAVE LEARNED.

HAVE LEARNED.

>> Narrator: QUI-GON.

>> Narrator: QUI-GON.

>> FEEL, DON'T THINK.

>> FEEL, DON'T THINK.

USE YOUR INSTINCTS.

USE YOUR INSTINCTS.

>> Narrator: OBI-WAN.

>> Narrator: OBI-WAN.

>> REMEMBER, A JEDI CAN FEEL THE

>> REMEMBER, A JEDI CAN FEEL THE

FORCE FLOWING THROUGH HIM.

FORCE FLOWING THROUGH HIM.

>> Narrator: IN MYTHIC

>> Narrator: IN MYTHIC

TRADITION, THESE THREE

TRADITION, THESE THREE

CHARACTERS SHARE THE ROLE OF

CHARACTERS SHARE THE ROLE OF

MENTOR.

MENTOR.

>> THE FORCE WILL BE WITH YOU...

>> THE FORCE WILL BE WITH YOU...

ALWAYS.

ALWAYS.

>> Narrator: PART WIZARD...

>> Narrator: PART WIZARD...

PART PRIEST...

PART PRIEST...

PART SURROGATE PARENT...

PART SURROGATE PARENT...

MENTORS GIVE PHILOSOPHICAL AND

MENTORS GIVE PHILOSOPHICAL AND

SPIRITUAL GUIDANCE TO THE HERO.

SPIRITUAL GUIDANCE TO THE HERO.

>> I DON'T UNDERSTAND.

>> I DON'T UNDERSTAND.

>> WITH TIME AND TRAINING, ANI,

>> WITH TIME AND TRAINING, ANI,

YOU WILL.

YOU WILL.

>> Narrator: THEY OFTEN POSSESS

>> Narrator: THEY OFTEN POSSESS

ALMOST MAGICAL POWERS THAT

ALMOST MAGICAL POWERS THAT

REFLECT A LIFETIME OF STUDY,

REFLECT A LIFETIME OF STUDY,

DISCIPLINE, AND ACQUIRED WISDOM.

DISCIPLINE, AND ACQUIRED WISDOM.

>> LET ME SEE YOUR

>> LET ME SEE YOUR

IDENTIFICATION.

IDENTIFICATION.

>> YOU DON'T NEED TO SEE HIS

>> YOU DON'T NEED TO SEE HIS

IDENTIFICATION.

IDENTIFICATION.

>> WE DON'T NEED TO SEE HIS

>> WE DON'T NEED TO SEE HIS

IDENTIFICATION.

IDENTIFICATION.

>> THESE AREN'T THE DROIDS

>> THESE AREN'T THE DROIDS

YOU'RE LOOKING FOR.

YOU'RE LOOKING FOR.

>> THESE AREN'T THE DROIDS

>> THESE AREN'T THE DROIDS

WE'RE LOOKING FOR.

WE'RE LOOKING FOR.

>> HE CAN GO ABOUT HIS BUSINESS.

>> HE CAN GO ABOUT HIS BUSINESS.

>> YOU CAN GO ABOUT YOUR

>> YOU CAN GO ABOUT YOUR

BUSINESS.

BUSINESS.

>> MOVE ALONG.

>> MOVE ALONG.

>> MOVE ALONG.

>> MOVE ALONG.

MOVE ALONG.

MOVE ALONG.

>> Smith: OBI-WAN KENOBI, WHILE,

>> Smith: OBI-WAN KENOBI, WHILE,

YOU KNOW, THE LEAST-PLAYED-WITH

YOU KNOW, THE LEAST-PLAYED-WITH

ACTION FIGURE IN MY COLLECTION,

ACTION FIGURE IN MY COLLECTION,

WAS ESSENTIAL TO HAVE BECAUSE

WAS ESSENTIAL TO HAVE BECAUSE

YOU NEED SOMEBODY WHO'S GONNA

YOU NEED SOMEBODY WHO'S GONNA

INSTRUCT YOU IN THE WAYS OF THE

INSTRUCT YOU IN THE WAYS OF THE

FORCE.

FORCE.

>> I CAN'T UNDERSTAND HOW WE GOT

>> I CAN'T UNDERSTAND HOW WE GOT

BY THOSE TROOPS.

BY THOSE TROOPS.

>> THE FORCE CAN HAVE A STRONG

>> THE FORCE CAN HAVE A STRONG

INFLUENCE ON THE WEAK-MINDED.

INFLUENCE ON THE WEAK-MINDED.

>> Smith: WITHOUT OBI-WAN

>> Smith: WITHOUT OBI-WAN

KENOBI, LUKE SKYWALKER HAS NO

KENOBI, LUKE SKYWALKER HAS NO

IDEA ABOUT HIS ORIGINS.

IDEA ABOUT HIS ORIGINS.

>> NO, MY FATHER DIDN'T FIGHT

>> NO, MY FATHER DIDN'T FIGHT

IN THE WARS.

IN THE WARS.

HE WAS A NAVIGATOR ON A SPICE

HE WAS A NAVIGATOR ON A SPICE

FREIGHTER.

FREIGHTER.

>> THAT'S WHAT YOUR UNCLE TOLD

>> THAT'S WHAT YOUR UNCLE TOLD

YOU.

YOU.

>> Smith: HE DOESN'T KNOW THAT

>> Smith: HE DOESN'T KNOW THAT

HIS FATHER WAS A JEDI.

HIS FATHER WAS A JEDI.

>> YOU FOUGHT IN THE CLONE WARS?

>> YOU FOUGHT IN THE CLONE WARS?

>> YES.

>> YES.

I WAS ONCE A JEDI KNIGHT, THE

I WAS ONCE A JEDI KNIGHT, THE

SAME AS YOUR FATHER.

SAME AS YOUR FATHER.

>> Abrams: IN MOMENTS OF

>> Abrams: IN MOMENTS OF

ABSOLUTE DISCONNECT AND LOSS AND

ABSOLUTE DISCONNECT AND LOSS AND

CONFUSION AND FEAR,

CONFUSION AND FEAR,

THESE CHARACTERS ARRIVED THAT

THESE CHARACTERS ARRIVED THAT

GAVE PURPOSE AND CONFIDENCE TO

GAVE PURPOSE AND CONFIDENCE TO

OUR MAIN CHARACTER.

OUR MAIN CHARACTER.

>> Narrator: THE FIGURE OF THE

>> Narrator: THE FIGURE OF THE

MENTOR CONTINUES A MYTHIC

MENTOR CONTINUES A MYTHIC

TRADITION THAT SPANS FROM

TRADITION THAT SPANS FROM

GANDALF IN "THE LORD OF THE

GANDALF IN "THE LORD OF THE

RINGS" TO THE STORIES OF THE

RINGS" TO THE STORIES OF THE

ANCIENT GREEKS, LIKE HOMER'S

ANCIENT GREEKS, LIKE HOMER'S

EPIC POEM, "THE ODYSSEY."

EPIC POEM, "THE ODYSSEY."

>> Young: WHEN ODYSSEUS GOES

>> Young: WHEN ODYSSEUS GOES

OFF ON HIS LONG JOURNEYS, HE IS

OFF ON HIS LONG JOURNEYS, HE IS

CONCERNED ABOUT THE WELL-BEING

CONCERNED ABOUT THE WELL-BEING

OF HIS SON, TELEMACHUS.

OF HIS SON, TELEMACHUS.

SO HE ASKS A FAMILY FRIEND, AN

SO HE ASKS A FAMILY FRIEND, AN

OLDER FRIEND NAMED MENTOR, TO

OLDER FRIEND NAMED MENTOR, TO

LOOK IN ON HIS SON.

LOOK IN ON HIS SON.

AND FROM THIS, WE GET OUR WORD

AND FROM THIS, WE GET OUR WORD

"MENTOR."

"MENTOR."

>> Narrator: IN "STAR WARS," AS

>> Narrator: IN "STAR WARS," AS

IN MANY ANCIENT MYTHS...

IN MANY ANCIENT MYTHS...

>> I FEEL LIKE...

>> I FEEL LIKE...

>> FEEL LIKE WHAT?

>> FEEL LIKE WHAT?

>> Narrator: THE MENTOR DOES

>> Narrator: THE MENTOR DOES

NOT ALWAYS APPEAR IN WHAT SEEMS

NOT ALWAYS APPEAR IN WHAT SEEMS

A NORMAL SHAPE.

A NORMAL SHAPE.

>> I AM WONDERING, WHY ARE YOU

>> I AM WONDERING, WHY ARE YOU

HERE?

HERE?

>> Narrator: OR SIZE.

>> Narrator: OR SIZE.

>> I'M LOOKING FOR SOMEONE.

>> I'M LOOKING FOR SOMEONE.

>> LOOKING?!

>> LOOKING?!

FOUND SOMEONE, YOU HAVE, I WOULD

FOUND SOMEONE, YOU HAVE, I WOULD

SAY, HMM?

SAY, HMM?

[laughs]

[laughs]

>> RIGHT.

>> RIGHT.

>> Rubino: IN MYTHOLOGY, THE

>> Rubino: IN MYTHOLOGY, THE

STORY OF ACHILLES TELLS US THAT

STORY OF ACHILLES TELLS US THAT

HE WAS SENT TO STUDY WITH CHIRON

HE WAS SENT TO STUDY WITH CHIRON

THE CENTAUR, WHO WAS A HALF-MAN,

THE CENTAUR, WHO WAS A HALF-MAN,

HALF-HORSE BEING WHO LIVED IN

HALF-HORSE BEING WHO LIVED IN

AN ISOLATED SPOT ON MT. PELION.

AN ISOLATED SPOT ON MT. PELION.

AND ACHILLES LEARNED EVERYTHING

AND ACHILLES LEARNED EVERYTHING

HE KNEW FROM CHIRON, INCLUDING

HE KNEW FROM CHIRON, INCLUDING

NOT ONLY WARFARE BUT MUSIC,

NOT ONLY WARFARE BUT MUSIC,

SPEECH.

SPEECH.

HE GOT A COMPLETE HERO'S

HE GOT A COMPLETE HERO'S

EDUCATION FROM THIS COMPOSITE

EDUCATION FROM THIS COMPOSITE

BEING, FAR MORE STRANGE THAN

BEING, FAR MORE STRANGE THAN

YODA.

YODA.

>> YOU'RE A JEDI KNIGHT, AREN'T

>> YOU'RE A JEDI KNIGHT, AREN'T

YOU?

YOU?

>> WHAT MAKES YOU THINK THAT?

>> WHAT MAKES YOU THINK THAT?

>> I SAW YOUR LASER SWORD.

>> I SAW YOUR LASER SWORD.

ONLY JEDIS CARRY THAT KIND OF

ONLY JEDIS CARRY THAT KIND OF

WEAPON.

WEAPON.

>> Narrator: USUALLY, THE MENTOR

>> Narrator: USUALLY, THE MENTOR

PERFORMS ANOTHER IMPORTANT DUTY

PERFORMS ANOTHER IMPORTANT DUTY

EARLY IN THE HERO'S JOURNEY.

EARLY IN THE HERO'S JOURNEY.

>> I HAVE SOMETHING HERE FOR

>> I HAVE SOMETHING HERE FOR

YOU.

YOU.

>> Narrator: HE MUST PRESENT HIM

>> Narrator: HE MUST PRESENT HIM

WITH A SPECIAL GIFT.

WITH A SPECIAL GIFT.

>> YOUR FATHER WANTED YOU TO

>> YOUR FATHER WANTED YOU TO

HAVE THIS WHEN YOU WERE OLD

HAVE THIS WHEN YOU WERE OLD

ENOUGH.

ENOUGH.

>> Young: THE MOMENT IS CRUCIAL,

>> Young: THE MOMENT IS CRUCIAL,

AND IN THE STORIES, IT IS A

AND IN THE STORIES, IT IS A

SWORD OR A LIGHT SABER, OFTEN

SWORD OR A LIGHT SABER, OFTEN

SOMETHING USEFUL IN THE

SOMETHING USEFUL IN THE

STRUGGLES TO COME.

STRUGGLES TO COME.

>> WHAT IS IT?

>> WHAT IS IT?

>> IT'S YOUR FATHER'S

>> IT'S YOUR FATHER'S

LIGHT SABER.

LIGHT SABER.

THIS IS THE WEAPON OF A JEDI

THIS IS THE WEAPON OF A JEDI

KNIGHT.

KNIGHT.

NOT AS CLUMSY OR RANDOM AS A

NOT AS CLUMSY OR RANDOM AS A

BLASTER.

BLASTER.

AN ELEGANT WEAPON FOR A MORE

AN ELEGANT WEAPON FOR A MORE

CIVILIZED AGE.

CIVILIZED AGE.

>> Young: IN OUR EXPERIENCES, A

>> Young: IN OUR EXPERIENCES, A

MENTOR GIVES US A GIFT OF AN

MENTOR GIVES US A GIFT OF AN

IDEA, OF WISDOM, OF SOME

IDEA, OF WISDOM, OF SOME

DISCERNMENT.

DISCERNMENT.

>> LET GO YOUR CONSCIENCE SELF

>> LET GO YOUR CONSCIENCE SELF

AND ACT ON INSTINCT.

AND ACT ON INSTINCT.

>> Young: THE LIGHT SABER CAN

>> Young: THE LIGHT SABER CAN

CUT.

CUT.

SO CAN DISCERNMENT.

SO CAN DISCERNMENT.

THIS IS SORTING OUT LIFE.

THIS IS SORTING OUT LIFE.

>> STRETCH OUT WITH YOUR

>> STRETCH OUT WITH YOUR

FEELINGS.

FEELINGS.

>> Young: BEING ABLE TO MAKE

>> Young: BEING ABLE TO MAKE

THOSE DISTINCTIONS ALLOWS THE

THOSE DISTINCTIONS ALLOWS THE

HERO TO MOVE FORWARD IN THE

HERO TO MOVE FORWARD IN THE

STORY.

STORY.

>> Lyden: LUKE IS REMINISCENT OF

>> Lyden: LUKE IS REMINISCENT OF

KING ARTHUR IN A WAY.

KING ARTHUR IN A WAY.

KING ARTHUR IS GIVEN THE SWORD

KING ARTHUR IS GIVEN THE SWORD

EXCALIBUR AS PART OF HIS ROLE

EXCALIBUR AS PART OF HIS ROLE

TO BE KING AND TO LEAD.

TO BE KING AND TO LEAD.

SO ALSO LUKE RECEIVES HIS

SO ALSO LUKE RECEIVES HIS

FATHER'S LIGHT SABER FROM

FATHER'S LIGHT SABER FROM

OBI-WAN, AND IT'S REALLY AT THAT

OBI-WAN, AND IT'S REALLY AT THAT

POINT THAT LUKE REALIZES THERE

POINT THAT LUKE REALIZES THERE

IS SOMETHING SPECIAL ABOUT HIM.

IS SOMETHING SPECIAL ABOUT HIM.

>> YOU KNOW, I DID FEEL

>> YOU KNOW, I DID FEEL

SOMETHING.

SOMETHING.

I COULD ALMOST SEE THE REMOTE.

I COULD ALMOST SEE THE REMOTE.

>> THAT'S GOOD.

>> THAT'S GOOD.

YOU'VE TAKEN YOUR FIRST STEP

YOU'VE TAKEN YOUR FIRST STEP

INTO A LARGER WORLD.

INTO A LARGER WORLD.

>> Narrator: IN "STAR WARS,"

>> Narrator: IN "STAR WARS,"

THE LESSONS THE HERO MUST LEARN

THE LESSONS THE HERO MUST LEARN

ARE THOSE OF THE JEDI MASTER.

ARE THOSE OF THE JEDI MASTER.

>> USE YOUR FEELINGS, YOU MUST.

>> USE YOUR FEELINGS, YOU MUST.

>> Narrator: THEY COMBINE

>> Narrator: THEY COMBINE

MORALITY, SPIRITUAL FAITH, AND

MORALITY, SPIRITUAL FAITH, AND

STRICT PHYSICAL DISCIPLINE.

STRICT PHYSICAL DISCIPLINE.

>> ALL RIGHT, I'LL GIVE IT A

>> ALL RIGHT, I'LL GIVE IT A

TRY.

TRY.

>> NO!

>> NO!

TRY NOT.

TRY NOT.

DO... OR DO NOT.

DO... OR DO NOT.

THERE IS NO TRY.

THERE IS NO TRY.

>> Gingrich: ONE COULD ARGUE

>> Gingrich: ONE COULD ARGUE

THEY ARE THE JESUITS OF THIS

THEY ARE THE JESUITS OF THIS

WORLD.

WORLD.

THESE ARE THE PEOPLE WHO ARE

THESE ARE THE PEOPLE WHO ARE

THE TRUTH-BEARERS, WHO ARE THE

THE TRUTH-BEARERS, WHO ARE THE

PRIESTHOOD OF FREEDOM AND WHO

PRIESTHOOD OF FREEDOM AND WHO

GIVE THEIR LIVES IN ORDER TO

GIVE THEIR LIVES IN ORDER TO

STOP EVIL.

>> Wetmore, Jr.: THE JEDI

>> Wetmore, Jr.: THE JEDI

THEMSELVES ARE VERY

THEMSELVES ARE VERY

SAMURAI-LIKE.

SAMURAI-LIKE.

"JEDI" COMES FROM "JIDAI" IN

"JEDI" COMES FROM "JIDAI" IN

JAPANESE, JIDAI-GEKI, WHICH ARE

JAPANESE, JIDAI-GEKI, WHICH ARE

THE SAMURAI FILMS.

THE SAMURAI FILMS.

"JIDAI-GEKI" LITERALLY MEANS

"JIDAI-GEKI" LITERALLY MEANS

"HISTORY THING" OR "HISTORY

"HISTORY THING" OR "HISTORY

PIECE," AND THAT GETS CONTRACTED

PIECE," AND THAT GETS CONTRACTED

DOWN TO "JEDI."

DOWN TO "JEDI."

>> Narrator: IN "STAR WARS,"

>> Narrator: IN "STAR WARS,"

THE MENTOR'S MOST IMPORTANT

THE MENTOR'S MOST IMPORTANT

TEACHING CONCERNS THE SPIRITUAL

TEACHING CONCERNS THE SPIRITUAL

PHENOMENON KNOWN AS THE FORCE.

PHENOMENON KNOWN AS THE FORCE.

>> THE FORCE?

>> THE FORCE?

>> THE FORCE IS WHAT GIVES A

>> THE FORCE IS WHAT GIVES A

JEDI HIS POWER.

JEDI HIS POWER.

IT'S AN ENERGY FIELD CREATED BY

IT'S AN ENERGY FIELD CREATED BY

ALL LIVING THINGS.

ALL LIVING THINGS.

IT SURROUNDS US AND PENETRATES

IT SURROUNDS US AND PENETRATES

US.

US.

IT BINDS THE GALAXY TOGETHER.

IT BINDS THE GALAXY TOGETHER.

>> Lyden: THE IDEA OF THE FORCE

>> Lyden: THE IDEA OF THE FORCE

IS GENERAL ENOUGH THAT PEOPLE

IS GENERAL ENOUGH THAT PEOPLE

OF ANY RELIGIOUS BACKGROUND CAN

OF ANY RELIGIOUS BACKGROUND CAN

IDENTIFY WITH IT.

IDENTIFY WITH IT.

ONE CAN SEE IT AS A PERSONAL GOD

ONE CAN SEE IT AS A PERSONAL GOD

OF WESTERN RELIGION.

OF WESTERN RELIGION.

ONE CAN ASSOCIATE IT WITH A MORE

ONE CAN ASSOCIATE IT WITH A MORE

SPIRITUAL IDEAL.

SPIRITUAL IDEAL.

I THINK THE KEY THING TO

I THINK THE KEY THING TO

REMEMBER IS THAT IT MEANS ONE

REMEMBER IS THAT IT MEANS ONE

IS BELIEVING IN SOMETHING

IS BELIEVING IN SOMETHING

HIGHER, THAT EVENTS IN THE

HIGHER, THAT EVENTS IN THE

UNIVERSE ARE NOT MEANINGLESS.

UNIVERSE ARE NOT MEANINGLESS.

THERE IS A PURPOSE.

THERE IS A PURPOSE.

THERE IS A MEANING TO LIFE, AND

THERE IS A MEANING TO LIFE, AND

SOMETHING IS DIRECTING AND

SOMETHING IS DIRECTING AND

GUIDING THAT.

GUIDING THAT.

>> IT'S ENERGY SURROUNDS US AND

>> IT'S ENERGY SURROUNDS US AND

BINDS US.

BINDS US.

LUMINOUS BEINGS ARE WE, NOT THIS

LUMINOUS BEINGS ARE WE, NOT THIS

CRUDE MATTER.

CRUDE MATTER.

YOU MUST FEEL THE FORCE AROUND

YOU MUST FEEL THE FORCE AROUND

YOU.

YOU.

HERE, BETWEEN YOU, ME, THE TREE,

HERE, BETWEEN YOU, ME, THE TREE,

THE ROCK, EVERYWHERE.

THE ROCK, EVERYWHERE.

>> Jackson: IT'S A LIFE FORCE,

>> Jackson: IT'S A LIFE FORCE,

LIKE CHI.

LIKE CHI.

AND THAT IS ANOTHER VERY

AND THAT IS ANOTHER VERY

IMPORTANT ASPECT OF THESE

IMPORTANT ASPECT OF THESE

MOVIES, TO GIVE US A SENSE OF

MOVIES, TO GIVE US A SENSE OF

CONFIDENCE THAT THERE IS A WORLD

CONFIDENCE THAT THERE IS A WORLD

OUTSIDE OF OUR CONSCIOUSNESS.

OUTSIDE OF OUR CONSCIOUSNESS.

>> Narrator: IN THE "STAR WARS"

>> Narrator: IN THE "STAR WARS"

UNIVERSE, SPIRITUAL

UNIVERSE, SPIRITUAL

ENLIGHTENMENT DOES NOT COME

ENLIGHTENMENT DOES NOT COME

WITHOUT SACRIFICE.

WITHOUT SACRIFICE.

THOSE WHO SEEK THE POWER OF THE

THOSE WHO SEEK THE POWER OF THE

FORCE MUST STUDY, TRAIN, AND

FORCE MUST STUDY, TRAIN, AND

OBEY STRICT DISCIPLINES.

OBEY STRICT DISCIPLINES.

THEY MUST ALSO OVERCOME THEIR

THEY MUST ALSO OVERCOME THEIR

OWN SKEPTICISM AND SELF-DOUBT.

OWN SKEPTICISM AND SELF-DOUBT.

>> YOU WORK THE IMPOSSIBLE.

>> YOU WORK THE IMPOSSIBLE.

>> Lyden: WHEN A PERSON IS

>> Lyden: WHEN A PERSON IS

BROUGHT TO ENLIGHTENMENT, YOU

BROUGHT TO ENLIGHTENMENT, YOU

CAN'T TELL THEM WHAT TO DO.

CAN'T TELL THEM WHAT TO DO.

THEY REALLY HAVE TO FIGURE IT

THEY REALLY HAVE TO FIGURE IT

OUT FOR THEMSELVES.

>> I DON'T--I DON'T BELIEVE IT.

>> I DON'T--I DON'T BELIEVE IT.

>> THAT IS WHY YOU FAIL.

>> THAT IS WHY YOU FAIL.

>> YOU CAN'T WIN, DARTH.

>> YOU CAN'T WIN, DARTH.

IF YOU STRIKE ME DOWN, I SHALL

IF YOU STRIKE ME DOWN, I SHALL

BECOME MORE POWERFUL THAN YOU

BECOME MORE POWERFUL THAN YOU

CAN POSSIBLY IMAGINE.

CAN POSSIBLY IMAGINE.

>> Narrator: UNFORTUNATELY,

>> Narrator: UNFORTUNATELY,

DURING THE HERO'S JOURNEY, THE

DURING THE HERO'S JOURNEY, THE

MENTOR CANNOT STAY FOREVER.

>> NO!!

>> NO!!

>> Young: OUR PARENTS DIE.

>> Young: OUR PARENTS DIE.

OUR TEACHERS DIE.

OUR TEACHERS DIE.

THE LOSSES IN LIFE'S LONG

THE LOSSES IN LIFE'S LONG

JOURNEY ARE GREAT.

JOURNEY ARE GREAT.

>> RUN, LUKE, RUN!

>> RUN, LUKE, RUN!

>> Young: THE FIRST REACTION IS

>> Young: THE FIRST REACTION IS

OFTEN, "I CAN'T MAKE IT WITHOUT

OFTEN, "I CAN'T MAKE IT WITHOUT

THIS HELP."

