George Lucas is deathly serious about visual innovation (delaying his prequels for decades until computers could catch up with his imagination) but not about balancing this essential contradiction, which goes back to the original two films, the first which was made as philosophy for children (his words) and the second which was made by someone else in the hope of propelling that philosophy into puberty, doubt, and darkness. Star Wars contains within it two exquisitely contrasting notions – of a childlike sensitivity to a film that tries very hard to be adventurous and the Taoist calm required to wonder why you would adventure in the first place. There are almost no major motion pictures today that would exist without this one. We could call Episode I the first of the modern “digital epics.” It is perhaps the single most influential film on today’s Hollywood, the film that introduced the concept of the prequel, that turned a film series into a brand that could be rebooted and remade into an extended universe beyond the traditions of the sequel.
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