THIS HELP."

>> I CAN'T BELIEVE HE'S GONE.

>> I CAN'T BELIEVE HE'S GONE.

>> Young: IT IS CRUCIAL THAT THE

>> Young: IT IS CRUCIAL THAT THE

HELP NOT STAY THERE.

HELP NOT STAY THERE.

>> N-O-O-O-O!!

>> N-O-O-O-O!!

>> Young: THAT THEY EITHER LEAVE

>> Young: THAT THEY EITHER LEAVE

OR DIE OR WE WOULD NEVER KNOW

OR DIE OR WE WOULD NEVER KNOW

THAT WE HAVE IN FACT TAKEN IN

THAT WE HAVE IN FACT TAKEN IN

THE TEACHING.

THE TEACHING.

>> NO MORE TRAINING DO YOU

>> NO MORE TRAINING DO YOU

REQUIRE.

REQUIRE.

ALREADY KNOW YOU THAT WHICH YOU

ALREADY KNOW YOU THAT WHICH YOU

NEED.

NEED.

>> Galipeau: AFTER PEOPLE THAT

>> Galipeau: AFTER PEOPLE THAT

WE KNOW HAVE PASSED ON, THEIR

WE KNOW HAVE PASSED ON, THEIR

SPIRIT CAN STAY WITH US.

SPIRIT CAN STAY WITH US.

"STAR WARS" STEPS RIGHT IN AND

"STAR WARS" STEPS RIGHT IN AND

PICKS UP ON THAT.

PICKS UP ON THAT.

>> USE THE FORCE, LUKE.

>> USE THE FORCE, LUKE.

>> Young: THE MENTOR IS NOW

>> Young: THE MENTOR IS NOW

WITHIN, AND I'M ABLE TO SURVIVE.

WITHIN, AND I'M ABLE TO SURVIVE.

FROM THE DEATH OF OBI-WAN...

FROM THE DEATH OF OBI-WAN...

YODA...

YODA...

QUI-GON...

QUI-GON...

"STAR WARS" REPEATEDLY SHOWS

"STAR WARS" REPEATEDLY SHOWS

THAT AS VALUABLE AS THE MENTOR

THAT AS VALUABLE AS THE MENTOR

RELATIONSHIP IS, ULTIMATELY, WE

RELATIONSHIP IS, ULTIMATELY, WE

WILL OUTLIVE IT.

WILL OUTLIVE IT.

>> REJOICE FOR THOSE AROUND YOU

>> REJOICE FOR THOSE AROUND YOU

WHO TRANSFORM INTO THE FORCE.

WHO TRANSFORM INTO THE FORCE.

MOURN THEM DO NOT.

MOURN THEM DO NOT.

MISS THEM DO NOT.

MISS THEM DO NOT.

DEATH IS A NATURAL PART OF LIFE.

DEATH IS A NATURAL PART OF LIFE.

>> Colbert: EVERYBODY WANTS A

>> Colbert: EVERYBODY WANTS A

MENTOR, AND WE GOT TO ADOPT

MENTOR, AND WE GOT TO ADOPT

OBI-WAN AS OUR MENTOR.

OBI-WAN AS OUR MENTOR.

AND THIS IS A DREAM FOR A BOY,

AND THIS IS A DREAM FOR A BOY,

THAT THEY COULD FIND SOMEONE WHO

THAT THEY COULD FIND SOMEONE WHO

THEY COULD TRUST, AND WHO WOULD

THEY COULD TRUST, AND WHO WOULD

TELL THEM WHAT IT IS THEY WILL

TELL THEM WHAT IT IS THEY WILL

DO WITH THEIR LIFE.

DO WITH THEIR LIFE.

>> YOU'VE BEEN A GOOD

>> YOU'VE BEEN A GOOD

APPRENTICE, OBI-WAN.

APPRENTICE, OBI-WAN.

AND YOU'RE A MUCH WISER MAN THAN

AND YOU'RE A MUCH WISER MAN THAN

I AM.

I AM.

>> Ellerbee: YOU NEVER OUTGROW

>> Ellerbee: YOU NEVER OUTGROW

YOUR NEED FOR A MENTOR.

YOUR NEED FOR A MENTOR.

I DON'T CARE HOW OLD YOU ARE.

I DON'T CARE HOW OLD YOU ARE.

AND THAT THEY TAKE DIFFERENT

AND THAT THEY TAKE DIFFERENT

SHAPES, DIFFERENT FORMS IS A

SHAPES, DIFFERENT FORMS IS A

GREAT REMINDER TO US IF SOMEBODY

GREAT REMINDER TO US IF SOMEBODY

STRETCHES OUT A HELPING HAND,

STRETCHES OUT A HELPING HAND,

DON'T LOOK AND SEE IF IT'S

DON'T LOOK AND SEE IF IT'S

GREEN.

GREEN.

JUST TAKE THE HAND.

>> AREN'T YOU A LITTLE SHORT

>> AREN'T YOU A LITTLE SHORT

FOR A STORMTROOPER?

FOR A STORMTROOPER?

>> I'M LUKE SKYWALKER.

>> I'M LUKE SKYWALKER.

I'M HERE TO RESCUE YOU.

>> Narrator: IN HIS FIGHT

>> Narrator: IN HIS FIGHT

AGAINST THE FORCES OF EVIL...

AGAINST THE FORCES OF EVIL...

>> AIIGH!

>> AIIGH!

>> Narrator: THE HERO NEEDS MORE

>> Narrator: THE HERO NEEDS MORE

THAN COURAGE AND THE TEACHINGS

THAN COURAGE AND THE TEACHINGS

OF A MENTOR.

OF A MENTOR.

>> LUKE, WE'RE GONNA HAVE

>> LUKE, WE'RE GONNA HAVE

COMPANY!

COMPANY!

>> GET ALONGSIDE THAT ONE.

>> GET ALONGSIDE THAT ONE.

>> Narrator: HE ALSO RELIES ON

>> Narrator: HE ALSO RELIES ON

THE HELP AND THE FRIENDSHIP

THE HELP AND THE FRIENDSHIP

OF OTHERS.

OF OTHERS.

>> Henderson: HEROES NEED TO

>> Henderson: HEROES NEED TO

START OUT WITH COMRADES.

START OUT WITH COMRADES.

THEY NEED THAT TEAMWORK.

THEY NEED THAT TEAMWORK.

THEY NEED WHAT THEY CAN LEARN

THEY NEED WHAT THEY CAN LEARN

FROM EACH OTHER.

FROM EACH OTHER.

>> I GOT HIM!

>> I GOT HIM!

>> GREAT, KID!

>> GREAT, KID!

DON'T GET COCKY!

>> THAT'S IT, WE DID IT!

>> THAT'S IT, WE DID IT!

>> WE DID IT!

>> WE DID IT!

[Chewbacca growls]

[Chewbacca growls]

>> Jackson: ONCE THE HERO HAS

>> Jackson: ONCE THE HERO HAS

UNDERTAKEN HIS JOURNEY, THEY

UNDERTAKEN HIS JOURNEY, THEY

PICK UP COMPANIONS ALONG THE

PICK UP COMPANIONS ALONG THE

WAY.

WAY.

DOROTHY MEETS UP WITH THE TIN

DOROTHY MEETS UP WITH THE TIN

MAN AND THE SCARECROW.

MAN AND THE SCARECROW.

FRODO HAS THE ENTIRE FELLOWSHIP

FRODO HAS THE ENTIRE FELLOWSHIP

TO TRAVEL WITH, AND LUKE HAS

TO TRAVEL WITH, AND LUKE HAS

THIS WONDERFUL MENAGERIE OF

THIS WONDERFUL MENAGERIE OF

FRIENDS.

FRIENDS.

>> Narrator: EACH "STAR WARS"

>> Narrator: EACH "STAR WARS"

TRILOGY INGENIOUSLY RE-IMAGINES

TRILOGY INGENIOUSLY RE-IMAGINES

THE ANCIENT ARCHETYPES OF THE

THE ANCIENT ARCHETYPES OF THE

WARRIOR WHO BEFRIENDS THE HERO.

WARRIOR WHO BEFRIENDS THE HERO.

>> BE CAREFUL.

>> BE CAREFUL.

>> YOU TOO.

>> YOU TOO.

>> Narrator: AND THE DAMSEL IN

>> Narrator: AND THE DAMSEL IN

DISTRESS...

DISTRESS...

>> [gasps]

>> [gasps]

>> Narrator: WHOM THE HERO MUST

>> Narrator: WHOM THE HERO MUST

PROTECT.

PROTECT.

>> THIS IS SOME RESCUE!

>> THIS IS SOME RESCUE!

WHEN YOU CAME IN HERE, DIDN'T

WHEN YOU CAME IN HERE, DIDN'T

YOU HAVE A PLAN FOR GETTING OUT?

YOU HAVE A PLAN FOR GETTING OUT?

>> HE'S THE BRAINS, SWEETHEART!

>> HE'S THE BRAINS, SWEETHEART!

>> Narrator: BUT FAR FROM BEING

>> Narrator: BUT FAR FROM BEING

HELPLESS, THE FEMALE CHARACTERS

HELPLESS, THE FEMALE CHARACTERS

OF PADME AMIDALA AND HER

OF PADME AMIDALA AND HER

DAUGHTER, LEIA ORGANA, ARE AS

DAUGHTER, LEIA ORGANA, ARE AS

COURAGEOUS AS THEY ARE CLEVER.

COURAGEOUS AS THEY ARE CLEVER.

>> [grunts]

>> [grunts]

>> [gurgles]

>> [gurgles]

>> Paglia: THE WOMEN OF THE

>> Paglia: THE WOMEN OF THE

"STAR WARS" FILMS ARE EXTREMELY

"STAR WARS" FILMS ARE EXTREMELY

ASSERTIVE.

ASSERTIVE.

>> WILL SOMEBODY GET THIS BIG

>> WILL SOMEBODY GET THIS BIG

WALKING CARPET OUT OF MY WAY?

WALKING CARPET OUT OF MY WAY?

>> Paglia: CAN WIELD WEAPONS

>> Paglia: CAN WIELD WEAPONS

WITH THE BEST OF THEM.

WITH THE BEST OF THEM.

>> YOU CALL THIS A DIPLOMATIC

>> YOU CALL THIS A DIPLOMATIC

SOLUTION?

SOLUTION?

>> NO, I CALL IT AGGRESSIVE

>> NO, I CALL IT AGGRESSIVE

NEGOTIATIONS.

NEGOTIATIONS.

>> Paglia: WE ALSO SEE THEM

>> Paglia: WE ALSO SEE THEM

PHYSICALLY AND PERSONALLY

PHYSICALLY AND PERSONALLY

EVOLVING FROM FILM TO FILM,

EVOLVING FROM FILM TO FILM,

WHICH IS ALMOST UNIQUE IN

WHICH IS ALMOST UNIQUE IN

CONTEMPORARY CULTURE, THAT IS,

CONTEMPORARY CULTURE, THAT IS,

LUCAS' ABILITY TO SPEAK TO THE

LUCAS' ABILITY TO SPEAK TO THE

EMOTIONAL NEEDS OF MEN WITHOUT

EMOTIONAL NEEDS OF MEN WITHOUT

IN ANY WAY UNDERMINING THE

IN ANY WAY UNDERMINING THE

DIGNITY AND POTENTIAL OF WOMEN.

DIGNITY AND POTENTIAL OF WOMEN.

>> I'M NOT SURE WHAT YOU WISH

>> I'M NOT SURE WHAT YOU WISH

TO ACCOMPLISH BY THIS.

TO ACCOMPLISH BY THIS.

>> I WILL TAKE BACK WHAT'S OURS.

>> I WILL TAKE BACK WHAT'S OURS.

>> Connelly: OF COURSE, GREEK

>> Connelly: OF COURSE, GREEK

TRAGEDY HAS ENORMOUSLY STRONG

TRAGEDY HAS ENORMOUSLY STRONG

WOMEN.

WOMEN.

AND GEORGE LUCAS HAS MANAGED TO

AND GEORGE LUCAS HAS MANAGED TO

CAPTURE THE STRENGTH OF THESE

CAPTURE THE STRENGTH OF THESE

WOMEN.

WOMEN.

BUT IN FACT, IT'S LAYERED.

BUT IN FACT, IT'S LAYERED.

IF YOU LOOK AT QUEEN AMIDALA,

IF YOU LOOK AT QUEEN AMIDALA,

SHE'S STRONG AND YET ROMANTIC.

SHE'S STRONG AND YET ROMANTIC.

>> Narrator: THE NAME OF PADME'S

>> Narrator: THE NAME OF PADME'S

HOME PLANET, NABOO, GIVES A CLUE

HOME PLANET, NABOO, GIVES A CLUE

TO HER INTELLECTUAL NATURE.

TO HER INTELLECTUAL NATURE.

>> Henderson: NABU WAS THE

>> Henderson: NABU WAS THE

BABYLONIAN GOD OF WISDOM.

BABYLONIAN GOD OF WISDOM.

AND SO AS QUEEN OF NABOO, PADME

AND SO AS QUEEN OF NABOO, PADME

IS THE RULER OF WISDOM, AND IN

IS THE RULER OF WISDOM, AND IN

FACT, SHE EMBODIES ALL OF THE

FACT, SHE EMBODIES ALL OF THE

FEMALE WISDOM OF THAT PARTICULAR

FEMALE WISDOM OF THAT PARTICULAR

ARCHETYPE.

ARCHETYPE.

>> OH, ANAKIN, SOMETHING

>> OH, ANAKIN, SOMETHING

WONDERFUL HAS HAPPENED.

WONDERFUL HAS HAPPENED.

I'M PREGNANT.

I'M PREGNANT.

>> Narrator: AS THE FUTURE

>> Narrator: AS THE FUTURE

MOTHER OF LEIA AND LUKE, PADME

MOTHER OF LEIA AND LUKE, PADME

EMBODIES ANOTHER FIGURE IN

EMBODIES ANOTHER FIGURE IN

CLASSIC MYTH, THAT OF THE

CLASSIC MYTH, THAT OF THE

NURTURING EARTH MOTHER.

NURTURING EARTH MOTHER.

>> Connelly: HER ENVIRONMENT IS

>> Connelly: HER ENVIRONMENT IS

GREEN, FLOURISHING, NOURISHING.

GREEN, FLOURISHING, NOURISHING.

SHE IS LOVE.

SHE IS LOVE.

SHE IS SENSIBILITIES.

SHE IS SENSIBILITIES.

SHE IS ALL OF THOSE THINGS THAT

SHE IS ALL OF THOSE THINGS THAT

LIE IN STARK CONTRAST TO

LIE IN STARK CONTRAST TO

TECHNOLOGY-DRIVEN,

TECHNOLOGY-DRIVEN,

CONTROL-DRIVEN REALMS BEYOND

CONTROL-DRIVEN REALMS BEYOND

HER.

HER.

>> Narrator: BUT PADME'S

>> Narrator: BUT PADME'S

COMPASSION AND HER LOVE FOR

COMPASSION AND HER LOVE FOR

ANAKIN ALSO LEAD TO HER

ANAKIN ALSO LEAD TO HER

DOWNFALL WHEN HER HUSBAND TURNS

DOWNFALL WHEN HER HUSBAND TURNS

TO THE DARK SIDE.

TO THE DARK SIDE.

>> Connelly: PADME IS

>> Connelly: PADME IS

BROKEN-HEARTED.

BROKEN-HEARTED.

>> [crying]

>> [crying]

>> Connelly: AND THIS IS THE

>> Connelly: AND THIS IS THE

SAME EXPERIENCE OF QUEEN DIDO OF

SAME EXPERIENCE OF QUEEN DIDO OF

CARTHAGE IN THAT SHE LOVES AND

CARTHAGE IN THAT SHE LOVES AND

SHE CRIES AND BEGS FOR HER MAN,

SHE CRIES AND BEGS FOR HER MAN,

AENEAS, TO STAY AS HE WAS.

AENEAS, TO STAY AS HE WAS.

>> YOU'VE CHANGED.

>> YOU'VE CHANGED.

I DON'T KNOW YOU ANYMORE.

I DON'T KNOW YOU ANYMORE.

ANAKIN...

ANAKIN...

YOU'RE BREAKING MY HEART.

YOU'RE BREAKING MY HEART.

>> Connelly: SO SHE'S A

>> Connelly: SO SHE'S A

MARVELOUS BLEND OF TRADITIONS,

MARVELOUS BLEND OF TRADITIONS,

OF THE COMPLEXITY OF WHAT IT IS

OF THE COMPLEXITY OF WHAT IT IS

TO BE A WOMAN.

TO BE A WOMAN.

>> OH, LUKE.

>> OH, LUKE.

[baby cries]

[baby cries]

LEIA.

>> Narrator: ALTHOUGH PADME

>> Narrator: ALTHOUGH PADME

AMIDALA IS A TRAGIC FIGURE, HER

AMIDALA IS A TRAGIC FIGURE, HER

QUEST FOR PEACE AND DEMOCRACY IS

QUEST FOR PEACE AND DEMOCRACY IS

FINALLY REALIZED A GENERATION

FINALLY REALIZED A GENERATION

LATER BY HER DAUGHTER, LEIA.

LATER BY HER DAUGHTER, LEIA.

>> GOVERNOR TARKIN, I SHOULD'VE

>> GOVERNOR TARKIN, I SHOULD'VE

EXPECTED TO FIND YOU HOLDING

EXPECTED TO FIND YOU HOLDING

VADER'S LEASH.

VADER'S LEASH.

I RECOGNIZED YOUR FOWL STENCH

I RECOGNIZED YOUR FOWL STENCH

WHEN I WAS BROUGHT ON BOARD.

WHEN I WAS BROUGHT ON BOARD.

>> CHARMING TO THE LAST.

>> CHARMING TO THE LAST.

>> Abrams: WHAT'S GREAT ABOUT

>> Abrams: WHAT'S GREAT ABOUT

LEIA IS THAT, FROM THE FIRST

LEIA IS THAT, FROM THE FIRST

MOMENT YOU MEET HER, WHILE SHE

MOMENT YOU MEET HER, WHILE SHE

IS DESPERATE, UM...

IS DESPERATE, UM...

SHE'S ANYTHING BUT.

SHE'S ANYTHING BUT.

SHE IS TOUGH, AND SHE'S

SHE IS TOUGH, AND SHE'S

RESOURCEFUL.

RESOURCEFUL.

>> LOOKS LIKE YOU MANAGED TO

>> LOOKS LIKE YOU MANAGED TO

CUT OFF OUR ONLY ESCAPE ROUTE.

CUT OFF OUR ONLY ESCAPE ROUTE.

>> MAYBE YOU'D LIKE IT BACK IN

>> MAYBE YOU'D LIKE IT BACK IN

YOUR CELL, YOUR HIGHNESS.

YOUR CELL, YOUR HIGHNESS.

>> Abrams: SHE DOESN'T HESITATE

>> Abrams: SHE DOESN'T HESITATE

TO DO WHAT SHE NEEDS TO DO.

TO DO WHAT SHE NEEDS TO DO.

>> WHAT THE HELL ARE YOU DOING?!

>> WHAT THE HELL ARE YOU DOING?!

>> SOMEBODY HAS TO SAVE OUR

>> SOMEBODY HAS TO SAVE OUR

SKINS.

SKINS.

INTO THE GARBAGE CHUTE, FLYBOY!

INTO THE GARBAGE CHUTE, FLYBOY!

>> Galipeau: THE PRINCESS

>> Galipeau: THE PRINCESS

ARCHETYPE IS THE YOUNG FEMININE

ARCHETYPE IS THE YOUNG FEMININE

READY TO COME INTO HERSELF AND

READY TO COME INTO HERSELF AND

BLOSSOM INTO HERSELF.

BLOSSOM INTO HERSELF.

>> YOU'RE TREMBLING.

>> YOU'RE TREMBLING.

>> I'M NOT TREMBLING.

>> I'M NOT TREMBLING.

>> YOU LIKE ME BECAUSE I'M A

>> YOU LIKE ME BECAUSE I'M A

SCOUNDREL.

SCOUNDREL.

THERE AREN'T ENOUGH SCOUNDRELS

THERE AREN'T ENOUGH SCOUNDRELS

IN YOUR LIFE.

IN YOUR LIFE.

>> I HAPPEN TO LIKE NICE MEN.

>> I HAPPEN TO LIKE NICE MEN.

>> I'M A NICE MAN.

>> I'M A NICE MAN.

>> NO, YOU'RE NOT, YOU'RE...

>> NO, YOU'RE NOT, YOU'RE...

>> Galipeau: IT'S ABOUT HER

>> Galipeau: IT'S ABOUT HER

COMING INTO HERSELF AS A WOMAN

COMING INTO HERSELF AS A WOMAN

WHO CAN BE IN RELATIONSHIP TO A

WHO CAN BE IN RELATIONSHIP TO A

MAN THAT SHE CARES ABOUT AS WELL

MAN THAT SHE CARES ABOUT AS WELL

AS DISCOVERING A RELATIONSHIP TO

AS DISCOVERING A RELATIONSHIP TO

THIS BROTHER AND TO THE FORCE.

THIS BROTHER AND TO THE FORCE.

>> THE FORCE IS STRONG IN MY

>> THE FORCE IS STRONG IN MY

FAMILY.

FAMILY.

MY FATHER HAS IT.

MY FATHER HAS IT.

I HAVE IT, AND...

I HAVE IT, AND...

MY SISTER HAS IT.

MY SISTER HAS IT.

>> Henderson: LUKE AND LEIA,

>> Henderson: LUKE AND LEIA,

THEY ARE, OF COURSE, APOLLO AND

THEY ARE, OF COURSE, APOLLO AND

ARTEMIS, THE DIVINE TWINS OF

ARTEMIS, THE DIVINE TWINS OF

MYTHOLOGY WHO COME INTO THE

MYTHOLOGY WHO COME INTO THE

WORLD, MALE AND FEMALE, TO

WORLD, MALE AND FEMALE, TO

RESTORE IT TO ORDER.

RESTORE IT TO ORDER.

>> IF I DON'T MAKE IT BACK,

>> IF I DON'T MAKE IT BACK,

YOU'RE THE ONLY HOPE FOR THE

YOU'RE THE ONLY HOPE FOR THE

ALLIANCE.

ALLIANCE.

>> LUKE, DON'T TALK THAT WAY.

>> LUKE, DON'T TALK THAT WAY.

YOU HAVE A POWER I DON'T

YOU HAVE A POWER I DON'T

UNDERSTAND AND COULD NEVER HAVE.

UNDERSTAND AND COULD NEVER HAVE.

>> YOU'RE WRONG, LEIA.

>> YOU'RE WRONG, LEIA.

YOU HAVE THAT POWER, TOO.

YOU HAVE THAT POWER, TOO.

IN TIME, YOU'LL LEARN TO USE IT

IN TIME, YOU'LL LEARN TO USE IT

AS I HAVE.

AS I HAVE.

>> Jackson: SHE'S NOT JUST A

>> Jackson: SHE'S NOT JUST A

LOVE INTEREST AS A LOT OF, YOU

LOVE INTEREST AS A LOT OF, YOU

KNOW, PRINCESSES IN THESE

KNOW, PRINCESSES IN THESE

STORIES TEND TO BE.

STORIES TEND TO BE.

SHE ACTUALLY HAS HER OWN STORY,

SHE ACTUALLY HAS HER OWN STORY,

HER OWN MYTHOLOGY.

HER OWN MYTHOLOGY.

SHE TURNS OUT TO BE A JEDI, AND

SHE TURNS OUT TO BE A JEDI, AND

THAT'S VERY MUCH A JOURNEY SHE

THAT'S VERY MUCH A JOURNEY SHE

HAS TO TAKE HERSELF.

HAS TO TAKE HERSELF.

>> CORPORAL, WE'LL COVER YOU.

>> CORPORAL, WE'LL COVER YOU.

>> ROGER, ROGER.

>> ROGER, ROGER.

>> UH-OH.

>> UH-OH.

BLAST THEM.

BLAST THEM.

>> ANAKIN SKYWALKER, MEET

>> ANAKIN SKYWALKER, MEET

OBI-WAN KENOBI.

OBI-WAN KENOBI.

>> HI.

>> HI.

>> Lyden: OBI-WAN IS AN

>> Lyden: OBI-WAN IS AN

INTERESTING CHARACTER THAT WE

INTERESTING CHARACTER THAT WE

SEE DEVELOP THROUGHOUT THE

SEE DEVELOP THROUGHOUT THE

FILMS.

FILMS.

AT THE BEGINNING HE IS CLEARLY

AT THE BEGINNING HE IS CLEARLY

SUBORDINATE TO QUI-GON JINN AS

SUBORDINATE TO QUI-GON JINN AS

A YOUNG AND VITAL JEDI.

BUT THEN WE SEE HIM IN MUCH MORE

BUT THEN WE SEE HIM IN MUCH MORE

OF A LEADERSHIP ROLE AS HE

OF A LEADERSHIP ROLE AS HE

BEGINS TO SCHOOL YOUNG ANAKIN.

BEGINS TO SCHOOL YOUNG ANAKIN.

>> ANAKIN!

>> ANAKIN!

>> SHE WENT INTO THE CLUB,

>> SHE WENT INTO THE CLUB,

MASTER.

MASTER.

>> PATIENCE.

>> PATIENCE.

USE THE FORCE.

USE THE FORCE.

>> I TRY, MASTER.

>> I TRY, MASTER.

>> Lyden: INCREASINGLY, THEY

>> Lyden: INCREASINGLY, THEY

DEVELOP A RELATIONSHIP LIKE

DEVELOP A RELATIONSHIP LIKE

BROTHERS.

BROTHERS.

>> YOU ARE STRONG AND WISE,

>> YOU ARE STRONG AND WISE,

ANAKIN, AND I AM VERY PROUD OF

ANAKIN, AND I AM VERY PROUD OF

YOU.

YOU.

AND YOU HAVE BECOME A FAR

AND YOU HAVE BECOME A FAR

GREATER JEDI THAN I COULD EVER

GREATER JEDI THAN I COULD EVER

HOPE TO BE.

HOPE TO BE.

>> Young: EVEN THOUGH IT'S

>> Young: EVEN THOUGH IT'S

OFTEN CALLED THE HERO'S JOURNEY,

OFTEN CALLED THE HERO'S JOURNEY,

IT IS USUALLY DONE IN GROUPS.

IT IS USUALLY DONE IN GROUPS.

>> FOLLOW HIM!

>> FOLLOW HIM!

>> WE'RE GONNA NEED SOME HELP.

>> WE'RE GONNA NEED SOME HELP.

>> THERE ISN'T TIME!

>> THERE ISN'T TIME!

>> Young: AND THIS HAS SEVERAL

>> Young: AND THIS HAS SEVERAL

IMPLICATIONS.

IMPLICATIONS.

ONE, WE NEED TO BE GOOD TEAM

ONE, WE NEED TO BE GOOD TEAM

PLAYERS, AND TEAMS ARE ALWAYS

PLAYERS, AND TEAMS ARE ALWAYS

IMPERFECT.

IMPERFECT.

>> THAT WAS SOME SHORTCUT,

>> THAT WAS SOME SHORTCUT,

ANAKIN.

ANAKIN.

HE WENT COMPLETELY THE OTHER

HE WENT COMPLETELY THE OTHER

WAY.

WAY.

ONCE AGAIN, YOU'VE PROVED--

ONCE AGAIN, YOU'VE PROVED--

>> IF YOU'LL EXCUSE ME.

>> IF YOU'LL EXCUSE ME.

>> I HATE IT WHEN HE DOES THAT.

>> I HATE IT WHEN HE DOES THAT.

>> Young: AFTER ALL, THEY'RE

>> Young: AFTER ALL, THEY'RE

PEOPLE.

PEOPLE.

SO WE HAVE TO COPE WITH THE

SO WE HAVE TO COPE WITH THE

FLAWS OF THE PEOPLE WE'RE

FLAWS OF THE PEOPLE WE'RE

WORKING WITH.

WORKING WITH.

WHETHER YOU'RE TALKING ABOUT

WHETHER YOU'RE TALKING ABOUT

JASON AND THE ARGONAUTS OR

JASON AND THE ARGONAUTS OR

FRODO AND THE FELLOWSHIP OF THE

FRODO AND THE FELLOWSHIP OF THE

RING, YOU HAVE SOME MOTLEY

RING, YOU HAVE SOME MOTLEY

CREW, SOME ODD TEAM THAT IS ABLE

CREW, SOME ODD TEAM THAT IS ABLE

TO TAKE ON TERRIBLE CHALLENGES.

TO TAKE ON TERRIBLE CHALLENGES.

SO THE TEAM IS VERY EFFECTIVE.

SO THE TEAM IS VERY EFFECTIVE.

>> IT'S THEM!

>> IT'S THEM!

BLAST THEM!

BLAST THEM!

>> GET BACK TO THE SHIP!

>> GET BACK TO THE SHIP!

>> WHERE ARE YOU GOING?

>> WHERE ARE YOU GOING?

COME BACK!

COME BACK!

>> HE CERTAINLY HAS COURAGE.

>> HE CERTAINLY HAS COURAGE.

>> WHAT GOOD WILL IT DO US IF

>> WHAT GOOD WILL IT DO US IF

HE GETS HIMSELF KILLED?

HE GETS HIMSELF KILLED?

>> [bellowing]

>> [bellowing]

>> Narrator: LUKE SKYWALKER

>> Narrator: LUKE SKYWALKER

FINDS AN UNLIKELY COMRADE...

FINDS AN UNLIKELY COMRADE...

IN THE PERSON OF HAN SOLO.

IN THE PERSON OF HAN SOLO.

>> YOU DON'T BELIEVE IN THE

>> YOU DON'T BELIEVE IN THE

FORCE, DO YOU?

FORCE, DO YOU?

>> HOKEY RELIGIONS AND ANCIENT

>> HOKEY RELIGIONS AND ANCIENT

WEAPONS ARE NO MATCH FOR A GOOD

WEAPONS ARE NO MATCH FOR A GOOD

BLASTER AT YOUR SIDE.

BLASTER AT YOUR SIDE.

>> Narrator: HAN REPRESENTS

>> Narrator: HAN REPRESENTS

ANOTHER CLASSIC ARCHETYPE.

ANOTHER CLASSIC ARCHETYPE.

>> YOU HALF-WITTED...

>> YOU HALF-WITTED...

SCRUFFY-LOOKING...

SCRUFFY-LOOKING...

NERF HERDER!

NERF HERDER!

>> Narrator: THE MERCENARY

>> Narrator: THE MERCENARY

PIRATE.

PIRATE.

>> WHO'S SCRUFFY-LOOKING?

>> WHO'S SCRUFFY-LOOKING?

>> Young: MOST WELL-SOCIALIZED

>> Young: MOST WELL-SOCIALIZED

PEOPLE WANT TO BE LIKED BY

PEOPLE WANT TO BE LIKED BY

OTHERS.

OTHERS.

>> BUT THEY'RE GONNA KILL HER!

>> BUT THEY'RE GONNA KILL HER!

>> BETTER HER THAN ME.

>> BETTER HER THAN ME.

>> Young: HAN SOLO CARES A

>> Young: HAN SOLO CARES A

LITTLE LESS ABOUT THAT.

LITTLE LESS ABOUT THAT.

HIS NAME'S "SOLO."

HIS NAME'S "SOLO."

HE'S OUT FOR HIMSELF.

HE'S OUT FOR HIMSELF.

>> SHE'S RICH.

>> SHE'S RICH.

[Chewbacca growling]

[Chewbacca growling]

>> RICH?

>> RICH?

>> MMM, RICH, POWERFUL.

>> MMM, RICH, POWERFUL.

LISTEN, IF YOU WERE TO RESCUE

LISTEN, IF YOU WERE TO RESCUE

HER, THE REWARD WOULD BE...

HER, THE REWARD WOULD BE...

>> WHAT?

>> WHAT?

>> WELL, MORE WEALTH THAN YOU

>> WELL, MORE WEALTH THAN YOU

CAN IMAGINE.

CAN IMAGINE.

>> I DON'T KNOW, I CAN IMAGINE

>> I DON'T KNOW, I CAN IMAGINE

QUITE A BIT.

QUITE A BIT.

>> Jackson: THE CHARACTER OF

>> Jackson: THE CHARACTER OF

HAN SOLO, HE STRIKES ME AS NOT

HAN SOLO, HE STRIKES ME AS NOT

BEING SO MUCH FROM ANCIENT

BEING SO MUCH FROM ANCIENT

MYTHOLOGY BUT MORE FROM--MORE

MYTHOLOGY BUT MORE FROM--MORE

LIKE A WESTERN OUTLAW.

LIKE A WESTERN OUTLAW.

>> KEEP YOUR EYES OPEN, HUH?

>> KEEP YOUR EYES OPEN, HUH?

>> Jackson: THERE'S SOMETHING

>> Jackson: THERE'S SOMETHING

SHADY ABOUT HIM.

SHADY ABOUT HIM.

>> WHY YOU SLIMY,

>> WHY YOU SLIMY,

DOUBLE-CROSSING, NO-GOOD

DOUBLE-CROSSING, NO-GOOD

SWINDLER.

SWINDLER.

YOU GOT A LOT OF GUTS COMING

YOU GOT A LOT OF GUTS COMING

HERE.

HERE.

>> Jackson: HE'S ON THE RUN FROM

>> Jackson: HE'S ON THE RUN FROM

THE LAW, BUT HE'S ESSENTIALLY

THE LAW, BUT HE'S ESSENTIALLY

GOOD.

GOOD.

>> [laughs]

>> [laughs]

HOW YA DOING, YOU OLD PIRATE?

HOW YA DOING, YOU OLD PIRATE?

SO GOOD TO SEE YOU!

SO GOOD TO SEE YOU!

>> Lyden: THE COWBOY IS ALMOST

>> Lyden: THE COWBOY IS ALMOST

ICONIC IN AMERICAN IMAGINATION

ICONIC IN AMERICAN IMAGINATION

AS SOMEONE WHO IS AN OUTSIDER,

AS SOMEONE WHO IS AN OUTSIDER,

BUT HE'S A HERO WE LOOK TO

BUT HE'S A HERO WE LOOK TO

PRECISELY BECAUSE WE VALUE THAT

PRECISELY BECAUSE WE VALUE THAT

KIND OF INDEPENDENCE,

KIND OF INDEPENDENCE,

SELF-RELIANCE, THE FACT THAT HE

SELF-RELIANCE, THE FACT THAT HE

DEPENDS ON HIMSELF AND NOBODY

DEPENDS ON HIMSELF AND NOBODY

ELSE.

ELSE.

>> [speaks alien language]

>> [speaks alien language]

>> YES, GREEDO, AS A MATTER OF

>> YES, GREEDO, AS A MATTER OF

FACT, I WAS JUST GOING TO SEE

FACT, I WAS JUST GOING TO SEE

YOUR BOSS.

YOUR BOSS.

TELL JABBA THAT I'VE GOT HIS

TELL JABBA THAT I'VE GOT HIS

MONEY.

MONEY.

>> [speaks alien language]

>> [speaks alien language]

>> Lyden: YOU HAVE THE SENSE OF

>> Lyden: YOU HAVE THE SENSE OF

A WILD WEST TOWN.

A WILD WEST TOWN.

>> I DON'T HAVE IT WITH ME.

>> I DON'T HAVE IT WITH ME.

TELL JABBA--

TELL JABBA--

>> Lyden: AND NOBODY EVEN REALLY

>> Lyden: AND NOBODY EVEN REALLY

CARES IF SOMEBODY GETS SHOT IN

CARES IF SOMEBODY GETS SHOT IN

THE BAR.

THE BAR.

>> YES, I'LL BET YOU HAVE.

>> YES, I'LL BET YOU HAVE.

>> Lyden: AS LONG AS THEY CLEAN

>> Lyden: AS LONG AS THEY CLEAN

UP THE MESS OR PAY FOR IT.

UP THE MESS OR PAY FOR IT.

>> SORRY ABOUT THE MESS.

>> SORRY ABOUT THE MESS.

>> Brokaw: I ALWAYS THOUGHT

>> Brokaw: I ALWAYS THOUGHT

"STAR WARS" WAS A WESTERN IN THE

"STAR WARS" WAS A WESTERN IN THE

FUTURE.

FUTURE.

I REALLY DID.

I REALLY DID.

I THOUGHT THAT "STAR WARS" WAS

I THOUGHT THAT "STAR WARS" WAS

THE QUINTESSENTIAL WESTERN

THE QUINTESSENTIAL WESTERN

PLAYED OUT IN A DIFFERENT

PLAYED OUT IN A DIFFERENT

UNIVERSE.

UNIVERSE.

>> RIGHT HERE, JABBA.

>> RIGHT HERE, JABBA.

YOU DIDN'T THINK I WAS GONNA

YOU DIDN'T THINK I WAS GONNA

RUN, DID YOU?

RUN, DID YOU?

>> Brokaw: YOU COULD'VE PUT

>> Brokaw: YOU COULD'VE PUT

HARRISON FORD IN A COWBOY HAT

HARRISON FORD IN A COWBOY HAT

AND PUT A STAR ON HIM, AND IT

AND PUT A STAR ON HIM, AND IT

WOULDN'T HAVE SEEMED OUT OF

WOULDN'T HAVE SEEMED OUT OF

PLACE.

PLACE.

IT WAS THAT CLASSIC GARY COOPER

IT WAS THAT CLASSIC GARY COOPER

RIDING INTO TOWN, EXCEPT IN

RIDING INTO TOWN, EXCEPT IN

THIS CASE, IT WAS HARRISON FORD

THIS CASE, IT WAS HARRISON FORD

IN A SPACESHIP.

IN A SPACESHIP.

>> Henderson: HIS HERO JOURNEY

>> Henderson: HIS HERO JOURNEY

PATH IS THAT OF THE WARRIOR AND

PATH IS THAT OF THE WARRIOR AND

THE LOVER.

THE LOVER.

HE HAS TO LEARN TO COMMIT

HE HAS TO LEARN TO COMMIT

HIMSELF TO A CAUSE OUTSIDE

HIMSELF TO A CAUSE OUTSIDE

HIMSELF, AND HE HAS TO LEARN TO

HIMSELF, AND HE HAS TO LEARN TO

OPEN HIS HEART TO LOVE.

OPEN HIS HEART TO LOVE.

[deep mechanical breathing]

[deep mechanical breathing]

>> Ellerbee: THERE ARE MANY

>> Ellerbee: THERE ARE MANY

LIKE ME WHO THINK THAT POSSIBLY

LIKE ME WHO THINK THAT POSSIBLY

ONE OF THE SEXIEST LINES EVER

ONE OF THE SEXIEST LINES EVER

SAID IN ANY MOVIE IS UTTERED BY

SAID IN ANY MOVIE IS UTTERED BY

HAN SOLO WHEN PRINCESS LEIA

HAN SOLO WHEN PRINCESS LEIA

SAYS...

SAYS...

>> I LOVE YOU.

>> I LOVE YOU.

>> Ellerbee: HE DOESN'T SAY, "I

>> Ellerbee: HE DOESN'T SAY, "I

LOVE YOU, TOO."

LOVE YOU, TOO."

HE SAYS...

HE SAYS...

>> I KNOW.

>> I KNOW.

>> Ellerbee: BE STILL, MY HEART.

>> Ellerbee: BE STILL, MY HEART.

EVERY WOMAN WHO'S EVER LOVED A

EVERY WOMAN WHO'S EVER LOVED A

BAD BOY FELL IN LOVE WITH HAN

BAD BOY FELL IN LOVE WITH HAN

SOLO AT THAT MOMENT IF THEY

SOLO AT THAT MOMENT IF THEY

HADN'T ALREADY.

HADN'T ALREADY.

[machinery whines]

[machinery whines]

[Chewbacca howling]

[Chewbacca howling]

>> Galipeau: HE BEGINS TO

>> Galipeau: HE BEGINS TO

ACTUALLY THINK OF SOMEONE ELSE

ACTUALLY THINK OF SOMEONE ELSE

AND NOT JUST HIMSELF, AND THAT'S

AND NOT JUST HIMSELF, AND THAT'S

A LESSON THAT MANY PEOPLE REALLY

A LESSON THAT MANY PEOPLE REALLY

NEED TO LEARN TO BECOME MORE

NEED TO LEARN TO BECOME MORE

WHOLE.

WHOLE.

>> DON'T MOVE!

>> DON'T MOVE!

>> Galipeau: BUT ALSO TO LEARN

>> Galipeau: BUT ALSO TO LEARN

THE ART OF RELATIONSHIP AND

THE ART OF RELATIONSHIP AND

FRIENDSHIP.

FRIENDSHIP.

>> I LOVE YOU.

>> I LOVE YOU.

>> I KNOW.

>> I KNOW.

>> Galipeau: SO IT IS REALIZING

>> Galipeau: SO IT IS REALIZING

OUR NEED FOR ONE ANOTHER THAT I

OUR NEED FOR ONE ANOTHER THAT I

THINK GETS CONVEYED IN A REALLY

THINK GETS CONVEYED IN A REALLY

PROFOUND WAY.

PROFOUND WAY.

>> YAHOO!

>> YAHOO!

[cheers and applause]

[cheers and applause]

>> MAY THE FORCE BE WITH YOU.

>> MAY THE FORCE BE WITH YOU.

>> MAY THE FORCE BE WITH US.

>> MAY THE FORCE BE WITH US.

>> MAY THE FORCE BE WITH US

>> MAY THE FORCE BE WITH US

ALL.

ALL.

>> YA-HOO!

>> I AM C-3PO, HUMAN/CYBORG

>> I AM C-3PO, HUMAN/CYBORG

RELATIONS, AND THIS IS MY

RELATIONS, AND THIS IS MY

COUNTERPART R2-D2.

COUNTERPART R2-D2.

>> HELLO.

>> HELLO.

[R2-D2 beeps]

[R2-D2 beeps]

>> EXCUSE ME, SIR.

>> EXCUSE ME, SIR.

>> PUT 'EM BACK TOGETHER RIGHT

>> PUT 'EM BACK TOGETHER RIGHT

NOW!

NOW!

>> MIGHT I--

>> MIGHT I--

[Chewbacca roars]

[Chewbacca roars]

>> Narrator: CALL THEM

>> Narrator: CALL THEM

SIDEKICKS...

SIDEKICKS...

>> DON'T GET TECHNICAL WITH ME.

>> DON'T GET TECHNICAL WITH ME.

>> Narrator: FOOLS...

>> Narrator: FOOLS...

OR SIMPLY CLOWNS.

OR SIMPLY CLOWNS.

DURING HIS JOURNEY, THE MYTHIC

DURING HIS JOURNEY, THE MYTHIC

HERO IS USUALLY ACCOMPANIED BY

HERO IS USUALLY ACCOMPANIED BY

ONE OR MORE FAITHFUL FOLLOWERS.

ONE OR MORE FAITHFUL FOLLOWERS.

>> THAT LITTLE DROID AND I HAVE

>> THAT LITTLE DROID AND I HAVE

BEEN THROUGH A LOT TOGETHER.

BEEN THROUGH A LOT TOGETHER.

>> Narrator: FAITHFUL IF NOT

>> Narrator: FAITHFUL IF NOT

ALWAYS VERY HELPFUL.

ALWAYS VERY HELPFUL.

>> Ellerbee: GEORGE LUCAS IS A

>> Ellerbee: GEORGE LUCAS IS A

SMART MAN TO KNOW THAT YOU

SMART MAN TO KNOW THAT YOU

COULDN'T KEEP EVERYTHING AT THE

COULDN'T KEEP EVERYTHING AT THE

FEVER PITCH OF HIGH EMOTION.

FEVER PITCH OF HIGH EMOTION.

>> THE POSSIBILITY OF

>> THE POSSIBILITY OF

SUCCESSFULLY NAVIGATING AN

SUCCESSFULLY NAVIGATING AN

ASTEROID FIELD IS APPROXIMATELY

ASTEROID FIELD IS APPROXIMATELY

3,720 to 1!

3,720 to 1!

>> NEVER TELL ME THE ODDS.

>> NEVER TELL ME THE ODDS.

>> LOOK!

>> LOOK!

>> Ellerbee: YOU HAD TO HAVE

>> Ellerbee: YOU HAD TO HAVE

COMIC RELIEF IN THERE TO MAKE

COMIC RELIEF IN THERE TO MAKE

THE CAKE RISE.

THE CAKE RISE.

[R2-D2 beeps]

[R2-D2 beeps]

>> NOW, THERE I AGREE WITH

>> NOW, THERE I AGREE WITH

YOU.

YOU.

I COULD DO WITH A TUNE-UP

I COULD DO WITH A TUNE-UP

MYSELF.

MYSELF.

>> Smith: IN R2-D2 AND C-3PO,

>> Smith: IN R2-D2 AND C-3PO,

YOU HAVE THE CLASSIC COMEDY

YOU HAVE THE CLASSIC COMEDY

TEAM, IN TERMS OF THE THIN GUY

TEAM, IN TERMS OF THE THIN GUY

AND THE FAT GUY.

AND THE FAT GUY.

IN FACT, THEY JUST BOTH HAPPEN

IN FACT, THEY JUST BOTH HAPPEN

TO BE ROBOTS.

TO BE ROBOTS.

[both speaking alien language]

[both speaking alien language]

>> Mitchell: THE DROIDS STRIKE

>> Mitchell: THE DROIDS STRIKE

ME AS GOING BACK TO ABBOTT AND

ME AS GOING BACK TO ABBOTT AND

COSTELLO OR LAUREL AND HARDY,

COSTELLO OR LAUREL AND HARDY,

THE KIND OF KNOCKABOUT STUFF OF

THE KIND OF KNOCKABOUT STUFF OF

OLD FILMS WHERE YOU NEEDED

OLD FILMS WHERE YOU NEEDED

SOMEBODY TO PROVIDE SLAPSTICK

SOMEBODY TO PROVIDE SLAPSTICK

AND RELEASE...

AND RELEASE...

>> WE'RE DOOMED.

>> WE'RE DOOMED.

>> Mitchell: AND PHYSICAL

>> Mitchell: AND PHYSICAL

COMEDY, BECAUSE THERE'S SO MUCH

COMEDY, BECAUSE THERE'S SO MUCH

AT STAKE THAT IT WOULD BE

AT STAKE THAT IT WOULD BE

OPPRESSIVE IF THERE WEREN'T SOME

OPPRESSIVE IF THERE WEREN'T SOME

KIND OF RELEASE.

KIND OF RELEASE.

>> THIS IS MADNESS.

>> THIS IS MADNESS.

>> Whedon: C-3PO AND R2-D2 GIVE

>> Whedon: C-3PO AND R2-D2 GIVE

US A LITTLE BIT OF CLASSIC

US A LITTLE BIT OF CLASSIC

BUMBLING COMEDY SHTICK.

BUMBLING COMEDY SHTICK.

THERE'S ALWAYS THE STALWART

THERE'S ALWAYS THE STALWART

HERO, AND THEN THERE'S THE GUY

HERO, AND THEN THERE'S THE GUY

NEXT TO HIM GOING, "DO WE HAVE

NEXT TO HIM GOING, "DO WE HAVE

TO GO INTO THE DARK PLACE?!"

TO GO INTO THE DARK PLACE?!"

>> I'M NOT GETTING IN THERE!

>> I'M NOT GETTING IN THERE!

I'M GOING TO REGRET THIS.

I'M GOING TO REGRET THIS.

>> Abrams: WHEN I FIRST SAW

>> Abrams: WHEN I FIRST SAW

"STAR WARS," IT WAS SO HARD TO

"STAR WARS," IT WAS SO HARD TO

RELATE TO WHAT WAS HAPPENING AT

RELATE TO WHAT WAS HAPPENING AT

THE, I MEAN, IT WAS SO NOT

THE, I MEAN, IT WAS SO NOT

WHERE I LIVE, IT'S SO NOT WHAT

WHERE I LIVE, IT'S SO NOT WHAT

I KNOW.

I KNOW.

>> OF COURSE I'M WORRIED,

>> OF COURSE I'M WORRIED,

AND YOU SHOULD BE, TOO.

AND YOU SHOULD BE, TOO.

>> Abrams: AS SOON AS YOU HAD

>> Abrams: AS SOON AS YOU HAD

THOSE TWO CHARACTERS SHOW UP,

THOSE TWO CHARACTERS SHOW UP,

IMMEDIATELY YOU'RE LAUGHING AND

IMMEDIATELY YOU'RE LAUGHING AND

YOU'RE COMFORTABLE AND YOU

YOU'RE COMFORTABLE AND YOU

THINK, NOW I KNOW WHO I AM.

THINK, NOW I KNOW WHO I AM.

NOW I KNOW I CAN FIT IN HERE.

NOW I KNOW I CAN FIT IN HERE.

I CAN LIVE HERE 'CAUSE THEY'RE

I CAN LIVE HERE 'CAUSE THEY'RE

LIKE ME.

LIKE ME.

>> MY OBTUSE LITTLE FRIEND,

>> MY OBTUSE LITTLE FRIEND,

YOU OBVIOUSLY HAVE A GREAT DEAL

YOU OBVIOUSLY HAVE A GREAT DEAL

TO LEARN ABOUT HUMAN BEHAVIOR.

TO LEARN ABOUT HUMAN BEHAVIOR.

>> Colbert: C-3PO SEEMS MORE

>> Colbert: C-3PO SEEMS MORE

LIKE US.

LIKE US.

LIKE, WHAT WOULD I DO IN THAT

LIKE, WHAT WOULD I DO IN THAT

SITUATION?

SITUATION?

I'D PROBABLY PANIC AND RUN AWAY.

I'D PROBABLY PANIC AND RUN AWAY.

AND THAT'S WHAT C-3PO DOES

AND THAT'S WHAT C-3PO DOES

ALMOST EVERY TIME.

ALMOST EVERY TIME.

>> JUST OPEN THE DOOR, YOU

>> JUST OPEN THE DOOR, YOU

STUPID LUMP!

STUPID LUMP!

>> Young: R2-D2 AND C-3PO ARE A

>> Young: R2-D2 AND C-3PO ARE A

LITTLE BESIDE THE ACTION,

LITTLE BESIDE THE ACTION,

LOOKING AT IT.

LOOKING AT IT.

SO THEY ARE WITH US.

SO THEY ARE WITH US.

THEY ARE OBSERVERS, AND THEY

THEY ARE OBSERVERS, AND THEY

ADD FRAMING AND PERSPECTIVE.

ADD FRAMING AND PERSPECTIVE.

>> NO, I DON'T THINK HE LIKES

>> NO, I DON'T THINK HE LIKES

YOU AT ALL.

YOU AT ALL.

[R2-D2 whistles]

[R2-D2 whistles]

NO, I DON'T LIKE YOU, EITHER.

NO, I DON'T LIKE YOU, EITHER.

>> Young: AND SO THEY ALSO SERVE

>> Young: AND SO THEY ALSO SERVE

AS A GREEK CHORUS.

AS A GREEK CHORUS.

>> Lyden: IN TRADITIONAL GREEK

>> Lyden: IN TRADITIONAL GREEK

DRAMA, THE ROLE OF THE GREEK

DRAMA, THE ROLE OF THE GREEK

CHORUS WAS, IN A SENSE, TO

CHORUS WAS, IN A SENSE, TO

COMMENT ON THE ACTION.

COMMENT ON THE ACTION.

THROUGHOUT "STAR WARS," WHILE

THROUGHOUT "STAR WARS," WHILE

OTHER PEOPLE ARE ACTING OUT THE

OTHER PEOPLE ARE ACTING OUT THE

SCENE...

SCENE...

>> I'M GOING THERE TO END THIS

>> I'M GOING THERE TO END THIS

WAR.

WAR.

>> Lyden: C-3PO AND R2-D2,

>> Lyden: C-3PO AND R2-D2,

THEY'RE COMMENTING ON IT.

THEY'RE COMMENTING ON IT.

>> WELL, HE IS UNDER A LOT OF

>> WELL, HE IS UNDER A LOT OF

STRESS, R-2.

STRESS, R-2.

>> Narrator: IF C-3PO AND R2-D2

>> Narrator: IF C-3PO AND R2-D2

EMBODY THE CHARACTER OF THE

EMBODY THE CHARACTER OF THE

COMIC EVERYMAN, THE AMPHIBIAN

COMIC EVERYMAN, THE AMPHIBIAN

JAR-JAR BINKS SUGGESTS ANOTHER

JAR-JAR BINKS SUGGESTS ANOTHER

TIMELESS ARCHETYPE: THE

TIMELESS ARCHETYPE: THE

CHILDLIKE INNOCENT.

CHILDLIKE INNOCENT.

>> (garbled) MY TONGUE.

>> (garbled) MY TONGUE.

>> YOU KNOW, I FIND THAT

>> YOU KNOW, I FIND THAT

JAR-JAR CREATURE TO BE A LITTLE

JAR-JAR CREATURE TO BE A LITTLE

ODD.

ODD.

>> MY TONGUE!

>> MY TONGUE!

WRENCH.

WRENCH.

>> Connelly: IF WE THINK OF

>> Connelly: IF WE THINK OF

GREEK AND ROMAN COMEDY, THERE

GREEK AND ROMAN COMEDY, THERE

IS A CHARACTER CALLED THE

IS A CHARACTER CALLED THE

PARASITE, WHO IS A JAR-JAR

PARASITE, WHO IS A JAR-JAR

BINKS KIND OF TAGALONG PERSON

BINKS KIND OF TAGALONG PERSON

THAT IS COMIC.

THAT IS COMIC.

>> NOW STAY HERE.

>> NOW STAY HERE.

AND KEEP OUT OF TROUBLE.

AND KEEP OUT OF TROUBLE.

>> HMM...

>> HMM...

AHH!

AHH!

>> [speaks alien language]

>> [speaks alien language]

>> Lyden: JAR-JAR BINKS STARTS

>> Lyden: JAR-JAR BINKS STARTS

OFF AS A RATHER SILLY CHARACTER,

OFF AS A RATHER SILLY CHARACTER,

NOT VERY RESPONSIBLE.

NOT VERY RESPONSIBLE.

>> OOPS.

>> OOPS.

[whistles innocently]

[whistles innocently]

>> Lyden: BUT GAINS INCREASING

>> Lyden: BUT GAINS INCREASING

ROLES OF RESPONSIBILITY, TO THE

ROLES OF RESPONSIBILITY, TO THE

POINT THAT HE BECOMES A MEMBER

POINT THAT HE BECOMES A MEMBER

OF THE SENATE.

OF THE SENATE.

SO WE SEE HIM IN A GENUINE

SO WE SEE HIM IN A GENUINE

LEADERSHIP ROLE.

LEADERSHIP ROLE.

IN A SENSE, HE GROWS UP IN THESE

IN A SENSE, HE GROWS UP IN THESE

FILMS, AND IF YOU THINK OF THE

FILMS, AND IF YOU THINK OF THE

CHILDREN WHO MIGHT HAVE RELATED

CHILDREN WHO MIGHT HAVE RELATED

TO HIM, THEY HAVE, IN A SENSE,

TO HIM, THEY HAVE, IN A SENSE,

GROWN UP ALONG WITH HIM.

GROWN UP ALONG WITH HIM.

[crowd shouting and cheering]

[crowd shouting and cheering]

>> Narrator: BUT NOT ALL COMIC

>> Narrator: BUT NOT ALL COMIC

CHARACTERS ARE INNOCENTS LIKE

CHARACTERS ARE INNOCENTS LIKE

JAR-JAR, R2-D2, OR C-3PO.

JAR-JAR, R2-D2, OR C-3PO.

ENTER HAN SOLO'S NEMESIS, THE

ENTER HAN SOLO'S NEMESIS, THE

GROTESQUE SPACE GANGSTER JABBA

GROTESQUE SPACE GANGSTER JABBA

THE HUTT.

THE HUTT.

>> YOU TELL THAT SLIMY PIECE OF

>> YOU TELL THAT SLIMY PIECE OF

WORM-RIDDEN FILTH HE'LL GET NO

WORM-RIDDEN FILTH HE'LL GET NO

SUCH PLEASURE FROM US!

SUCH PLEASURE FROM US!

>> Silvio: JABBA THE HUTT

>> Silvio: JABBA THE HUTT

REPRESENTS GREED AND

REPRESENTS GREED AND

EXCESSIVENESS.

EXCESSIVENESS.

AND I THINK THAT'S REPRESENTED

AND I THINK THAT'S REPRESENTED

BY HIS SHEER PHYSICAL EXCESS,

BY HIS SHEER PHYSICAL EXCESS,

HIS SHEER CORPULENCE.

HIS SHEER CORPULENCE.

>> [speaking alien language]

>> [speaking alien language]

>> UGH!

>> UGH!

>> OH, I CAN'T BEAR TO WATCH.

>> OH, I CAN'T BEAR TO WATCH.

>> Smith: I WOULD ARGUE WITH

>> Smith: I WOULD ARGUE WITH

YOU.

YOU.

JABBA IS SEXY, BECAUSE WHAT'S

JABBA IS SEXY, BECAUSE WHAT'S

SEXIER THAN THE DUDE WHO'S LIKE

SEXIER THAN THE DUDE WHO'S LIKE

RISEN TO A POSITION OF POWER

RISEN TO A POSITION OF POWER

WHERE HE CAN JUST LAY AROUND,

WHERE HE CAN JUST LAY AROUND,

YOU KNOW, AND THINGS HAPPEN IN

YOU KNOW, AND THINGS HAPPEN IN

FRONT OF HIM?

FRONT OF HIM?

AND HE'S THAT POWERFUL, AND HE'S

AND HE'S THAT POWERFUL, AND HE'S

THAT RICH, AND, YEAH, HE'S A BIT

THAT RICH, AND, YEAH, HE'S A BIT

SLOBBY, BUT I HAVE TO LIKE JABBA

SLOBBY, BUT I HAVE TO LIKE JABBA

THE HUTT 'CAUSE I'M SHAPED LIKE

THE HUTT 'CAUSE I'M SHAPED LIKE

JABBA THE HUTT.

JABBA THE HUTT.

AND WITHOUT JABBA WE'D NEVER

AND WITHOUT JABBA WE'D NEVER

GET TO SEE LEIA IN A BIKINI, SO

GET TO SEE LEIA IN A BIKINI, SO

THANK GOD FOR JABBA THE HUTT.

THANK GOD FOR JABBA THE HUTT.

>> [laughs]

>> [laughs]

>> Henderson: HE IS KIND OF A

>> Henderson: HE IS KIND OF A

MODERN DRAGON, AND WHAT DO THE

MODERN DRAGON, AND WHAT DO THE

DRAGONS OF MYTHOLOGY DO?

DRAGONS OF MYTHOLOGY DO?

THEY CAPTURE MAIDENS...

THEY CAPTURE MAIDENS...

AND THEY HOARD GOLD.

AND THEY HOARD GOLD.

AND THE DRAGONS HOLD THOSE

AND THE DRAGONS HOLD THOSE

HOSTAGE.

HOSTAGE.

>> [laughs manically]

>> [laughs manically]

>> Narrator: CHARACTERS LIKE

>> Narrator: CHARACTERS LIKE

JABBA ALSO REFLECT POTENTIALLY

JABBA ALSO REFLECT POTENTIALLY

DEADLY OBSTACLES ALONG THE

DEADLY OBSTACLES ALONG THE

HERO'S PATH...

HERO'S PATH...

OBSTACLES THAT TEST AND

OBSTACLES THAT TEST AND

STRENGTHEN HIM ON HIS JOURNEY.

STRENGTHEN HIM ON HIS JOURNEY.

>> [roars]

>> [roars]

>> Rubino: THAT'S A VERY

>> Rubino: THAT'S A VERY

PREVALENT MOTIVE IN GREEK MYTH,

PREVALENT MOTIVE IN GREEK MYTH,

THE HERO BECOMING HIMSELF BY

THE HERO BECOMING HIMSELF BY

BEING TESTED BY VARIOUS

BEING TESTED BY VARIOUS

MONSTERS.

MONSTERS.

HERCULES IS MADE TO GO THROUGH

HERCULES IS MADE TO GO THROUGH

THESE LABORS IN ORDER TO BECOME

THESE LABORS IN ORDER TO BECOME

HIMSELF.

HIMSELF.

>> [roars]

>> [roars]

>> Lyden: ANOTHER THEME IS THE

>> Lyden: ANOTHER THEME IS THE

JOURNEY INTO THE BELLY OF THE

JOURNEY INTO THE BELLY OF THE

WHALE, AS CAMPBELL CALLED IT,

WHALE, AS CAMPBELL CALLED IT,

WHICH REFERENCES JONAH BEING

WHICH REFERENCES JONAH BEING

SWALLOWED BY A BIG FISH IN THE

SWALLOWED BY A BIG FISH IN THE

BIBLE.

BIBLE.

SO ONE SEES THAT HAPPENING TO

SO ONE SEES THAT HAPPENING TO

THE HEROES THROUGHOUT "STAR

THE HEROES THROUGHOUT "STAR

WARS" AS THEY'RE SWALLOWED BY

WARS" AS THEY'RE SWALLOWED BY

LARGE ENTITIES.

LARGE ENTITIES.

IT SEEMS TO SUGGEST GOING TO

IT SEEMS TO SUGGEST GOING TO

THE DEEPEST PART OF ONESELF.

THE DEEPEST PART OF ONESELF.

SO THERE'S A MOMENT OF

SO THERE'S A MOMENT OF

DARKNESS, AND THERE'S A THREAT

DARKNESS, AND THERE'S A THREAT

TO THE SELF.

TO THE SELF.

>> THE CAVE IS COLLAPSING!

>> THE CAVE IS COLLAPSING!

>> THIS IS NO CAVE.

>> THIS IS NO CAVE.

>> WHAT?

>> WHAT?

>> Lyden: EVIL IS A MONSTROUS

>> Lyden: EVIL IS A MONSTROUS

FORCE SWALLOWING OUR HEROES.

FORCE SWALLOWING OUR HEROES.

IT'S AN EXPERIENCE OF BEING IN

IT'S AN EXPERIENCE OF BEING IN

THE BELLY OF THE WHALE.

THE BELLY OF THE WHALE.

>> Jackson: THE JOURNEY OF THE

>> Jackson: THE JOURNEY OF THE

HERO IS VERY MUCH ONE OF

HERO IS VERY MUCH ONE OF

OVERCOMING DOUBT ABOUT

OVERCOMING DOUBT ABOUT

THEMSELVES.

THEMSELVES.

>> THERE'S SOMETHING NOT RIGHT

>> THERE'S SOMETHING NOT RIGHT

HERE.

HERE.

WHAT'S IN THERE?

WHAT'S IN THERE?

>> ONLY WHAT YOU TAKE WITH YOU.

>> ONLY WHAT YOU TAKE WITH YOU.

>> Jackson: THERE'S USUALLY

>> Jackson: THERE'S USUALLY

MANY TIMES IN WHICH THEY HAVE

MANY TIMES IN WHICH THEY HAVE

TO OVERCOME THEIR WORST FEARS.

TO OVERCOME THEIR WORST FEARS.

THEY HAVE TO CONFRONT THEIR

THEY HAVE TO CONFRONT THEIR

NIGHTMARES, BASICALLY.

NIGHTMARES, BASICALLY.

[echoing growls]

[echoing growls]

>> Henderson: WE CERTAINLY HAVE

>> Henderson: WE CERTAINLY HAVE

THAT BIT OF EVIL MONSTER IN ALL

THAT BIT OF EVIL MONSTER IN ALL

OF US.

OF US.

[splashing]

[splashing]

[deep mechanical breathing]

[deep mechanical breathing]

THIS IS WHY MONSTER COMBAT IS SO

THIS IS WHY MONSTER COMBAT IS SO

PREVALENT IN THE HERO'S-JOURNEY

PREVALENT IN THE HERO'S-JOURNEY

NARRATIVE.

WE HAVE TO FIGHT THE MONSTERS OF

WE HAVE TO FIGHT THE MONSTERS OF

OUTSIDE CIRCUMSTANCES, BUT WE

OUTSIDE CIRCUMSTANCES, BUT WE

ALSO HAVE TO FIGHT THOSE DEMONS

ALSO HAVE TO FIGHT THOSE DEMONS

THAT COME FROM OUR OWN HEART.

>> Narrator: FOR EVERY HERO...

>> Narrator: FOR EVERY HERO...

THERE STANDS A VILLAIN.

THERE STANDS A VILLAIN.

FOR IF THERE IS GOOD, THERE ALSO

FOR IF THERE IS GOOD, THERE ALSO

MUST BE EVIL.

>> Rather: EVIL DOES EXIST.

>> Rather: EVIL DOES EXIST.

DON'T KID YOURSELF.

DON'T KID YOURSELF.

THERE'S EVIL IN THE WORLD, DEEP

THERE'S EVIL IN THE WORLD, DEEP

AND ABIDING, POWERFUL EVIL.

AND ABIDING, POWERFUL EVIL.

AND BY THE TIME YOU RECOGNIZE

AND BY THE TIME YOU RECOGNIZE

THE EVIL...

THE EVIL...

IT'S TOO LATE.

IT'S TOO LATE.

>> Narrator: IN LITERATURE...

>> Narrator: IN LITERATURE...

MYTHOLOGY...

MYTHOLOGY...

HISTORY...

HISTORY...

AND SCRIPTURE LURKS A LEGION OF

AND SCRIPTURE LURKS A LEGION OF

EVIL, TWISTED, AND DEPRAVED

EVIL, TWISTED, AND DEPRAVED

CHARACTERS.

CHARACTERS.

[deep mechanical breathing]

[deep mechanical breathing]

AMONG THEM IS DARTH VADER, THE

AMONG THEM IS DARTH VADER, THE

EMPIRE'S RUTHLESS ENFORCER.

EMPIRE'S RUTHLESS ENFORCER.

>> WE WILL DISCUSS THE LOCATION

>> WE WILL DISCUSS THE LOCATION

OF YOUR HIDDEN REBEL BASE.

OF YOUR HIDDEN REBEL BASE.

>> Narrator: AND CONFRONTING

>> Narrator: AND CONFRONTING

THIS DARK LORD OF THE SITH AND

THIS DARK LORD OF THE SITH AND

ALL THAT HE REPRESENTS IS A

ALL THAT HE REPRESENTS IS A

CRITICAL PART OF THE HERO'S

CRITICAL PART OF THE HERO'S

JOURNEY.

JOURNEY.

>> JOIN ME, AND I WILL COMPLETE

>> JOIN ME, AND I WILL COMPLETE

YOUR TRAINING.

YOUR TRAINING.

IF YOU ONLY KNEW THE POWER OF

IF YOU ONLY KNEW THE POWER OF

THE DARK SIDE.

THE DARK SIDE.

>> Paglia: DARTH VADER RADIATES

>> Paglia: DARTH VADER RADIATES

THE GLAMOUR OF EVIL.

THE GLAMOUR OF EVIL.

HE'S A VISUAL EMBLEM OF PURE

HE'S A VISUAL EMBLEM OF PURE

WILLPOWER, AND THAT IS ALWAYS

WILLPOWER, AND THAT IS ALWAYS

ATTRACTIVE.

ATTRACTIVE.

>> Mitchell: THERE'S A DARTH

>> Mitchell: THERE'S A DARTH

VADER SWAGGER.

VADER SWAGGER.

HE'S INCREDIBLY CONFIDENT.

HE'S INCREDIBLY CONFIDENT.

IN MY NEIGHBORHOOD, IN THE INNER

IN MY NEIGHBORHOOD, IN THE INNER

CITY IN DETROIT, WE ALWAYS

CITY IN DETROIT, WE ALWAYS

THOUGHT A BIG GUY WITH JAMES

THOUGHT A BIG GUY WITH JAMES

EARL JONES' VOICE WEARING ALL

EARL JONES' VOICE WEARING ALL

SHINY BLACK WAS THE BIGGEST PIMP

SHINY BLACK WAS THE BIGGEST PIMP

IN THE HISTORY OF MOTION

IN THE HISTORY OF MOTION

PICTURES.

PICTURES.

>> WHAT HAVE YOU DONE WITH THOSE

>> WHAT HAVE YOU DONE WITH THOSE

PLANS?

PLANS?

>> Mitchell: HE OWNED

>> Mitchell: HE OWNED

EVERYTHING.

EVERYTHING.

EVERYBODY WAS AFRAID OF HIM.

EVERYBODY WAS AFRAID OF HIM.

WHAT KID ISN'T SEDUCED BY THE

WHAT KID ISN'T SEDUCED BY THE

IDEA OF COMPLETE FEARLESSNESS?

IDEA OF COMPLETE FEARLESSNESS?

>> COMMANDER, TEAR THIS SHIP

>> COMMANDER, TEAR THIS SHIP

APART UNTIL YOU'VE FOUND THOSE

APART UNTIL YOU'VE FOUND THOSE

PLANS, AND BRING ME THE

PLANS, AND BRING ME THE

PASSENGERS!

PASSENGERS!

I WANT THEM ALIVE!

I WANT THEM ALIVE!

>> Wetmore, Jr.: I'D SAY "WHEN

>> Wetmore, Jr.: I'D SAY "WHEN

YOU'RE YOUNG," BUT I PROBABLY

YOU'RE YOUNG," BUT I PROBABLY

STILL FEEL THIS WAY-- DARTH

STILL FEEL THIS WAY-- DARTH

VADER IS WISH FULFILLMENT AT ITS

VADER IS WISH FULFILLMENT AT ITS

FINEST.

FINEST.

HERE'S A GUY WHO IS UNSTOPPABLE.

HERE'S A GUY WHO IS UNSTOPPABLE.

>> DON'T TRY TO FRIGHTEN US WITH

>> DON'T TRY TO FRIGHTEN US WITH

YOUR SORCERER'S WAYS, LORD

YOUR SORCERER'S WAYS, LORD

VADER.

VADER.

>> Wetmore, Jr.: HE DOESN'T EVEN

>> Wetmore, Jr.: HE DOESN'T EVEN

HAVE TO SWING A PUNCH TO TAKE

HAVE TO SWING A PUNCH TO TAKE

YOU OUT.

YOU OUT.

>> I FIND YOUR LACK OF FAITH

>> I FIND YOUR LACK OF FAITH

DISTURBING.

DISTURBING.

>> Wetmore, Jr.: PLUS, HE'S GOT

>> Wetmore, Jr.: PLUS, HE'S GOT

A CAPE.

A CAPE.

WHO DOESN'T WANT THE CAPE?

WHO DOESN'T WANT THE CAPE?

>> Ellerbee: THE SWIRLING CAPE!

>> Ellerbee: THE SWIRLING CAPE!

THAT'S A BIG PART OF IT.

THAT'S A BIG PART OF IT.

HE DRESSES COOL.

HE DRESSES COOL.

>> Young: THE DARK CHARACTERS

>> Young: THE DARK CHARACTERS

ALWAYS SEEM TO GET THE COOL

ALWAYS SEEM TO GET THE COOL

COSTUMES.

COSTUMES.

WHICH IS TO SAY, THERE IS A

WHICH IS TO SAY, THERE IS A

DRAMATIC REWARD, THERE IS AN

DRAMATIC REWARD, THERE IS AN

EXCITEMENT TO CHOOSING EVIL, TO

EXCITEMENT TO CHOOSING EVIL, TO

CHOOSING CORRUPTION.

CHOOSING CORRUPTION.

>> Narrator: WHEN VADER WAS

>> Narrator: WHEN VADER WAS

INTRODUCED IN EPISODE IV, "A

INTRODUCED IN EPISODE IV, "A

NEW HOPE," THERE WAS LITTLE TO

NEW HOPE," THERE WAS LITTLE TO

SUGGEST THAT UNDERNEATH HIS

SUGGEST THAT UNDERNEATH HIS

PROTECTIVE BLACK BODYSUIT STOOD

PROTECTIVE BLACK BODYSUIT STOOD

THE FIGURE OF A ONCE-PROUD

THE FIGURE OF A ONCE-PROUD

HERO WHOSE PERSONALITY WOULD BE

HERO WHOSE PERSONALITY WOULD BE

REVEALED AS MORE COMPLEX AND

REVEALED AS MORE COMPLEX AND

RESONANT WITH EACH NEW "STAR

RESONANT WITH EACH NEW "STAR

WARS" CHAPTER.

WARS" CHAPTER.

>> I'VE ENCOUNTERED A VERGANCE.

>> I'VE ENCOUNTERED A VERGANCE.

>> YOU REFER TO THE PROPHECY OF

>> YOU REFER TO THE PROPHECY OF

THE ONE WHO WILL BRING BALANCE

THE ONE WHO WILL BRING BALANCE

TO THE FORCE.

TO THE FORCE.

YOU BELIEVE IT'S THIS BOY?

YOU BELIEVE IT'S THIS BOY?

>> HE IS THE CHOSEN ONE.

>> HE IS THE CHOSEN ONE.

>> Narrator: AS REVEALED IN

>> Narrator: AS REVEALED IN

EPISODE I, "THE PHANTOM

EPISODE I, "THE PHANTOM

MENACE," VADER WAS BORN ANAKIN

MENACE," VADER WAS BORN ANAKIN

SKYWALKER.

SKYWALKER.

RESCUED FROM A LIFE OF SLAVERY

RESCUED FROM A LIFE OF SLAVERY

BY JEDI MASTER QUI-GON JINN,

BY JEDI MASTER QUI-GON JINN,

THE YOUNG BOY LEFT HIS HOME AND

THE YOUNG BOY LEFT HIS HOME AND

MOTHER TO FULFILL HIS DESTINY.

MOTHER TO FULFILL HIS DESTINY.

>> I WILL COME BACK AND FREE

>> I WILL COME BACK AND FREE

YOU, MOM, I PROMISE.

YOU, MOM, I PROMISE.

>> Young: HERE IS A GIFTED

>> Young: HERE IS A GIFTED

PERSON WHO GROWS UP IN AN

PERSON WHO GROWS UP IN AN

OPPRESSIVE SITUATION.

OPPRESSIVE SITUATION.

HE BEGINS LIFE AS A SLAVE WHO

HE BEGINS LIFE AS A SLAVE WHO

SUFFERS TERRIBLE LOSSES EARLY

SUFFERS TERRIBLE LOSSES EARLY

IN HIS LIFE.

IN HIS LIFE.

>> DON'T LOOK BACK.

>> DON'T LOOK BACK.

DON'T LOOK BACK.

DON'T LOOK BACK.

>> Young: HE'S WRENCHED AWAY

>> Young: HE'S WRENCHED AWAY

FROM IS MOTHER, AND IT IS THE

FROM IS MOTHER, AND IT IS THE

RAGE, STEMMING PROBABLY FROM

RAGE, STEMMING PROBABLY FROM

GRIEF AND FEAR, THAT LEADS TO

GRIEF AND FEAR, THAT LEADS TO

THE FALL OF THIS PARTICULAR

THE FALL OF THIS PARTICULAR

HERO.

HERO.

>> Galipeau: WE CAN LOOK AT

>> Galipeau: WE CAN LOOK AT

ANAKIN SKYWALKER HAVING TO DEAL

ANAKIN SKYWALKER HAVING TO DEAL

WITH THE PROBLEM OF LOSS AND

WITH THE PROBLEM OF LOSS AND

HAVING GREAT DIFFICULTIES WITH

HAVING GREAT DIFFICULTIES WITH

IT.

IT.

IT BEGINS WHEN HE LOSES HIS

IT BEGINS WHEN HE LOSES HIS

MOTHER.

MOTHER.

>> STAY WITH ME, MOM.

>> STAY WITH ME, MOM.

>> I-- I LOVE...

>> I-- I LOVE...

>> Smith: IT'S SETTING IN MOTION

>> Smith: IT'S SETTING IN MOTION

THE EVENTS THAT WILL LEAD TO HIM

THE EVENTS THAT WILL LEAD TO HIM

BEING DARTH VADER.

BEING DARTH VADER.

"I WENT TO FIND MY MOTHER, AND

"I WENT TO FIND MY MOTHER, AND

SHE WAS DEAD, SO I SLAUGHTERED

SHE WAS DEAD, SO I SLAUGHTERED

A WHOLE VILLAGE FULL OF SAND

A WHOLE VILLAGE FULL OF SAND

PEOPLE."

PEOPLE."

>> I KILLED THEM.

>> I KILLED THEM.

AND NOT JUST THE MEN, BUT THE

AND NOT JUST THE MEN, BUT THE

WOMEN...

WOMEN...

AND THE CHILDREN, TOO.

AND THE CHILDREN, TOO.

I HATE THEM!

I HATE THEM!

>> Galipeau: IT THROWS HIM INTO

>> Galipeau: IT THROWS HIM INTO

A DARK STATE, AND HE BELIEVES

A DARK STATE, AND HE BELIEVES

THAT HE COULD HAVE DONE

THAT HE COULD HAVE DONE

SOMETHING TO PREVENT IT.

SOMETHING TO PREVENT IT.

>> WHY COULDN'T I SAVE HER?

>> WHY COULDN'T I SAVE HER?

I KNOW I COULD HAVE.

I KNOW I COULD HAVE.

>> YOU'RE NOT ALL-POWERFUL.

>> YOU'RE NOT ALL-POWERFUL.

>> WELL, I SHOULD BE.

>> WELL, I SHOULD BE.

>> Galipeau: HE'S GRIPPED BY

>> Galipeau: HE'S GRIPPED BY

POWER, WHICH IS A TEMPTATION

POWER, WHICH IS A TEMPTATION

THAT LUKE IS ABLE TO AVOID.

THAT LUKE IS ABLE TO AVOID.

>> I WILL BE THE MOST POWERFUL

>> I WILL BE THE MOST POWERFUL

JEDI EVER.

JEDI EVER.

I PROMISE YOU.

I PROMISE YOU.

I WILL EVEN LEARN TO STOP PEOPLE

I WILL EVEN LEARN TO STOP PEOPLE

FROM DYING.

FROM DYING.

>> Connelly: IT HAS ALL THE

>> Connelly: IT HAS ALL THE

HALLMARKS OF A CLASSICAL EPIC.

HALLMARKS OF A CLASSICAL EPIC.

IN "THE ILIAD," ACHILLES, WHO IS

IN "THE ILIAD," ACHILLES, WHO IS

THE HERO OF THE GREEK ARMY, IS

THE HERO OF THE GREEK ARMY, IS

DODGED BY ANGER.

DODGED BY ANGER.

THE FIRST 20 BOOKS, HE'S ANGRY

THE FIRST 20 BOOKS, HE'S ANGRY

AT AGAMEMNON.

AT AGAMEMNON.

THE 22nd THROUGH 24th BOOK, HE'S

THE 22nd THROUGH 24th BOOK, HE'S

ANGRY AT HECTOR.

ANGRY AT HECTOR.

HE IS ANGRY.

HE IS ANGRY.

THIS IS EXACTLY WHAT "STAR WARS"

THIS IS EXACTLY WHAT "STAR WARS"

IS DEALING WITH, WHICH IS FEAR

IS DEALING WITH, WHICH IS FEAR

LEADS TO ANGER LEADS TO HATE

LEADS TO ANGER LEADS TO HATE

LEADS TO SUFFERING.

LEADS TO SUFFERING.

>> Hudgins: TAKE THE FIRST LINE

>> Hudgins: TAKE THE FIRST LINE

OF "THE ILIAD."

OF "THE ILIAD."

"SING, O, GODDESS, THE WRATH

"SING, O, GODDESS, THE WRATH

OF PALIUS' SON ACHILLES, WHO'S

OF PALIUS' SON ACHILLES, WHO'S

ANGER BROUGHT PAINS A

ANGER BROUGHT PAINS A

THOUSANDFOLD UPON THE

THOUSANDFOLD UPON THE

ACHAEANS."

ACHAEANS."

IF THAT'S THE LESSON OF "THE

IF THAT'S THE LESSON OF "THE

ILIAD," THAT UNBRIDLED PASSION

ILIAD," THAT UNBRIDLED PASSION

LEADS TO TRAGEDY, WHICH IT

LEADS TO TRAGEDY, WHICH IT

CERTAINLY DOES IN "THE ILIAD,"

CERTAINLY DOES IN "THE ILIAD,"

WELL, ISN'T THAT THE STORY OF

WELL, ISN'T THAT THE STORY OF

DARTH VADER?

DARTH VADER?

>> WE DO NOT GRANT YOU THE RANK

>> WE DO NOT GRANT YOU THE RANK

OF MASTER.

OF MASTER.

>> WHAT?

>> WHAT?

>> Hudgins: HE WANTS POWER.

>> Hudgins: HE WANTS POWER.

BUT HE'S KIND OF WEAK.

BUT HE'S KIND OF WEAK.

HE'S IMPATIENT.

HE'S IMPATIENT.

>> HOW CAN YOU DO THIS?

>> HOW CAN YOU DO THIS?

THIS IS OUTRAGEOUS.

THIS IS OUTRAGEOUS.

IT'S UNFAIR.

IT'S UNFAIR.

HOW YOU CAN YOU BE ON THE

HOW YOU CAN YOU BE ON THE

COUNCIL AND NOT BE A MASTER?

COUNCIL AND NOT BE A MASTER?

>> TAKE A SEAT, YOUNG SKYWALKER.

>> TAKE A SEAT, YOUNG SKYWALKER.

>> Hudgins: HE'S KIND OF LIKE A

>> Hudgins: HE'S KIND OF LIKE A

SPOILED TEENAGER.

SPOILED TEENAGER.

>> FORGIVE ME, MASTER.

>> FORGIVE ME, MASTER.

>> Smith: SOME PEOPLE WERE LIKE,

>> Smith: SOME PEOPLE WERE LIKE,

"OH, HE'S TOO WHINY.

"OH, HE'S TOO WHINY.

WHY WOULD THE GALAXY'S GREATEST

WHY WOULD THE GALAXY'S GREATEST

VILLAIN BE SOME WHINY TEENAGER?"

VILLAIN BE SOME WHINY TEENAGER?"

THAT'S WHO THE GALAXY'S GREATEST

THAT'S WHO THE GALAXY'S GREATEST

VILLAIN WOULD BE!

VILLAIN WOULD BE!

HE WOULD START AS A WHINY

HE WOULD START AS A WHINY

TEENAGER.

TEENAGER.

HE'D START AS AN EMO KID WITH

HE'D START AS AN EMO KID WITH

SOME ISSUES.

SOME ISSUES.

>> I SENSE GREAT FEAR IN YOU,

>> I SENSE GREAT FEAR IN YOU,

SKYWALKER.

SKYWALKER.

YOU HAVE HATE.

YOU HAVE HATE.

YOU HAVE ANGER.

YOU HAVE ANGER.

BUT YOU DON'T USE THEM.

BUT YOU DON'T USE THEM.

>> Narrator: AS ANAKIN CONTINUES

>> Narrator: AS ANAKIN CONTINUES

ON HIS HERO'S JOURNEY, THE ROLE

ON HIS HERO'S JOURNEY, THE ROLE

OF MENTOR IS ASSUMED BY THE

OF MENTOR IS ASSUMED BY THE

SCHEMING CHANCELLOR PALPATINE.

SCHEMING CHANCELLOR PALPATINE.

>> I HOPE YOU TRUST ME, ANAKIN.

>> I HOPE YOU TRUST ME, ANAKIN.

>> OF COURSE.

>> OF COURSE.

>> Narrator: ANAKIN'S

>> Narrator: ANAKIN'S

RELATIONSHIP WITH PALPATINE

RELATIONSHIP WITH PALPATINE

GROWS STRONGER, AND THE ROLE OF

GROWS STRONGER, AND THE ROLE OF

MYTHIC MENTOR TAKES ON A DARKER

MYTHIC MENTOR TAKES ON A DARKER

SHADE.

SHADE.

>> Connelly: THIS IS THE SAME

>> Connelly: THIS IS THE SAME

NARRATIVE ROLE AS THE SERPENT

NARRATIVE ROLE AS THE SERPENT

WITH EVE IN THE GARDEN OF EDEN.

WITH EVE IN THE GARDEN OF EDEN.

THE SERPENT SAYS, "YOU CAN HAVE

THE SERPENT SAYS, "YOU CAN HAVE

THE POWER OF GOD."

THE POWER OF GOD."

>> ONLY THROUGH ME CAN YOU

>> ONLY THROUGH ME CAN YOU

ACHIEVE A POWER GREATER THAN ANY

ACHIEVE A POWER GREATER THAN ANY

JEDI.

JEDI.

>> Connelly: AND THEN HE SAYS,

>> Connelly: AND THEN HE SAYS,

"GOD IS AFRAID OF THE POWER."

"GOD IS AFRAID OF THE POWER."

>> BE CAREFUL OF THE JEDI,

>> BE CAREFUL OF THE JEDI,

ANAKIN.

ANAKIN.

THEY SEE YOUR FUTURE.

THEY SEE YOUR FUTURE.

THEY KNOW YOUR POWER WILL BE TOO

THEY KNOW YOUR POWER WILL BE TOO

STRONG TO CONTROL.

STRONG TO CONTROL.

>> Connelly: THIS IS EXACTLY

>> Connelly: THIS IS EXACTLY

WHAT IS LAID BEFORE ANAKIN.

WHAT IS LAID BEFORE ANAKIN.

>> ANAKIN, HELP ME!

>> ANAKIN, HELP ME!

[babies crying]

[babies crying]

[screams]

[screams]

>> Narrator: ANAKIN IS ALSO

>> Narrator: ANAKIN IS ALSO

TORMENTED BY HORRIFYING

TORMENTED BY HORRIFYING

NIGHTMARES CONCERNING HIS WIFE,

NIGHTMARES CONCERNING HIS WIFE,

PADME.

PADME.

>> YOU DIE IN CHILDBIRTH.

>> YOU DIE IN CHILDBIRTH.

>> IT WAS ONLY A DREAM.

>> IT WAS ONLY A DREAM.

>> I WON'T LET THIS ONE BECOME

>> I WON'T LET THIS ONE BECOME

REAL.

REAL.

>> Galipeau: HE GETS TOO

>> Galipeau: HE GETS TOO

POSSESSED BY THE FEAR OF LOSING

POSSESSED BY THE FEAR OF LOSING

AGAIN THE MAIN WOMAN IN HIS

AGAIN THE MAIN WOMAN IN HIS

LIFE.

LIFE.

AND THAT LEADS HIM TO THE DARK

AND THAT LEADS HIM TO THE DARK

SIDE.

SIDE.

>> DARTH PLAGUEIS, HE HAD SUCH

>> DARTH PLAGUEIS, HE HAD SUCH

A KNOWLEDGE OF THE DARK SIDE.

A KNOWLEDGE OF THE DARK SIDE.

HE COULD EVEN KEEP THE ONES HE

HE COULD EVEN KEEP THE ONES HE

CARED ABOUT...

CARED ABOUT...

FROM DYING.

FROM DYING.

>> IS IT POSSIBLE TO LEARN THIS

>> IS IT POSSIBLE TO LEARN THIS

POWER?

POWER?

>> NOT FROM A JEDI.

>> NOT FROM A JEDI.

>> Silvio: IN KEEPING WITH THE

>> Silvio: IN KEEPING WITH THE

MYTHIC OVERTONES OF "STAR WARS,"

MYTHIC OVERTONES OF "STAR WARS,"

ANAKIN SUCCUMBS AND MAKES THIS

ANAKIN SUCCUMBS AND MAKES THIS

FAUSTIAN BARGAIN.

FAUSTIAN BARGAIN.

THE FAUST STORY IN ITS CLASSIC

THE FAUST STORY IN ITS CLASSIC

FORM IS THE STORY OF A MAN WHO

FORM IS THE STORY OF A MAN WHO

SELLS HIS SOUL TO THE DEVIL IN

SELLS HIS SOUL TO THE DEVIL IN

ORDER TO ACHIEVE POWER.

ORDER TO ACHIEVE POWER.

>> Narrator: ANAKIN RECEIVES HIS

>> Narrator: ANAKIN RECEIVES HIS

BAPTISM AS A DARK LORD OF THE

BAPTISM AS A DARK LORD OF THE

SITH.

SITH.

>> HENCEFORTH, YOU SHALL BE

>> HENCEFORTH, YOU SHALL BE

KNOWN AS DARTH VADER.

KNOWN AS DARTH VADER.

>> Narrator: NOW HIS STORY

>> Narrator: NOW HIS STORY

DIRECTLY PARALLELS THAT OF THE

DIRECTLY PARALLELS THAT OF THE

DEVIL HIMSELF.

DEVIL HIMSELF.

AS TOLD IN JOHN MILTON'S EPIC

AS TOLD IN JOHN MILTON'S EPIC

POEM "PARADISE LOST," LUCIFER

POEM "PARADISE LOST," LUCIFER

WAS ONCE ONE OF GOD'S MOST

WAS ONCE ONE OF GOD'S MOST

BEAUTIFUL AND FAVORED ANGELS.

BEAUTIFUL AND FAVORED ANGELS.

BUT LUCIFER'S CONCEIT AND HIS

BUT LUCIFER'S CONCEIT AND HIS

LUST FOR POWER OVER GOD CAUSED

LUST FOR POWER OVER GOD CAUSED

HIM TO WAGE WAR ON HEAVEN.

HIM TO WAGE WAR ON HEAVEN.

DEFEATED, HE WAS CAST OUT AND

DEFEATED, HE WAS CAST OUT AND

CREATED HIS OWN KINGDOM IN HELL.

>> Wieseltier: LIKE MILTON'S

>> Wieseltier: LIKE MILTON'S

SATAN, ANAKIN SKYWALKER IS THE--

SATAN, ANAKIN SKYWALKER IS THE--

IS THE MAN WHO CAN NOT RESIST

IS THE MAN WHO CAN NOT RESIST

THE TEMPTATION OF POWER.

THE TEMPTATION OF POWER.

>> I AM BECOMING MORE POWERFUL

>> I AM BECOMING MORE POWERFUL

THAN ANY JEDI HAS EVER DREAMED

THAN ANY JEDI HAS EVER DREAMED

OF, AND I'M DOING IT FOR YOU.

OF, AND I'M DOING IT FOR YOU.

>> Henderson: PART OF LUCIFER'S

>> Henderson: PART OF LUCIFER'S

DOWNFALL WAS HIS OWN PRIDE AND

DOWNFALL WAS HIS OWN PRIDE AND

HIS OWN ARROGANCE.

HIS OWN ARROGANCE.

>> I AM MORE POWERFUL THAN THE

>> I AM MORE POWERFUL THAN THE

CHANCELLOR.

CHANCELLOR.

I CAN OVERTHROW HIM.

I CAN OVERTHROW HIM.

AND TOGETHER, YOU AND I CAN RULE

AND TOGETHER, YOU AND I CAN RULE

THE GALAXY.

THE GALAXY.

>> Henderson: AND PRIDE ALWAYS

>> Henderson: AND PRIDE ALWAYS

GOES BEFORE A FALL.

GOES BEFORE A FALL.

>> YOU'RE GOING DOWN A PATH I

>> YOU'RE GOING DOWN A PATH I

CAN'T FOLLOW.

CAN'T FOLLOW.

STOP.

STOP.

STOP NOW! COME BACK!

STOP NOW! COME BACK!

>> YOU'RE WITH HIM!

>> YOU'RE WITH HIM!

YOU BROUGHT HIM HERE TO KILL ME!

YOU BROUGHT HIM HERE TO KILL ME!

>> NO!

>> NO!

>> LET HER GO, ANAKIN!

>> LET HER GO, ANAKIN!

>> ANAKIN...

>> ANAKIN...

>> LET... HER... GO.

>> LET... HER... GO.

>> [gasps]

>> [gasps]

>> Hudgins: LUCAS IS ALSO

>> Hudgins: LUCAS IS ALSO

HARKENING BACK TO GREEK TRAGEDY.

HARKENING BACK TO GREEK TRAGEDY.

ANAKIN LOSES PADME.

ANAKIN LOSES PADME.

HIS ATTEMPT TO SAVE HER BY GOING

HIS ATTEMPT TO SAVE HER BY GOING

OVER TO THE DARK SIDE OF THE

OVER TO THE DARK SIDE OF THE

FORCE KILLS HER.

FORCE KILLS HER.

THAT IS THE FUNDAMENTAL GREEK

THAT IS THE FUNDAMENTAL GREEK

TRAGEDY.

TRAGEDY.

>> YOU TURNED HER AGAINST ME!

>> YOU TURNED HER AGAINST ME!

>> YOU HAVE DONE THAT YOURSELF!

>> YOU HAVE DONE THAT YOURSELF!

>> Lyden: THE BATTLE BETWEEN

>> Lyden: THE BATTLE BETWEEN

OBI-WAN AND ANAKIN ON THE PLANET

OBI-WAN AND ANAKIN ON THE PLANET

MUSTAFAR HAS APOCALYPTIC

MUSTAFAR HAS APOCALYPTIC

RESONANCES TO IT.

RESONANCES TO IT.

>> UNH!

>> UNH!

>> Lyden: WE SEE LAVA AND FIRE

>> Lyden: WE SEE LAVA AND FIRE

ALL AROUND, AND THIS MIRRORS

ALL AROUND, AND THIS MIRRORS

WHAT IS HAPPENING TO ANAKIN

WHAT IS HAPPENING TO ANAKIN

INTERNALLY.

INTERNALLY.

WE REALLY HAVE DESCENDED TO

WE REALLY HAVE DESCENDED TO

HELL, BECAUSE WE'RE ABOUT TO SEE

HELL, BECAUSE WE'RE ABOUT TO SEE

ANAKIN'S OWN DAMNATION.

ANAKIN'S OWN DAMNATION.

>> [grunts]

>> [grunts]

YOU UNDERESTIMATE MY POWER.

YOU UNDERESTIMATE MY POWER.

>> DON'T TRY IT.

>> DON'T TRY IT.

>> RA-A-GH!

>> RA-A-GH!

[groaning]

[groaning]

>> Henderson: AND I LOVE WHAT

>> Henderson: AND I LOVE WHAT

GEORGE LUCAS DOES WITH THE

GEORGE LUCAS DOES WITH THE

SYMBOLISM HERE.

SYMBOLISM HERE.

>> I HATE YOU!

>> I HATE YOU!

>> Henderson: HE'S SO PASSIONATE

>> Henderson: HE'S SO PASSIONATE

THAT IT BURNS HIM AND CONSUMES

THAT IT BURNS HIM AND CONSUMES

HIM.

HIM.

>> AGGH!

>> AGGH!

>> Galipeau: THE DISMEMBERMENT

>> Galipeau: THE DISMEMBERMENT

OF ANAKIN GOES TO THE EXTENT

OF ANAKIN GOES TO THE EXTENT

SYMBOLICALLY OF HOW MUCH HE

SYMBOLICALLY OF HOW MUCH HE

REALLY LOST HIS HUMANITY.

REALLY LOST HIS HUMANITY.

HE'S BECOME CUT OFF FROM HIMSELF

HE'S BECOME CUT OFF FROM HIMSELF

BUT ALSO FROM OTHERS.

BUT ALSO FROM OTHERS.

>> [wailing]

>> [wailing]

>> Mitchell: IT ACTUALLY FEELS

>> Mitchell: IT ACTUALLY FEELS

KIND OF WAGNERIAN TO ME, THAT

KIND OF WAGNERIAN TO ME, THAT

THE PRICE OF EVIL BECOMES

THE PRICE OF EVIL BECOMES

APPARENT.

APPARENT.

>> Hudgins: THIS IS GEORGE LUCAS

>> Hudgins: THIS IS GEORGE LUCAS

LOOKING TO MYTHOLOGY,

LOOKING TO MYTHOLOGY,

SPECIFICALLY THE GREEK MYTH OF

SPECIFICALLY THE GREEK MYTH OF

NEMESIS.

NEMESIS.

THE NOTION THAT YOU ARE SOMEHOW

THE NOTION THAT YOU ARE SOMEHOW

GOING TO BE THE VICTIM OF THE

GOING TO BE THE VICTIM OF THE

THINGS THAT YOU SOW.

THINGS THAT YOU SOW.

>> Henderson: NOW ANAKIN HAS TO

>> Henderson: NOW ANAKIN HAS TO

LIVE IN HELL.

LIVE IN HELL.

AND FOR SOMEONE THAT PASSIONATE,

AND FOR SOMEONE THAT PASSIONATE,

HELL FOR HIM IS TO BECOME A

HELL FOR HIM IS TO BECOME A

MECHANICAL MONSTER...

MECHANICAL MONSTER...

TO HAVE REALLY NO HUMANITY LEFT.

TO HAVE REALLY NO HUMANITY LEFT.

>> [screaming]

>> [screaming]

>> Narrator: AS ANAKIN IS TURNED

>> Narrator: AS ANAKIN IS TURNED

INTO A HALF-MAN, HALF-MACHINE,

INTO A HALF-MAN, HALF-MACHINE,

ANOTHER CLASSIC ARCHETYPE IS

ANOTHER CLASSIC ARCHETYPE IS

EVOKED, THIS TIME FROM THE WORLD

EVOKED, THIS TIME FROM THE WORLD

OF GOTHIC HORROR.

OF GOTHIC HORROR.

>> Paglia: FINALLY, WE HAVE THE

>> Paglia: FINALLY, WE HAVE THE

ANSWER OF HOW THIS STRANGE

ANSWER OF HOW THIS STRANGE

HYBRID CREATURE WAS, IN FACT,

HYBRID CREATURE WAS, IN FACT,

CONSTRUCTED, AS A KIND OF

CONSTRUCTED, AS A KIND OF

FRANKENSTEIN'S MONSTER.

FRANKENSTEIN'S MONSTER.

>> LORD VADER...

>> LORD VADER...

CAN YOU HEAR ME?

CAN YOU HEAR ME?

[deep mechanical breathing]

[deep mechanical breathing]

>> YES, MASTER.

>> MASTER WINDU.

>> MASTER WINDU.

I MUST SAY, YOU'RE HERE SOONER

I MUST SAY, YOU'RE HERE SOONER

THAN EXPECTED.

THAN EXPECTED.

>> IN THE NAME OF THE GALACTIC

>> IN THE NAME OF THE GALACTIC

SENATE OF THE REPUBLIC, YOU ARE

SENATE OF THE REPUBLIC, YOU ARE

UNDER ARREST, CHANCELLOR.

UNDER ARREST, CHANCELLOR.

>> ARE YOU THREATENING ME,

>> ARE YOU THREATENING ME,

MASTER JEDI?

MASTER JEDI?

>> THE SENATE WILL DECIDE YOUR

>> THE SENATE WILL DECIDE YOUR

FATE.

FATE.

>> I AM THE SENATE.

>> Narrator: IF THE MYTHIC HERO

>> Narrator: IF THE MYTHIC HERO

IS A FIGURE OF FREEDOM, THE

IS A FIGURE OF FREEDOM, THE

VILLAIN HE FACES OFTEN STANDS AS

VILLAIN HE FACES OFTEN STANDS AS

A SYMBOL OF TYRANNY.

A SYMBOL OF TYRANNY.

THAT TRADITION IS CONTINUED IN

THAT TRADITION IS CONTINUED IN

THE FIRST THREE EPISODES OF THE

THE FIRST THREE EPISODES OF THE

"STAR WARS" SAGA, WHICH OFFER A

"STAR WARS" SAGA, WHICH OFFER A

DARK DRAMA OF POLITICAL INTRIGUE

DARK DRAMA OF POLITICAL INTRIGUE

AND CORRUPTION.

AND CORRUPTION.

>> BEGIN LANDING YOUR TROOPS.

>> BEGIN LANDING YOUR TROOPS.

>> IS THAT LEGAL?

>> IS THAT LEGAL?

>> I WILL MAKE IT LEGAL.

>> I WILL MAKE IT LEGAL.

>> Narrator: THE STORY DRAWS

>> Narrator: THE STORY DRAWS

FROM MORE THAN MYTH AND

FROM MORE THAN MYTH AND

LITERATURE.

LITERATURE.

IT REFLECTS A CYCLE IN OUR OWN

IT REFLECTS A CYCLE IN OUR OWN

HISTORY: THE FALL OF REPUBLICS

HISTORY: THE FALL OF REPUBLICS

AND THE RISE OF DICTATORS.

AND THE RISE OF DICTATORS.

>> HUNDREDS OF SENATORS ARE NOW

>> HUNDREDS OF SENATORS ARE NOW

UNDER THE INFLUENCE OF A SITH

UNDER THE INFLUENCE OF A SITH

LORD CALLED DARTH SIDIOUS.

LORD CALLED DARTH SIDIOUS.

>> [laughs]

>> [laughs]

>> Wetmore, Jr.: IT'S NO LONGER

>> Wetmore, Jr.: IT'S NO LONGER

JUST A SMALL BAND OF ADVENTURERS

JUST A SMALL BAND OF ADVENTURERS

HAVING FUN IN A DANGEROUS PLACE,

HAVING FUN IN A DANGEROUS PLACE,

BUT IT'S NOW GROWN INTO A SORT

BUT IT'S NOW GROWN INTO A SORT

OF A GEOPOLITICAL MELTDOWN.

OF A GEOPOLITICAL MELTDOWN.

>> Crowd: VOTE NOW! VOTE NOW!

>> Crowd: VOTE NOW! VOTE NOW!

>> ORDER!

>> ORDER!

>> Wetmore, Jr.: IT CONCERNS

>> Wetmore, Jr.: IT CONCERNS

ITSELF WITH THE CORRUPTION OF

ITSELF WITH THE CORRUPTION OF

GOVERNMENT, WITH A GOVERNMENT

GOVERNMENT, WITH A GOVERNMENT

THAT IS TRYING TO SEIZE POWER

THAT IS TRYING TO SEIZE POWER

FOR ITSELF...

FOR ITSELF...

>> I WILL BE CHANCELLOR.

>> I WILL BE CHANCELLOR.

>> Wetmore, Jr.: AND SO

>> Wetmore, Jr.: AND SO

GENERATES THESE SORT OF

GENERATES THESE SORT OF

ARTIFICIAL CRISES THAT IT CAN

ARTIFICIAL CRISES THAT IT CAN

THEN RESPOND TO, A THREAT FROM

THEN RESPOND TO, A THREAT FROM

OUTSIDE ACTUALLY BEING GENERATED

OUTSIDE ACTUALLY BEING GENERATED

FROM WITHIN.

FROM WITHIN.

>> WIPE THEM OUT.

>> WIPE THEM OUT.

ALL OF THEM.

ALL OF THEM.

>> Narrator: AT THE CENTER OF

>> Narrator: AT THE CENTER OF

THE STORY IS THE SCHEMING DARTH

THE STORY IS THE SCHEMING DARTH

SIDIOUS.

SIDIOUS.

DISGUISED AS THE KINDLY SENATOR

DISGUISED AS THE KINDLY SENATOR

PALPATINE, HE USES THE

PALPATINE, HE USES THE

REPUBLIC'S FEARS OF REBELLION

REPUBLIC'S FEARS OF REBELLION

AND WAR TO GRADUALLY SEIZE

AND WAR TO GRADUALLY SEIZE

ABSOLUTE POWER.

ABSOLUTE POWER.

>> Whedon: WE KNOW WHAT LUCAS

>> Whedon: WE KNOW WHAT LUCAS

DRAWS ON A GREAT DEAL, WHICH IS

DRAWS ON A GREAT DEAL, WHICH IS

GERMANY IN THE '30s, WHICH IS

GERMANY IN THE '30s, WHICH IS

THE SAME ANIMAL.

THE SAME ANIMAL.

[crowd cheering]

[crowd cheering]

>> SIEG!

>> SIEG!

>> Crowd: HEIL!

>> Crowd: HEIL!

>> SIEG!

>> SIEG!

>> Crowd: HEIL!

>> Crowd: HEIL!

>> Hudgins: HERE, THERE'S A

>> Hudgins: HERE, THERE'S A

VERY STRONG ANALOGY IN "STAR

VERY STRONG ANALOGY IN "STAR

WARS."

WARS."

YOU HAVE A CHANCELLOR,

YOU HAVE A CHANCELLOR,

PALPATINE, WHO WANTS

PALPATINE, WHO WANTS

EXTRAORDINARY POWERS.

EXTRAORDINARY POWERS.

WELL, THAT'S EXACTLY WHAT

WELL, THAT'S EXACTLY WHAT

CHANCELLOR HITLER REQUESTED IN

CHANCELLOR HITLER REQUESTED IN

1933.

1933.

THE SO-CALLED ENABLING ACT

THE SO-CALLED ENABLING ACT

BASICALLY SAID "YOU CAN DO

BASICALLY SAID "YOU CAN DO

PRETTY MUCH ANYTHING YOU WANT."

PRETTY MUCH ANYTHING YOU WANT."

IT'S AN EMERGENCY POWER,

IT'S AN EMERGENCY POWER,

NATURALLY, BUT OF COURSE,

NATURALLY, BUT OF COURSE,

EMERGENCY POWERS RARELY GO AWAY.

EMERGENCY POWERS RARELY GO AWAY.

>> THIS IS A CRISIS.

>> THIS IS A CRISIS.

THE SENATE MUST VOTE THE

THE SENATE MUST VOTE THE

CHANCELLOR EMERGENCY POWERS.

CHANCELLOR EMERGENCY POWERS.

HE CAN THEN APPROVE THE CREATION

HE CAN THEN APPROVE THE CREATION

OF AN ARMY.

OF AN ARMY.

>> Rather: DICTATORS ALWAYS

>> Rather: DICTATORS ALWAYS

START OUT SAYING THEY'RE GONNA

START OUT SAYING THEY'RE GONNA

HELP THE LITTLE GUY.

HELP THE LITTLE GUY.

IT'S THE BIG DADDY.

IT'S THE BIG DADDY.

"HERE IS THIS POWERFUL PERSON.

"HERE IS THIS POWERFUL PERSON.

AND HE IS COMMITTED TO TAKING

AND HE IS COMMITTED TO TAKING

CARE OF ME."

CARE OF ME."

AND THESE POWERFUL MEN WHO

AND THESE POWERFUL MEN WHO

REPRESENT REPRESSION,

REPRESENT REPRESSION,

DICTATORSHIP, AND EVIL, DO HAVE

DICTATORSHIP, AND EVIL, DO HAVE

A CHARISMA ABOUT THEM, THE

A CHARISMA ABOUT THEM, THE

CHARISMA OF POWER.

CHARISMA OF POWER.

[crowd chanting and clapping]

[crowd chanting and clapping]

SADDAM HUSSEIN HAD TERRIFIC--

SADDAM HUSSEIN HAD TERRIFIC--

WHAT THE MILITARY CALLS COMMAND

WHAT THE MILITARY CALLS COMMAND

PRESENCE: WALKED TALL, UPRIGHT,

PRESENCE: WALKED TALL, UPRIGHT,

TENDED TO DOMINATE ANY LANDSCAPE

TENDED TO DOMINATE ANY LANDSCAPE

HE OCCUPIED.

HE OCCUPIED.

HIS MESSAGE WAS "FOLLOW ME, AND

HIS MESSAGE WAS "FOLLOW ME, AND

I'LL TAKE CARE OF YOU."

I'LL TAKE CARE OF YOU."

ONE CAN SEE THE ATTRACTION.

ONE CAN SEE THE ATTRACTION.

>> NABOO'S SYSTEM HAS BEEN

>> NABOO'S SYSTEM HAS BEEN

INVADED BY THE DROID ARMIES OF

INVADED BY THE DROID ARMIES OF

THE TRADE--

THE TRADE--

>> I OBJECT, THERE IS NO PROOF!

>> I OBJECT, THERE IS NO PROOF!

>> Hudgins: YOU REALLY DO SEE

>> Hudgins: YOU REALLY DO SEE

THIS THEME, THAT IS, YOU SEE

THIS THEME, THAT IS, YOU SEE

GOVERNMENT BECOMING VERY, VERY

GOVERNMENT BECOMING VERY, VERY

MESSY, VERY, VERY CORRUPT.

MESSY, VERY, VERY CORRUPT.

AND THIS GOES BACK TO THE ROMAN

AND THIS GOES BACK TO THE ROMAN

EMPIRE.

EMPIRE.

FREE SOCIETIES, REPUBLICS, DO

FREE SOCIETIES, REPUBLICS, DO

NOT COLLAPSE FROM WITHOUT UNTIL

NOT COLLAPSE FROM WITHOUT UNTIL

THEY'VE DESTROYED THEMSELVES

THEY'VE DESTROYED THEMSELVES

WITHIN.

WITHIN.

THE MORALITY NECESSARY TO

THE MORALITY NECESSARY TO

SUPPORT A FREE SOCIETY, OF A

SUPPORT A FREE SOCIETY, OF A

REPUBLIC, HAS TO ERODE.

REPUBLIC, HAS TO ERODE.

>> Wetmore, Jr.: AND HAND IN

>> Wetmore, Jr.: AND HAND IN

HAND IN THAT, OF COURSE, IN

HAND IN THAT, OF COURSE, IN

ANCIENT ROME IS THE IDEA OF

ANCIENT ROME IS THE IDEA OF

CORRUPTION, THE SENATORS

CORRUPTION, THE SENATORS

THEMSELVES GROWING MORE

THEMSELVES GROWING MORE

CONCERNED WITH MAINTAINING THEIR

CONCERNED WITH MAINTAINING THEIR

OWN POWER AND THE SENATE SORT OF

OWN POWER AND THE SENATE SORT OF

WILLING ITSELF ALMOST OUT OF

WILLING ITSELF ALMOST OUT OF

EXISTENCE.

EXISTENCE.

>> THE SENATE IS EXPECTED TO

>> THE SENATE IS EXPECTED TO

VOTE MORE EXECUTIVE POWERS TO

VOTE MORE EXECUTIVE POWERS TO

THE CHANCELLOR TODAY.

THE CHANCELLOR TODAY.

BE CAREFUL OF YOUR FRIEND

BE CAREFUL OF YOUR FRIEND

PALPATINE.

PALPATINE.

>> Lyden: LUCAS IS SHOWING US

>> Lyden: LUCAS IS SHOWING US

DEMOCRACY IS FRAGILE.

DEMOCRACY IS FRAGILE.

IT CAN ALWAYS BE DESTROYED FROM

IT CAN ALWAYS BE DESTROYED FROM

WITHIN.

WITHIN.

>> AS MY FIRST ACT WITH THIS NEW

>> AS MY FIRST ACT WITH THIS NEW

AUTHORITY, I WILL CREATE A GRAND

AUTHORITY, I WILL CREATE A GRAND

ARMY OF THE REPUBLIC TO COUNTER

ARMY OF THE REPUBLIC TO COUNTER

THE INCREASING THREATS OF THE

THE INCREASING THREATS OF THE

SEPARATISTS.

SEPARATISTS.

>> Hudgins: PALPATINE'S PLAYING

>> Hudgins: PALPATINE'S PLAYING

BOTH SIDES BECAUSE HE KNOWS THAT

BOTH SIDES BECAUSE HE KNOWS THAT

WAR MEANS THE ACCUMULATION OF

WAR MEANS THE ACCUMULATION OF

POWER.

POWER.

AND IN A SENSE, THAT'S WHAT

AND IN A SENSE, THAT'S WHAT

HAPPENED IN ANCIENT ROME.

HAPPENED IN ANCIENT ROME.

PEOPLE LIKE JULIUS CAESAR RAISED

PEOPLE LIKE JULIUS CAESAR RAISED

ARMIES THAT BECAME PRIVATE

ARMIES THAT BECAME PRIVATE

ARMIES, AND THAT WAS REALLY WHAT

ARMIES, AND THAT WAS REALLY WHAT

LED TO THE DECLINE OF THE ROMAN

LED TO THE DECLINE OF THE ROMAN

REPUBLIC.

REPUBLIC.

[crowd cheering]

[crowd cheering]

>> Narrator: "STAR WARS"

>> Narrator: "STAR WARS"

FURTHER CONNECTS ITS GALACTIC

FURTHER CONNECTS ITS GALACTIC

REPUBLIC TO ANCIENT ROME WITH

REPUBLIC TO ANCIENT ROME WITH

SCENES LIKE THIS ONE.

SCENES LIKE THIS ONE.

[engines roaring]

[engines roaring]

>> Narrator: IN EPISODE I,

>> Narrator: IN EPISODE I,

"THE PHANTOM MENACE," THE

"THE PHANTOM MENACE," THE

POPULACE IS DISTRACTED FROM THE

POPULACE IS DISTRACTED FROM THE

GATHERING STORM OF WAR BY

GATHERING STORM OF WAR BY

SPECTACLES, LIKE THIS HIGH-SPEED

SPECTACLES, LIKE THIS HIGH-SPEED

POD RACE, REMINISCENT OF ROMAN

POD RACE, REMINISCENT OF ROMAN

CHARIOT RACES.

CHARIOT RACES.

LATER IN THE SAGA, AS PALPATINE

LATER IN THE SAGA, AS PALPATINE

CONSOLIDATES HIS POWER, THE

CONSOLIDATES HIS POWER, THE

CITIZENS INDULGE IN LURID

CITIZENS INDULGE IN LURID

RITUALS OF SACRIFICE AND

RITUALS OF SACRIFICE AND

SLAUGHTER.

SLAUGHTER.

[animal galloping and grunting]

[animal galloping and grunting]

>> Lyden: THERE IS A REFERENCE

>> Lyden: THERE IS A REFERENCE

TO GLADIATORIAL COMBAT, SUCH AS

TO GLADIATORIAL COMBAT, SUCH AS

ONE FINDS IN ANCIENT ROME.

ONE FINDS IN ANCIENT ROME.

YOU HAVE THE IDEA THAT EMPIRES

YOU HAVE THE IDEA THAT EMPIRES

CAN TURN TO THAT KIND DECADENCE.

CAN TURN TO THAT KIND DECADENCE.

[creature shrieks]

[creature shrieks]

[animal roars]

[animal roars]

[creature shrieks]

[creature shrieks]

>> Narrator: IN SHOWING THE

>> Narrator: IN SHOWING THE

FALL OF A REPUBLIC, "STAR WARS"

FALL OF A REPUBLIC, "STAR WARS"

ALSO REFLECTS THE STORY OF

ALSO REFLECTS THE STORY OF

NAPOLEON, WHO CROWNED HIMSELF

NAPOLEON, WHO CROWNED HIMSELF

EMPEROR AFTER THE HORRORS AND

EMPEROR AFTER THE HORRORS AND

CHAOS OF THE FRENCH REVOLUTION

CHAOS OF THE FRENCH REVOLUTION

BECAME TOO MUCH FOR THE FRENCH

BECAME TOO MUCH FOR THE FRENCH

PEOPLE TO BEAR.

PEOPLE TO BEAR.

EVEN EARLY AMERICAN HISTORY

EVEN EARLY AMERICAN HISTORY

OFFERS AN EXAMPLE OF HOW A

OFFERS AN EXAMPLE OF HOW A

REPUBLIC IS VULNERABLE TO THE

REPUBLIC IS VULNERABLE TO THE

AMBITIONS OF THE POWERFUL.

AMBITIONS OF THE POWERFUL.

>> Gingrich: IT'S IMPORTANT TO

>> Gingrich: IT'S IMPORTANT TO

REMEMBER THAT WASHINGTON AFTER

REMEMBER THAT WASHINGTON AFTER

THE AMERICAN REVOLUTION IS

THE AMERICAN REVOLUTION IS

OFFERED BY HIS OFFICERS TO

OFFERED BY HIS OFFICERS TO

REPLACE THE CONTINENTAL CONGRESS

REPLACE THE CONTINENTAL CONGRESS

AND ESTABLISH A DICTATORSHIP.

AND ESTABLISH A DICTATORSHIP.

AND HE SAYS TO THEM, "DO YOU

AND HE SAYS TO THEM, "DO YOU

TRULY BELIEVE THAT I LED THE

TRULY BELIEVE THAT I LED THE

REBELLION AGAINST GEORGE III IN

REBELLION AGAINST GEORGE III IN

ORDER TO BECOME GEORGE I?"

ORDER TO BECOME GEORGE I?"

AND I THINK HE WOULD FIND IN

AND I THINK HE WOULD FIND IN

"STAR WARS" A GREAT DEAL THAT

"STAR WARS" A GREAT DEAL THAT

HE WOULD HAVE AGREED WITH, AND

HE WOULD HAVE AGREED WITH, AND

A GREAT DEAL THAT HE WOULD HAVE

A GREAT DEAL THAT HE WOULD HAVE

UNDERSTOOD.

UNDERSTOOD.

>> Silvio: IT'S TESTIMONY TO

>> Silvio: IT'S TESTIMONY TO

JUST HOW SIGNIFICANT "STAR WARS"

JUST HOW SIGNIFICANT "STAR WARS"

IS THAT PEOPLE SEE OUR OWN

IS THAT PEOPLE SEE OUR OWN

SOCIETY, OUR OWN MOMENT

SOCIETY, OUR OWN MOMENT

REFLECTED IN IT.

REFLECTED IN IT.

>> ANAKIN, MY ALLEGIANCE IS TO

>> ANAKIN, MY ALLEGIANCE IS TO

THE REPUBLIC, TO DEMOCRACY!

THE REPUBLIC, TO DEMOCRACY!

>> IF YOU'RE NOT WITH ME...

>> IF YOU'RE NOT WITH ME...

THEN YOU'RE MY ENEMY.

THEN YOU'RE MY ENEMY.

>> Silvio: IN "REVENGE OF THE

>> Silvio: IN "REVENGE OF THE

SITH," WHEN WE HEAR ANAKIN SAY

SITH," WHEN WE HEAR ANAKIN SAY

YOU'RE EITHER WITH ME OR

YOU'RE EITHER WITH ME OR

AGAINST ME, IT'S ALMOST

AGAINST ME, IT'S ALMOST

IMPOSSIBLE NOT TO HEAR THAT

IMPOSSIBLE NOT TO HEAR THAT

QUOTE AND THINK OF ANOTHER VERY

QUOTE AND THINK OF ANOTHER VERY

FAMOUS QUOTE.

FAMOUS QUOTE.

>> EITHER YOU ARE WITH US OR

>> EITHER YOU ARE WITH US OR

YOU ARE WITH THE TERRORISTS.

YOU ARE WITH THE TERRORISTS.

[applause]

[applause]

>> Hudgins: SOME PEOPLE SAY THAT

>> Hudgins: SOME PEOPLE SAY THAT

THE NEW "STAR WARS" TRILOGY HAS

THE NEW "STAR WARS" TRILOGY HAS

ANALOGIES WITH IRAQ.

ANALOGIES WITH IRAQ.

AND I THINK THAT THAT'S ONLY

AND I THINK THAT THAT'S ONLY

VERY NARROWLY, BECAUSE LUCAS IS

VERY NARROWLY, BECAUSE LUCAS IS

LOOKING MUCH WIDER AT THE ROMAN

LOOKING MUCH WIDER AT THE ROMAN

REPUBLIC AND ALL REPUBLICS.

REPUBLIC AND ALL REPUBLICS.

>> Silvio: LUCAS IS TELLING A

>> Silvio: LUCAS IS TELLING A

VERY FAMILIAR HISTORICAL STORY,

VERY FAMILIAR HISTORICAL STORY,

THE STORY OF A TYRANT WHO COMES

THE STORY OF A TYRANT WHO COMES

TO POWER BY EXPLOITING

TO POWER BY EXPLOITING

CIRCUMSTANCES, BY CAPITALIZING

CIRCUMSTANCES, BY CAPITALIZING

ON FEAR, IS A STORY THAT'S BEEN

ON FEAR, IS A STORY THAT'S BEEN

TOLD AGAIN AND AGAIN AND AGAIN.

TOLD AGAIN AND AGAIN AND AGAIN.

>> [roars]

>> [roars]

>> Narrator: IN "REVENGE OF THE

>> Narrator: IN "REVENGE OF THE

SITH," THE HIDDEN EVIL WITHIN

SITH," THE HIDDEN EVIL WITHIN

PALPATINE IS MADE MANIFEST

PALPATINE IS MADE MANIFEST

DURING HIS BATTLE TO THE DEATH

DURING HIS BATTLE TO THE DEATH

WITH JEDI MASTER MACE WINDU.

WITH JEDI MASTER MACE WINDU.

>> [panicked grunting]

>> [panicked grunting]

>> I AM GOING TO END THIS ONCE

>> I AM GOING TO END THIS ONCE

AND FOR ALL.

AND FOR ALL.

>> YOU CAN'T.

>> YOU CAN'T.

HE MUST STAND TRIAL.

HE MUST STAND TRIAL.

>> HE HAS CONTROL OF THE SENATE

>> HE HAS CONTROL OF THE SENATE

AND THE COURTS.

AND THE COURTS.

HE'S TOO DANGEROUS TO BE LEFT

HE'S TOO DANGEROUS TO BE LEFT

ALIVE.

ALIVE.

>> NO.

>> NO.

NO! NO!

NO! NO!

YOU WILL DIE!

YOU WILL DIE!

>> Wetmore, Jr.: PALPATINE IS

>> Wetmore, Jr.: PALPATINE IS

NOW PHYSICALIZED EVIL.

NOW PHYSICALIZED EVIL.

HE'S UGLY AND CRUSTY AND

HE'S UGLY AND CRUSTY AND

MONSTROUS.

MONSTROUS.

>> POWER!

>> POWER!

>> Hudgins: PALPATINE BECOMES

>> Hudgins: PALPATINE BECOMES

THE EVIL EMPEROR.

THE EVIL EMPEROR.

YOU SEE THE DESIRE FOR POWER,

YOU SEE THE DESIRE FOR POWER,

THE DESIRE FOR CONTROL.

THE DESIRE FOR CONTROL.

>> POWER!

>> POWER!

>> Narrator: THE CUNNING

>> Narrator: THE CUNNING

PALPATINE EVEN USES HIS

PALPATINE EVEN USES HIS

PHYSICAL DEFORMITY TO WIN

PHYSICAL DEFORMITY TO WIN

SYMPATHY AND SUPPORT AS HE

SYMPATHY AND SUPPORT AS HE

SEIZES TOTAL POWER.

SEIZES TOTAL POWER.

>> THE ATTEMPT ON MY LIFE HAS

>> THE ATTEMPT ON MY LIFE HAS

LEFT ME SCARRED AND DEFORMED.

LEFT ME SCARRED AND DEFORMED.

BUT I ASSURE YOU, MY RESOLVE HAS

BUT I ASSURE YOU, MY RESOLVE HAS

NEVER BEEN STRONGER!

NEVER BEEN STRONGER!

[applause]

[applause]

>> Paglia: LUCAS CORRECTLY

>> Paglia: LUCAS CORRECTLY

PERCEIVES THAT POLITICS ARE

PERCEIVES THAT POLITICS ARE

CYCLICAL AND THAT THERE IS NEVER

CYCLICAL AND THAT THERE IS NEVER

A FINAL SOLUTION TO ANYTHING

A FINAL SOLUTION TO ANYTHING

INVOLVING THE CONSTRUCTION OF

INVOLVING THE CONSTRUCTION OF

HUMAN SOCIETIES, THAT THEY ARE

HUMAN SOCIETIES, THAT THEY ARE

IN CONTINUAL PROCESS OF

IN CONTINUAL PROCESS OF

CONSTRUCTION AND OF

CONSTRUCTION AND OF

SELF-DESTRUCTION.

SELF-DESTRUCTION.

>> Whedon: WHEN PALPATINE TAKES

>> Whedon: WHEN PALPATINE TAKES

OVER, IT'S THE MOST CHILLING

OVER, IT'S THE MOST CHILLING

THING I'D SEEN SINCE THE FIRST

THING I'D SEEN SINCE THE FIRST

MOVIE.

MOVIE.

I MEAN, I HAD ACTUAL DREAD IN

I MEAN, I HAD ACTUAL DREAD IN

THAT WONDERFUL SHOT...

THAT WONDERFUL SHOT...

[applause]

[applause]

WHERE THEY'RE COMING DOWN ON

WHERE THEY'RE COMING DOWN ON

HIM, AND EVERYBODY'S CHEERING.

HIM, AND EVERYBODY'S CHEERING.

>> IN ORDER TO ENSURE THE

>> IN ORDER TO ENSURE THE

SECURITY AND CONTINUING

SECURITY AND CONTINUING

STABILITY, THE REPUBLIC WILL BE

STABILITY, THE REPUBLIC WILL BE

REORGANIZED INTO THE FIRST

REORGANIZED INTO THE FIRST

GALACTIC EMPIRE!

GALACTIC EMPIRE!

[applause]

[applause]

>> Lyden: THERE IS A TIMELESS

>> Lyden: THERE IS A TIMELESS

MORAL THAT POWER CORRUPTS AND

MORAL THAT POWER CORRUPTS AND

ABSOLUTE POWER CORRUPTS

ABSOLUTE POWER CORRUPTS

ABSOLUTELY.

ABSOLUTELY.

WE HAVE TO SAFEGUARD DEMOCRACY.

WE HAVE TO SAFEGUARD DEMOCRACY.

THAT THREAT IS ALWAYS THERE.

THAT THREAT IS ALWAYS THERE.

>> SO THIS IS HOW LIBERTY DIES,

>> SO THIS IS HOW LIBERTY DIES,

WITH THUNDEROUS APPLAUSE.

>> LOOK AT HIM, HE'S HEADING

>> LOOK AT HIM, HE'S HEADING

FOR THAT SMALL MOON.

FOR THAT SMALL MOON.

>> I THINK I CAN GET HIM BEFORE

>> I THINK I CAN GET HIM BEFORE

HE GETS THERE.

HE GETS THERE.

HE'S ALMOST IN RANGE.

HE'S ALMOST IN RANGE.

>> THAT'S NO MOON.

>> THAT'S NO MOON.

IT'S A SPACE STATION.

IT'S A SPACE STATION.

>> IT'S TOO BIG TO BE A SPACE

>> IT'S TOO BIG TO BE A SPACE

STATION.

>> Narrator: IN MOST MYTHIC

>> Narrator: IN MOST MYTHIC

TALES, THE HERO AND HIS COMRADES

TALES, THE HERO AND HIS COMRADES

MUST TAKE PART IN AN EPIC

MUST TAKE PART IN AN EPIC

BATTLE.

BATTLE.

THE "STAR WARS" SAGA DRAWS ON

THE "STAR WARS" SAGA DRAWS ON

ICONIC IMAGES OF GOOD AND EVIL,

ICONIC IMAGES OF GOOD AND EVIL,

TO EVOKE A MECHANIZED EMPIRE ON

TO EVOKE A MECHANIZED EMPIRE ON

THE VERGE OF CRUSHING DEMOCRACY.

THE VERGE OF CRUSHING DEMOCRACY.

>> Henderson: IN ORDER TO MAKE

>> Henderson: IN ORDER TO MAKE

THE EMPIRE SEEM PARTICULARLY

THE EMPIRE SEEM PARTICULARLY

EVIL, LUCAS CALLS THE EMPEROR'S

EVIL, LUCAS CALLS THE EMPEROR'S

TROOPS STORMTROOPERS,

TROOPS STORMTROOPERS,

WHICH WERE, OF COURSE, HITLER'S

WHICH WERE, OF COURSE, HITLER'S

PERSONAL BODYGUARDS.

PERSONAL BODYGUARDS.

HE USES THE BLACK, WHITE AND

HE USES THE BLACK, WHITE AND

RED WHEN HE SHOWS THE EMPIRE,

RED WHEN HE SHOWS THE EMPIRE,

AND IN FACT, THOSE WERE COLORS

AND IN FACT, THOSE WERE COLORS

THAT HITLER LIKED AND USED FOR

THAT HITLER LIKED AND USED FOR

WHAT WAS CALLED THE BLOOD FLAG,

WHAT WAS CALLED THE BLOOD FLAG,

A SYMBOL OF THE THIRD REICH.

A SYMBOL OF THE THIRD REICH.

>> Brokaw: WHEN YOU LOOK AT

>> Brokaw: WHEN YOU LOOK AT

DARTH VADER WITH WHAT LOOKS

DARTH VADER WITH WHAT LOOKS

LIKE WHAT THEY CALL THE

LIKE WHAT THEY CALL THE

UPSIDE-DOWN COAL KETTLE OF THE

UPSIDE-DOWN COAL KETTLE OF THE

GERMAN HELMET, THOSE WERE VERY

GERMAN HELMET, THOSE WERE VERY

POWERFUL SYMBOLS OF EVIL IN

POWERFUL SYMBOLS OF EVIL IN

AMERICA THAT TOOK YOU INSTANTLY

AMERICA THAT TOOK YOU INSTANTLY

TO THE DARK SIDE AS SOON AS YOU

TO THE DARK SIDE AS SOON AS YOU

SAW THAT SHAPE OF THAT HELMET OR

SAW THAT SHAPE OF THAT HELMET OR

HEARD THE PHRASE

HEARD THE PHRASE

"STORMTROOPERS."

"STORMTROOPERS."

>> Galipeau: SYMBOLICALLY, THE

>> Galipeau: SYMBOLICALLY, THE

MASK REALLY REPRESENTS SOMEONE

MASK REALLY REPRESENTS SOMEONE

WHO'S LOST THEIR HUMANITY.

WHO'S LOST THEIR HUMANITY.

SO THEY ARE JUST GOING TO DO

SO THEY ARE JUST GOING TO DO

WHAT THEY'RE TOLD.

WHAT THEY'RE TOLD.

>> TO YOUR STATIONS.

>> TO YOUR STATIONS.

>> Galipeau: BUT NOT

>> Galipeau: BUT NOT

NECESSARILY WHAT'S RIGHT.

NECESSARILY WHAT'S RIGHT.

>> Narrator: IN "STAR WARS,"

>> Narrator: IN "STAR WARS,"

THE REBEL RESISTANCE AND THE

THE REBEL RESISTANCE AND THE

HEROIC GUARDIANS OF THE OLD

HEROIC GUARDIANS OF THE OLD

REPUBLIC EMBRACE DIVERSITY...

REPUBLIC EMBRACE DIVERSITY...

[Wookiees bellowing]

[Wookiees bellowing]

>> Narrator: IN CONTRAST TO THE

>> Narrator: IN CONTRAST TO THE

UNIFORMITY OF THE EMPIRE AND THE

UNIFORMITY OF THE EMPIRE AND THE

SITH.

SITH.

>> Lyden: THE EMPIRE IS STERILE

>> Lyden: THE EMPIRE IS STERILE

AND LIFELESS.

AND LIFELESS.

THERE ARE NO WOMEN IN THE EMPIRE

THERE ARE NO WOMEN IN THE EMPIRE

ANYWHERE.

ANYWHERE.

>> IF THE SCANNERS PICK UP

>> IF THE SCANNERS PICK UP

ANYTHING, REPORT IT IMMEDIATELY.

ANYTHING, REPORT IT IMMEDIATELY.

>> Lyden: AND THIS MAY BE

>> Lyden: AND THIS MAY BE

BECAUSE WOMEN ARE ASSOCIATED

BECAUSE WOMEN ARE ASSOCIATED

WITH LIFE, THE POWER OF LIFE-

WITH LIFE, THE POWER OF LIFE-

GIVING, WITH NATURE.

GIVING, WITH NATURE.

>> YOU ARE PART OF THE REBEL

>> YOU ARE PART OF THE REBEL

ALLIANCE AND A TRAITOR.

ALLIANCE AND A TRAITOR.

TAKE HER AWAY!

TAKE HER AWAY!

>> Lyden: ALL OF WHICH ARE

>> Lyden: ALL OF WHICH ARE

THINGS THAT ARE OPPOSED TO THE

THINGS THAT ARE OPPOSED TO THE

EMPIRE, AS IT IS BASED ON

EMPIRE, AS IT IS BASED ON

DEATH, DESTRUCTION AND VIOLENCE.

>> MASTER WINDU.

>> MASTER WINDU.

HOW PLEASANT OF YOU TO JOIN US.

HOW PLEASANT OF YOU TO JOIN US.

>> THIS PARTY'S OVER.

>> THIS PARTY'S OVER.

>> Wielseltier: IT'S THE

>> Wielseltier: IT'S THE

RESISTANCE OF THE CHAMPIONS OF

RESISTANCE OF THE CHAMPIONS OF

DIVERSITY.

DIVERSITY.

AND THEY'RE NOT JUST ETHNICALLY

AND THEY'RE NOT JUST ETHNICALLY

VARIOUS.

VARIOUS.

THEY'RE ZOOLOGICALLY VARIOUS...

THEY'RE ZOOLOGICALLY VARIOUS...

AGAINST THE ENFORCERS OF

AGAINST THE ENFORCERS OF

UNIFORMITY.

UNIFORMITY.

>> Gingrich: IN THAT SENSE, IF

>> Gingrich: IN THAT SENSE, IF

YOU GO BACK AND LOOK AT THE

YOU GO BACK AND LOOK AT THE

COLD WAR, WHERE THE UNITED

COLD WAR, WHERE THE UNITED

STATES HAD REACHED ACROSS THE

STATES HAD REACHED ACROSS THE

PLANET FROM JAPAN AND SOUTH

PLANET FROM JAPAN AND SOUTH

KOREA TO EUROPE, THERE WAS A

KOREA TO EUROPE, THERE WAS A

VERY BROAD COALITION OF PEOPLE

VERY BROAD COALITION OF PEOPLE

REPRESENTING MANY DIFFERENT

REPRESENTING MANY DIFFERENT

VALUE SYSTEMS AND STRUCTURES

VALUE SYSTEMS AND STRUCTURES

BUT WHO HAD COLLECTIVELY

BUT WHO HAD COLLECTIVELY

CONCLUDED THAT THEY DIDN'T WANT

CONCLUDED THAT THEY DIDN'T WANT

A SOVIET TYRANNY IMPOSED ON

A SOVIET TYRANNY IMPOSED ON

THEM.

THEM.

>> Silvio: MANY PEOPLE LIKE TO

>> Silvio: MANY PEOPLE LIKE TO

READ THE SOVIET UNION AS THE

READ THE SOVIET UNION AS THE

EMPIRE.

EMPIRE.

BUT I THINK THAT LUCAS WAS

BUT I THINK THAT LUCAS WAS

THINKING OF THE EMPIRE IN THE

THINKING OF THE EMPIRE IN THE

ORIGINAL FILM, "A NEW HOPE," AS

ORIGINAL FILM, "A NEW HOPE," AS

THE SYSTEM.

THE SYSTEM.

THE MAN, YOU KNOW.

THE MAN, YOU KNOW.

THE MONOLITHIC FACELESS SIDE OF

THE MONOLITHIC FACELESS SIDE OF

POWER THAT'S THREATENING TO

POWER THAT'S THREATENING TO

SQUELCH US ALL.

>> Young: JOSEPH CAMPBELL

>> Young: JOSEPH CAMPBELL

THOUGHT THAT PERHAPS THE GREAT

THOUGHT THAT PERHAPS THE GREAT

MORAL QUESTION OF OUR TIME IS

MORAL QUESTION OF OUR TIME IS

WILL WE LIVE FOR THE MACHINE, OR

WILL WE LIVE FOR THE MACHINE, OR

WILL WE LIVE FOR HUMANITY?

WILL WE LIVE FOR HUMANITY?

>> MAGNIFICENT, AREN'T THEY?

>> MAGNIFICENT, AREN'T THEY?

>> Young: AND HE THOUGHT THE

>> Young: AND HE THOUGHT THE

"STAR WARS" FILMS PRESENTED THIS

"STAR WARS" FILMS PRESENTED THIS

IN STARK CONTRAST.

IN STARK CONTRAST.

>> Lyden: IN "STAR WARS,"

>> Lyden: IN "STAR WARS,"

TECHNOLOGY IS SYMBOLIC OF THE

TECHNOLOGY IS SYMBOLIC OF THE

LOSS OF HUMANITY.

LOSS OF HUMANITY.

WE SEE THAT IN DARTH VADER'S

WE SEE THAT IN DARTH VADER'S

ROBOT BODY THAT DISPLACES HIS

ROBOT BODY THAT DISPLACES HIS

HUMAN EXISTENCE.

HUMAN EXISTENCE.

OR THE IMPERIAL WALKERS...

OR THE IMPERIAL WALKERS...

THE IMPERIAL CRUISERS...

THE IMPERIAL CRUISERS...

OR THE DEATH STAR ITSELF.

OR THE DEATH STAR ITSELF.

>> THIS STATION IS NOW THE

>> THIS STATION IS NOW THE

ULTIMATE POWER IN THE UNIVERSE.

ULTIMATE POWER IN THE UNIVERSE.

I SUGGEST WE USE IT.

>> Lyden: THE DEATH STAR LOOKS

>> Lyden: THE DEATH STAR LOOKS

LIKE A PLANET, BUT IT'S NOT.

LIKE A PLANET, BUT IT'S NOT.

IT'S A MACHINE.

IT'S A MACHINE.

>> Henderson: AND WHEN YOU GO

>> Henderson: AND WHEN YOU GO

INSIDE OF IT, IT'S HOLLOW.

INSIDE OF IT, IT'S HOLLOW.

AND SO IT SHOWS YOU THAT THE

AND SO IT SHOWS YOU THAT THE

HEART OF THAT SOCIETY IS

HEART OF THAT SOCIETY IS

COMPLETELY HOLLOW.

COMPLETELY HOLLOW.

>> CONTINUE WITH THE OPERATION.

>> CONTINUE WITH THE OPERATION.

YOU MAY FIRE WHEN READY.

YOU MAY FIRE WHEN READY.

>> WHAT?!

>> WHAT?!

>> YOU'RE FAR TOO TRUSTING.

>> YOU'RE FAR TOO TRUSTING.

DANTOOINE IS TOO REMOTE TO MAKE

DANTOOINE IS TOO REMOTE TO MAKE

AN EFFECTIVE DEMONSTRATION, BUT

AN EFFECTIVE DEMONSTRATION, BUT

DON'T WORRY.

DON'T WORRY.

WE WILL DEAL WITH YOUR REBEL

WE WILL DEAL WITH YOUR REBEL

FRIENDS SOON ENOUGH.

FRIENDS SOON ENOUGH.

>> NO.

>> NO.

>> COMMENCE PRIMARY IGNITION.

>> COMMENCE PRIMARY IGNITION.

>> Rather: AND WE ARE TORN

>> Rather: AND WE ARE TORN

ABOUT TECHNOLOGY.

ABOUT TECHNOLOGY.

WHEN HOMER WROTE ABOUT THE

WHEN HOMER WROTE ABOUT THE

ANCIENT GREEKS BATTLING, THEY

ANCIENT GREEKS BATTLING, THEY

HAD THE POWER TO DESTROY ONE

HAD THE POWER TO DESTROY ONE

ANOTHER.

ANOTHER.

BUT THEY COULD NOT DESTROY THE

BUT THEY COULD NOT DESTROY THE

WHOLE WORLD.

>> [laughing]

>> [laughing]

>> [grunts]

>> [grunts]

>> Ellerbee: LUCAS USES

>> Ellerbee: LUCAS USES

MACHINES TO GREAT EFFECT AND

MACHINES TO GREAT EFFECT AND

THE FACT THAT IT'S HOW HUMANS

THE FACT THAT IT'S HOW HUMANS

USE THEM THAT MAKES THE

USE THEM THAT MAKES THE

DIFFERENCE OF WHETHER IT'S GOOD

DIFFERENCE OF WHETHER IT'S GOOD

OR IT'S BAD.

OR IT'S BAD.

>> [groaning]

>> Ellerbee: IT'S TRUE OF OUR

>> Ellerbee: IT'S TRUE OF OUR

COMPUTERS.

COMPUTERS.

IT'S ALSO TRUE OF A GUN.

IT'S ALSO TRUE OF A GUN.

>> SO UNCIVILIZED.

>> SO UNCIVILIZED.

>> Lyden: THE REBELS OBVIOUSLY

>> Lyden: THE REBELS OBVIOUSLY

USE TECHNOLOGY, TOO.

USE TECHNOLOGY, TOO.

THEY HAVE SPACESHIPS, TOO.

THEY HAVE SPACESHIPS, TOO.

THEY'RE HAPPY TO USE IT.

THEY'RE HAPPY TO USE IT.

>> THEY'RE MOVING TO ATTACK

>> THEY'RE MOVING TO ATTACK

POSITION.

POSITION.

>> Lyden: BUT THE REBELS WIN NOT

>> Lyden: BUT THE REBELS WIN NOT

THROUGH SUPERIOR FIREPOWER BUT

THROUGH SUPERIOR FIREPOWER BUT

BECAUSE THEY TRUST IN SOMETHING

BECAUSE THEY TRUST IN SOMETHING

LARGER THAN THEMSELVES.

LARGER THAN THEMSELVES.

>> LUKE, TRUST YOUR FEELINGS.

>> LUKE, TRUST YOUR FEELINGS.

>> Lyden: AND RIGHT AT THE

>> Lyden: AND RIGHT AT THE

CONCLUSION OF EPISODE IV, "A NEW

CONCLUSION OF EPISODE IV, "A NEW

HOPE," YOU SEE THIS VERY

HOPE," YOU SEE THIS VERY

CLEARLY.

CLEARLY.

>> USE THE FORCE, LUKE.

>> USE THE FORCE, LUKE.

>> Lyden: WHERE LUKE TURNS OFF

>> Lyden: WHERE LUKE TURNS OFF

HIS TARGETING COMPUTER, DOESN'T

HIS TARGETING COMPUTER, DOESN'T

TRUST IN THE TECHNOLOGY BUT

TRUST IN THE TECHNOLOGY BUT

TRUSTS IN THE FORCE, AND THIS

TRUSTS IN THE FORCE, AND THIS

ALLOWS HIM TO DESTROY THIS HUGE

ALLOWS HIM TO DESTROY THIS HUGE

MACHINE, WHICH THE EMPIRE DID

MACHINE, WHICH THE EMPIRE DID

NOT SUSPECT.

NOT SUSPECT.

>> Abrams: THE IRONY IS THAT SO

>> Abrams: THE IRONY IS THAT SO

MUCH OF WHAT HAPPENS IN "STAR

MUCH OF WHAT HAPPENS IN "STAR

WARS" COULD NOT HAVE BEEN DONE

WARS" COULD NOT HAVE BEEN DONE

IF YOU TURNED THE MACHINES OFF.

IF YOU TURNED THE MACHINES OFF.

SO IT ENDS UP BEING ABOUT THE

SO IT ENDS UP BEING ABOUT THE

RELATIONSHIP, THE BALANCE

RELATIONSHIP, THE BALANCE

BETWEEN WHO WE ARE, WHAT OUR

BETWEEN WHO WE ARE, WHAT OUR

INTENT IS, AND THE TECHNOLOGY,

INTENT IS, AND THE TECHNOLOGY,

THE TOOLS WE USE TO REALIZE

THE TOOLS WE USE TO REALIZE

THAT INTENT.

THAT INTENT.

>> GREAT SHOT, KID!

>> GREAT SHOT, KID!

THAT WAS ONE IN A MILLION!

THAT WAS ONE IN A MILLION!

>> Abrams: I THINK THE MESSAGE

>> Abrams: I THINK THE MESSAGE

IS DON'T RELY ON THE TECHNOLOGY.

IS DON'T RELY ON THE TECHNOLOGY.

YOU KNOW, RELY ON YOURSELF.

>> Rather: "STAR WARS" TOUCHES

>> Rather: "STAR WARS" TOUCHES

THE ANCIENT THEME.

THE ANCIENT THEME.

IT'S BEEN REPEATED TIME AFTER

IT'S BEEN REPEATED TIME AFTER

TIME AFTER TIME WITH HISTORY.

TIME AFTER TIME WITH HISTORY.

RECOGNIZE THAT EVEN AFTER EVIL

RECOGNIZE THAT EVEN AFTER EVIL

HAS RISEN AND IS FULL-FORCE ON,

HAS RISEN AND IS FULL-FORCE ON,

THAT THE BEST THAT'S IN US IS

THAT THE BEST THAT'S IN US IS

TO RESIST THAT AND THAT ONE

TO RESIST THAT AND THAT ONE

PERSON CAN MAKE A DIFFERENCE.

>> YEE-HA!

>> YEE-HA!

>> [laughs]

[deep mechanical breathing]

[deep mechanical breathing]

>> THIS IS THE REBEL THAT

>> THIS IS THE REBEL THAT

SURRENDERED TO US.

SURRENDERED TO US.

ALTHOUGH HE DENIES IT, I BELIEVE

ALTHOUGH HE DENIES IT, I BELIEVE

THERE MAY BE MORE OF THEM, AND I

THERE MAY BE MORE OF THEM, AND I

REQUEST PERMISSION TO CONDUCT A

REQUEST PERMISSION TO CONDUCT A

FURTHER SEARCH OF THE AREA.

FURTHER SEARCH OF THE AREA.

HE WAS ARMED ONLY WITH THIS.

>> Young: AN IMPORTANT PART OF

>> Young: AN IMPORTANT PART OF

JOSEPH CAMPBELL'S MODEL WAS

JOSEPH CAMPBELL'S MODEL WAS

RECONCILIATION WITH FATHER.

RECONCILIATION WITH FATHER.

THAT IS, TO RECONNECT WITH ONE'S

THAT IS, TO RECONNECT WITH ONE'S

OWN FATHER PERHAPS AFTER

OWN FATHER PERHAPS AFTER

ADOLESCENT REBELLION OR PERHAPS

ADOLESCENT REBELLION OR PERHAPS

AFTER SOME FEELING OF BETRAYAL

AFTER SOME FEELING OF BETRAYAL

OR SOMETHING.

OR SOMETHING.

BUT ON A LARGER SCALE, IT'S

BUT ON A LARGER SCALE, IT'S

RECONNECTING WITH A LARGER

RECONNECTING WITH A LARGER

HUMAN FRAMEWORK.

HUMAN FRAMEWORK.

>> THE EMPEROR HAS BEEN

>> THE EMPEROR HAS BEEN

EXPECTING YOU.

EXPECTING YOU.

>> I KNOW, FATHER.

>> I KNOW, FATHER.

>> Henderson: BY "RETURN OF THE

>> Henderson: BY "RETURN OF THE

JEDI," YOU'LL NOTICE THAT LUKE

JEDI," YOU'LL NOTICE THAT LUKE

IS NOW WEARING AN ALL-BLACK

IS NOW WEARING AN ALL-BLACK

COSTUME.

COSTUME.

HE'S GONE FROM A WHITE GARMENT

HE'S GONE FROM A WHITE GARMENT

IN THE FIRST FILM,

IN THE FIRST FILM,

WHICH SHOWS HIS INNOCENCE AND

WHICH SHOWS HIS INNOCENCE AND

HIS NAIVETE.

HIS NAIVETE.

HE'S PASSED THROUGH THIS

HE'S PASSED THROUGH THIS

TREMENDOUS INITIATION PERIOD,

TREMENDOUS INITIATION PERIOD,

AND HE HAS ACCEPTED THE

AND HE HAS ACCEPTED THE

NEGATIVITY WITHIN HIMSELF, AND

NEGATIVITY WITHIN HIMSELF, AND

HE HAS FOUND A WAY TO DEAL WITH

HE HAS FOUND A WAY TO DEAL WITH

THAT.

THAT.

>> I FEEL THE CONFLICT WITHIN

>> I FEEL THE CONFLICT WITHIN

YOU.

YOU.

LET GO OF YOUR HATE!

LET GO OF YOUR HATE!

>> IT IS TOO LATE FOR ME, SON.

>> IT IS TOO LATE FOR ME, SON.

>> Lyden: AS SOON AS LUKE FINDS

>> Lyden: AS SOON AS LUKE FINDS

OUT THAT DARTH VADER IS HIS

OUT THAT DARTH VADER IS HIS

FATHER, HE HAS A FUNDAMENTAL

FATHER, HE HAS A FUNDAMENTAL

CHOICE.

CHOICE.

WHAT WILL HE DO ABOUT THIS FACT?

WHAT WILL HE DO ABOUT THIS FACT?

ON THE ONE HAND, THE EMPEROR AND

ON THE ONE HAND, THE EMPEROR AND

VADER BELIEVE THAT HE WILL BE

VADER BELIEVE THAT HE WILL BE

DRAWN TO THE DARK SIDE.

DRAWN TO THE DARK SIDE.

>> WELCOME, YOUNG SKYWALKER.

>> WELCOME, YOUNG SKYWALKER.

I'M LOOKING FORWARD TO

I'M LOOKING FORWARD TO

COMPLETING YOUR TRAINING.

COMPLETING YOUR TRAINING.

>> Lyden: ON THE OTHER HAND, HE

>> Lyden: ON THE OTHER HAND, HE

CAN DO WHAT OBI-WAN AND YODA

CAN DO WHAT OBI-WAN AND YODA

WANT.

WANT.

HE CAN PRESERVE HIMSELF FROM

HE CAN PRESERVE HIMSELF FROM

THAT ATTACHMENT TO HIS FATHER

THAT ATTACHMENT TO HIS FATHER

AND SO DESTROY VADER AND THE

AND SO DESTROY VADER AND THE

EMPEROR.

EMPEROR.

>> [laughs]

>> [laughs]

>> Lyden: BUT LUKE INVENTS A

>> Lyden: BUT LUKE INVENTS A

THIRD ALTERNATIVE.

THIRD ALTERNATIVE.

>> NEVER!

>> NEVER!

>> Lyden: HE DOES SOMETHING

>> Lyden: HE DOES SOMETHING

TOTALLY UNEXPECTED.

>> AGH!

>> AGH!

>> Lyden: HE GOES NOT TO KILL

>> Lyden: HE GOES NOT TO KILL

HIS FATHER, NOT TO TURN TO THE

HIS FATHER, NOT TO TURN TO THE

DARK SIDE, BUT TO TURN HIM BACK

DARK SIDE, BUT TO TURN HIM BACK

TO THE GOOD.

TO THE GOOD.

>> YOUR HATE HAS MADE YOU

>> YOUR HATE HAS MADE YOU

POWERFUL.

POWERFUL.

NOW...

NOW...

FULFILL YOUR DESTINY AND TAKE

FULFILL YOUR DESTINY AND TAKE

YOUR FATHER'S PLACE AT MY SIDE.

>> NEVER.

>> NEVER.

I'LL NEVER TURN TO THE DARK

I'LL NEVER TURN TO THE DARK

SIDE.

SIDE.

YOU'VE FAILED, YOUR HIGHNESS.

YOU'VE FAILED, YOUR HIGHNESS.

I AM A JEDI, LIKE MY FATHER

I AM A JEDI, LIKE MY FATHER

BEFORE ME.

BEFORE ME.

>> Lyden: LUKE SAVES EVERYTHING

>> Lyden: LUKE SAVES EVERYTHING

THROUGH HIS ATTACHMENT TO HIS

THROUGH HIS ATTACHMENT TO HIS

FATHER.

FATHER.

>> SO BE IT...

>> SO BE IT...

JEDI.

JEDI.

>> Lyden: THIS IS A VERY

>> Lyden: THIS IS A VERY

CHRISTIAN REDEMPTIVE MOMENT IN

CHRISTIAN REDEMPTIVE MOMENT IN

THE FILM.

THERE'S NO HATRED IN HIM, AND

THERE'S NO HATRED IN HIM, AND

IT'S THROUGH HIS OWN OFFERING

IT'S THROUGH HIS OWN OFFERING

UP OF HIMSELF...

UP OF HIMSELF...

>> FATHER, PLEASE!

>> FATHER, PLEASE!

>> Lyden: THAT HE'S ABLE TO

>> Lyden: THAT HE'S ABLE TO

BRING SALVATION TO HIS FATHER.

BRING SALVATION TO HIS FATHER.

>> [screaming]

>> Smith: YOU COULD KIND OF SEE

>> Smith: YOU COULD KIND OF SEE

LUKE SKYWALKER AS A MESSIANIC

LUKE SKYWALKER AS A MESSIANIC

FIGURE WHO COMES FROM HUMBLE

FIGURE WHO COMES FROM HUMBLE

ORIGINS AND RISES TO A PLACE

ORIGINS AND RISES TO A PLACE

WHERE HE REDEEMS THE FATHER.

WHERE HE REDEEMS THE FATHER.

THE FATHER'S REDEEMED THROUGH

THE FATHER'S REDEEMED THROUGH

THE SON.

THE SON.

>> LUKE...

>> LUKE...

HELP ME TAKE THIS MASK OFF.

HELP ME TAKE THIS MASK OFF.

>> BUT YOU'LL DIE.

>> BUT YOU'LL DIE.

>> NOTHING CAN STOP THAT NOW.

>> NOTHING CAN STOP THAT NOW.

>> Connelly: THE PATH TO

>> Connelly: THE PATH TO

SELF-KNOWLEDGE REQUIRES US TO

SELF-KNOWLEDGE REQUIRES US TO

UNDERSTAND WHERE WE CAME FROM.

UNDERSTAND WHERE WE CAME FROM.

IT'S THE RELATIONSHIP OF

IT'S THE RELATIONSHIP OF

ODYSSEUS TO LAERTES.

ODYSSEUS TO LAERTES.

ULTIMATELY IN THE JOURNEY HOME

ULTIMATELY IN THE JOURNEY HOME

OF "THE ODYSSEY," ODYSSEUS

OF "THE ODYSSEY," ODYSSEUS

BECOMES HIS OWN FATHER.

BECOMES HIS OWN FATHER.

AND IT IS ONLY THROUGH BECOMING

AND IT IS ONLY THROUGH BECOMING

YOUR OWN FATHER THAT YOU

YOUR OWN FATHER THAT YOU

ACTUALLY GROW UP.

ACTUALLY GROW UP.

>> JUST FOR ONCE...

>> JUST FOR ONCE...

LET ME...

LET ME...

LOOK ON YOU WITH MY OWN EYES.

LOOK ON YOU WITH MY OWN EYES.

>> Galipeau: ANAKIN WANTS TO

>> Galipeau: ANAKIN WANTS TO

SEE LUKE THROUGH HIS OWN EYES.

SEE LUKE THROUGH HIS OWN EYES.

SO HE WOULD RATHER RECOVER HIS

SO HE WOULD RATHER RECOVER HIS

HUMANITY, WHICH MEANS ALSO

HUMANITY, WHICH MEANS ALSO

FACING DEATH, TO SEE OUT OF

FACING DEATH, TO SEE OUT OF

HIMSELF AS FATHER TO SON.

HIMSELF AS FATHER TO SON.

[gas hisses]

>> Connelly: ONE OF MY FAVORITE

>> Connelly: ONE OF MY FAVORITE

SCENES IN "THE ILIAD" IS WHEN

SCENES IN "THE ILIAD" IS WHEN

THE GREAT HERO HECTOR TAKES HIS

THE GREAT HERO HECTOR TAKES HIS

LITTLE BABY BOY.

LITTLE BABY BOY.

HE HAS HIS HELMET DOWN.

HE HAS HIS HELMET DOWN.

HE'S ABOUT TO GO OFF TO BATTLE.

HE'S ABOUT TO GO OFF TO BATTLE.

THE BABY IS SCARED.

THE BABY IS SCARED.

HE'S LOOKING AT HIS HELMETED

HE'S LOOKING AT HIS HELMETED

FATHER, AND HE CAN'T SEE HIS

FATHER, AND HE CAN'T SEE HIS

FACE, AND THEN THE LOVELY HECTOR

FACE, AND THEN THE LOVELY HECTOR

PUSHES HIS HELMET BACK AND LOOKS

PUSHES HIS HELMET BACK AND LOOKS

ON HIS BABY SON AND KISSES HIM

ON HIS BABY SON AND KISSES HIM

AND SAYS, "MY SON, ONE DAY THE

AND SAYS, "MY SON, ONE DAY THE

TROJANS WILL SAY YOU ARE LIKE

TROJANS WILL SAY YOU ARE LIKE

ME.

ME.

YOU ARE STRONG AND THE BRAVEST

YOU ARE STRONG AND THE BRAVEST

IN BATTLE.

IN BATTLE.

AND THEN AGAIN, ONE DAY THEY

AND THEN AGAIN, ONE DAY THEY

WILL SAY, NO, HE IS GREATER THAN

WILL SAY, NO, HE IS GREATER THAN

HIS FATHER."

HIS FATHER."

>> NOW... GO, MY SON.

>> NOW... GO, MY SON.

LEAVE ME.

LEAVE ME.

>> NO.

>> NO.

YOU'RE COMING WITH ME.

YOU'RE COMING WITH ME.

I'LL NOT LEAVE YOU HERE.

I'LL NOT LEAVE YOU HERE.

I'VE GOT TO SAVE YOU.

I'VE GOT TO SAVE YOU.

>> YOU ALREADY HAVE, LUKE.

>> Henderson: THE LAST ACT THAT

>> Henderson: THE LAST ACT THAT

LUKE PERFORMS FOR HIS FATHER IS

LUKE PERFORMS FOR HIS FATHER IS

TO BURN ALL THAT'S LEFT OF

TO BURN ALL THAT'S LEFT OF

VADER.

IN EPISODE III, YOU SEE ANAKIN

IN EPISODE III, YOU SEE ANAKIN

SKYWALKER WITH HIS HUMANITY

SKYWALKER WITH HIS HUMANITY

QUITE LITERALLY AND FIGURATIVELY

QUITE LITERALLY AND FIGURATIVELY

BURNED AWAY.

BURNED AWAY.

>> [screaming]

>> [screaming]

>> Henderson: AT THE END OF

>> Henderson: AT THE END OF

EPISODE VI, YOU SEE ALL THAT

EPISODE VI, YOU SEE ALL THAT

MACHINE MAN BURNED AWAY.

MACHINE MAN BURNED AWAY.

>> Connelly: BURNING A BODY ON

>> Connelly: BURNING A BODY ON

A PYRE IS THE ULTIMATE HEROIC

A PYRE IS THE ULTIMATE HEROIC

BURIAL.

BURIAL.

IN "THE ILIAD," THE FATHER,

IN "THE ILIAD," THE FATHER,

PRIAM, TAKES THE BODY OF HECTOR

PRIAM, TAKES THE BODY OF HECTOR

BACK AND THERE IS A MASSIVE PYRE

BACK AND THERE IS A MASSIVE PYRE

BUILT.

BUILT.

AND THEN THE PEOPLE OF TROY CAN

AND THEN THE PEOPLE OF TROY CAN

MOURN HIM PROPERLY.

MOURN HIM PROPERLY.

IT BRINGS HONOR AND DISTINCTION,

IT BRINGS HONOR AND DISTINCTION,

AND THE SMOKE RISES TO THE GODS.

[crowd cheering]

[crowd cheering]

>> Young: IN THE "STAR WARS"

>> Young: IN THE "STAR WARS"

FILMS, WE LEARN THAT WE'RE ALL

FILMS, WE LEARN THAT WE'RE ALL

IN THIS TOGETHER AND IN A VERY

IN THIS TOGETHER AND IN A VERY

LARGE SENSE NEED TO COOPERATE

LARGE SENSE NEED TO COOPERATE

IN ORDER TO SURVIVE.

IN ORDER TO SURVIVE.

>> WE ARE NOW A PART OF THE

>> WE ARE NOW A PART OF THE

TRIBE.

TRIBE.

>> Galipeau: YOU SEE AN EMBRACE

>> Galipeau: YOU SEE AN EMBRACE

OF PEOPLE WHO CAN GET TOGETHER

OF PEOPLE WHO CAN GET TOGETHER

FOR COMMON GOALS, RATHER THAN

FOR COMMON GOALS, RATHER THAN

BELIEVE THAT THEY KNOW WHAT'S

BELIEVE THAT THEY KNOW WHAT'S

BEST FOR EVERYBODY ELSE.

BEST FOR EVERYBODY ELSE.

>> Lyden: AT THE END OF "RETURN

>> Lyden: AT THE END OF "RETURN

OF THE JEDI," LEIA AND HAN

OF THE JEDI," LEIA AND HAN

ULTIMATELY FORM A COUPLE.

ULTIMATELY FORM A COUPLE.

THEY'RE LINKED TO NATURE, LINKED

THEY'RE LINKED TO NATURE, LINKED

TO NEW LIFE, AND LIFE CAN NOW

TO NEW LIFE, AND LIFE CAN NOW

GO ON IN THE SENSE THAT THE

GO ON IN THE SENSE THAT THE

DESTRUCTIVE EMPIRE IS GONE.

DESTRUCTIVE EMPIRE IS GONE.

>> Henderson: LEIA REPRESENTS

>> Henderson: LEIA REPRESENTS

THE FEMININE FORCE WHICH NEEDS

THE FEMININE FORCE WHICH NEEDS

TO COME BACK TO THE GALAXY TO

TO COME BACK TO THE GALAXY TO

BRING IT LIFE.

BRING IT LIFE.

"STAR WARS" IS ABOUT BALANCE.

"STAR WARS" IS ABOUT BALANCE.

>> Pelosi: GEORGE LUCAS HAS A

>> Pelosi: GEORGE LUCAS HAS A

MESSAGE.

MESSAGE.

THE POWER ALWAYS BELONGS TO THE

THE POWER ALWAYS BELONGS TO THE

PEOPLE, AND THAT IS WHERE ANYONE

PEOPLE, AND THAT IS WHERE ANYONE

WHO HAS POWER DERIVES IT FROM.

WHO HAS POWER DERIVES IT FROM.

>> [roars]

>> [roars]

>> Ellerbee: NEVER THINK THAT A

>> Ellerbee: NEVER THINK THAT A

HANDFUL OF COMMITTED PEOPLE

HANDFUL OF COMMITTED PEOPLE

CANNOT CHANGE THE WORLD.

CANNOT CHANGE THE WORLD.

IN FACT, IT'S THE ONLY THING

IN FACT, IT'S THE ONLY THING

THAT EVER HAS.

>> Narrator: AFTER MORE THAN

>> Narrator: AFTER MORE THAN

THREE DECADES, "STAR WARS" HAS

THREE DECADES, "STAR WARS" HAS

INFLUENCED NEARLY EVERY ASPECT

INFLUENCED NEARLY EVERY ASPECT

OF POPULAR CULTURE.

OF POPULAR CULTURE.

AND AS IT DRAWS MANY OF ITS

AND AS IT DRAWS MANY OF ITS

THEMES FROM LITERATURE...

THEMES FROM LITERATURE...

MYTHOLOGY...

MYTHOLOGY...

RELIGION...

RELIGION...

AND HISTORY, THE EPIC SAGA HAS,

AND HISTORY, THE EPIC SAGA HAS,

IN TURN, CREATED A MYTHOLOGY

IN TURN, CREATED A MYTHOLOGY

ALL ITS OWN.

ALL ITS OWN.

>> Wetmore, Jr.: IT'S BECOME A

>> Wetmore, Jr.: IT'S BECOME A

CULTURAL TOUCHSTONE FOR US.

CULTURAL TOUCHSTONE FOR US.

I CAN QUOTE FROM SHAKESPEARE

I CAN QUOTE FROM SHAKESPEARE

OR DOSTOYEVSKY AND KNOW THAT

OR DOSTOYEVSKY AND KNOW THAT

SOME OF THE KIDS IN THE CLASS

SOME OF THE KIDS IN THE CLASS

WILL PROBABLY GET THE REFERENCE.

WILL PROBABLY GET THE REFERENCE.

BUT THE SECOND I MENTION "STAR

BUT THE SECOND I MENTION "STAR

WARS," THEY IMMEDIATELY KNOW

WARS," THEY IMMEDIATELY KNOW

EXACTLY WHAT I'M TALKING ABOUT.

EXACTLY WHAT I'M TALKING ABOUT.

>> THESE AREN'T THE DROIDS

>> THESE AREN'T THE DROIDS

YOU'RE LOOKING FOR.

YOU'RE LOOKING FOR.

>> Paglia: MYTHS PRE-DATE

>> Paglia: MYTHS PRE-DATE

LITERATURE.

LITERATURE.

I THINK EVERYONE ACKNOWLEDGES

I THINK EVERYONE ACKNOWLEDGES

THAT CULTURE HAS CHANGED

THAT CULTURE HAS CHANGED

RADICALLY.

RADICALLY.

AND THERE IS ABSOLUTELY NO

AND THERE IS ABSOLUTELY NO

REASON WHY A GREAT FILM SERIES

REASON WHY A GREAT FILM SERIES

OF THIS KIND CANNOT BE

OF THIS KIND CANNOT BE

CONSIDERED THE EQUIVALENT OF A

CONSIDERED THE EQUIVALENT OF A

PRINTED BOOK.

PRINTED BOOK.

>> THE FORCE IS WITH YOU,

>> THE FORCE IS WITH YOU,

YOUNG SKYWALKER.

YOUNG SKYWALKER.

>> Abrams: IT'S A VERY LITERATE

>> Abrams: IT'S A VERY LITERATE

STORY, BUT IT IS NOT A LITERAL

STORY, BUT IT IS NOT A LITERAL

STORY.

STORY.

PEOPLE ARE ABLE TO CONNECT TO

PEOPLE ARE ABLE TO CONNECT TO

IT IN THEIR OWN WAY.

IT IN THEIR OWN WAY.

>> I LOVE YOU.

>> I LOVE YOU.

>> I KNOW.

>> I KNOW.

>> Abrams: IT HAS BECOME WHAT

>> Abrams: IT HAS BECOME WHAT

THE GREEK MYTHS WERE IN THE

THE GREEK MYTHS WERE IN THE

PAST.

PAST.

>> Henderson: I THINK THE

>> Henderson: I THINK THE

LEGACY OF "STAR WARS" IS THAT

LEGACY OF "STAR WARS" IS THAT

IT HELPS US TO OPEN OUR HEARTS

IT HELPS US TO OPEN OUR HEARTS

TO THE DIMENSION OF MYSTERY IN

TO THE DIMENSION OF MYSTERY IN

OUR LIVES.

OUR LIVES.

>> USE YOUR FEELINGS, YOU MUST.

>> USE YOUR FEELINGS, YOU MUST.

>> Henderson: AND IT ALSO GIVES

>> Henderson: AND IT ALSO GIVES

US SOME GUIDANCE IN CONDUCTING

US SOME GUIDANCE IN CONDUCTING

OUR OWN HERO'S JOURNEY.

OUR OWN HERO'S JOURNEY.

>> YOU'VE FAILED, YOUR HIGHNESS.

>> YOU'VE FAILED, YOUR HIGHNESS.

I AM A JEDI, LIKE MY FATHER

I AM A JEDI, LIKE MY FATHER

BEFORE ME.

BEFORE ME.

>> Gingrich: "STAR WARS" GIVES

>> Gingrich: "STAR WARS" GIVES

YOU A FEEL FOR A WAY OF

YOU A FEEL FOR A WAY OF

STORYTELLING AND THE MORAL

STORYTELLING AND THE MORAL

PURPOSE AND VALUE OF STORIES

PURPOSE AND VALUE OF STORIES

BEING TOLD.

BEING TOLD.

YOU CAN SEE THE NATURE OF

YOU CAN SEE THE NATURE OF

TEAMWORK.

TEAMWORK.

>> YOU'RE ALL CLEAR, KID!

>> YOU'RE ALL CLEAR, KID!

NOW LET'S BLOW THIS THING AND

NOW LET'S BLOW THIS THING AND

GO HOME!

GO HOME!

>> Gingrich: THE NATURE OF

>> Gingrich: THE NATURE OF

DEFIANCE.

DEFIANCE.

>> Jackson: YOU CAN TALK ALL

>> Jackson: YOU CAN TALK ALL

YOU LIKE ABOUT HOW "STAR WARS"

YOU LIKE ABOUT HOW "STAR WARS"

HAS A BIT OF THE BIBLE AND IT

HAS A BIT OF THE BIBLE AND IT

HAS A BIT OF GREEK MYTHOLOGY,

HAS A BIT OF GREEK MYTHOLOGY,

BUT NONE OF THOSE STORIES HAVE

BUT NONE OF THOSE STORIES HAVE

R2-D2 OR C-3PO, JABBA THE HUTT,

R2-D2 OR C-3PO, JABBA THE HUTT,

THE SPACESHIPS, THE DEATH STAR.

THE SPACESHIPS, THE DEATH STAR.

TO ME, WHAT IS GREAT AND

TO ME, WHAT IS GREAT AND

WONDERFUL ABOUT "STAR WARS" IS

WONDERFUL ABOUT "STAR WARS" IS

THE SHEER BRILLIANCE OF THE

THE SHEER BRILLIANCE OF THE

IMAGINATION OF THE STUFF IN

IMAGINATION OF THE STUFF IN

"STAR WARS" THAT WE HAVE NEVER

"STAR WARS" THAT WE HAVE NEVER

SEEN BEFORE.

SEEN BEFORE.

>> I GOT HIM!

>> I GOT HIM!

>> GREAT, KID!

>> GREAT, KID!

DON'T GET COCKY!

DON'T GET COCKY!

>> FOUGHT WELL, YOU HAVE.

>> FOUGHT WELL, YOU HAVE.

>> THIS IS JUST THE BEGINNING.

>> THIS IS JUST THE BEGINNING.

>> Connelly: A HUNDRED YEARS

>> Connelly: A HUNDRED YEARS

FROM NOW, SOMEONE WILL BE

FROM NOW, SOMEONE WILL BE

SITTING HERE DISCUSSING THE

SITTING HERE DISCUSSING THE

IMPACT OF "STAR WARS," AND THEY

IMPACT OF "STAR WARS," AND THEY

WILL BE SEEING DIFFERENT THINGS

WILL BE SEEING DIFFERENT THINGS

IN IT THAN WE ARE SEEING TODAY.

IN IT THAN WE ARE SEEING TODAY.

HAS IT CHANGED THE CULTURE?

HAS IT CHANGED THE CULTURE?

ABSOLUTELY.

ABSOLUTELY.

IS IT WITH US FOREVER?

IS IT WITH US FOREVER?

YOU BET.

YOU BET.

>> REMEMBER, THE FORCE WILL BE

>> REMEMBER, THE FORCE WILL BE

WITH YOU... ALWAYS.

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