incoherent posted:

Did we not watch the same movie? Their jumpsuits were baller AF. If team evil had dope starters like the one on the rainy-rocky mountain planet I'm all for the empire.


e: logo looks better on the clothes tho.

WENTZ WAGON NUI posted:

Just cut a bunch of 4th-wall breaking inbetween-shot asides for Ian McDermid into the Prequels

Roadie posted:

Here's random Rogue One question:

Why did the Imperials have a bunch of pens, and pockets specifically for pens, as part of their uniform?

AndyElusive posted:

They're "code cylinders" which function like ID security cards and because Imperials are always losing their pens.

Roadie posted:

Who the hell needs like 4 different ID cards all the time?

SuperMechagodzilla posted:

For starters, Jar Jar is neither a slave nor an American - even in the loosest metaphorical sense.

Naboo is rather unambiguously European in style. And Jar Jar is closest to a Gunga Din type of Indian servant/guide figure. That is the origin of the 'Gungan' name. Gunga Din is about a servant (a water-bearer) who is loyal and kind even in the face of death, in spite of the racist abuse he receives from the British. The story ends with the British realizing that Gunga Din was a far better man than them.

(George Lucas had previously explored pulp imagery of colonialism in India with Temple Of Doom, whose fictionalized Thugee cult was taken from... the 1939 film adaptation of Gunga Din.)

Lucas twists this imagery with the fact that the Republic characters never even approach that sort of realization. They simply assimilate Jar Jar into the Republic now that he's outlived his usefulness. And this is obviously far more progressive than Kipling; Jar Jar is explicitly not made into a martyr for the colonial powers, as Gunga Din was. Jar Jar is shown to be additionally exploited by the colonists, held up as a token example of Republic multiculturalism.

And then, Jar Jar acts nothing like a stereotypical Indian. He's an 'Indian' who acts like a vaudeville character.

You aren't even getting your stereotypes straight, because you don't have any understanding of what you're talking about. Shown imagery of European imperialism, you talk about slavery in the United States.

MisterBibs posted:

Everyone knows they'll never do Spaceballs 2. They'll do Spaceballs 3: The Search For Spaceballs 2.

SuperMechagodzilla posted:

Much of what the classic film brought to the filmmakers behind Star Wars were patterns for character relationships. The three sergeants in Gunga Din will do just about anything to save each other's lives, but they do it with such wit and gusto that it's impossible to watch them and not have a smile on your face. These tightly-knit friendships serve as the template for the friendship that develops between Han, Luke, and Chewie through the course of the original films. The formula is perfected through the prequel era, with the snark between Anakin and Obi-Wan rising through the end of Attack of the Clones and reaching it's highest peak through the opening of Revenge of the Sith. If you watch Gunga Din, and then watch Revenge of the Sith, the influence it had on Anakin and Obi-Wan's fraternal relationship through the first act is unmistakable.

There were more than a few episodes of The Clone Wars that built their relationship this way even further.

As for the titular character, Gunga Din, himself, one could very quickly draw parallels between he and Jar Jar Binks. Jar Jar is a life form looked down upon, but only wants to be seen as an equal among the others in the story. When it comes down to bringing the armies together to defeat the Trade Federation, it's Jar Jar who brings them together.

The most obvious influence from Gunga Din on Star Wars wouldn't be seen until the Season Three premiere of The Clone Wars. In the episodes 'Clone Cadets' and 'Arc Troopers,' we're introduced to the malformed clone, 99. He wants to be a soldier, just like the water-bearer from the film. He watches what the soldiers do and wishes he could do it as well. He's dismissed as just a bad-batcher, unable to perform the duties of a soldier, but in the end proves as much or more heroic than any of the bravest of clones. His ending matches the tenor of Gunga Din's both emotionally and story-wise.

At the Season Three premiere of The Clone Wars, supervising director Dave Filoni told me how the inspiration for the Gunga Din homages in those two episodes came directly from George Lucas. To which James Arnold Taylor, the voice of Obi-Wan Kenobi, added, 'The greatest thing about this show is that George Lucas is educating kids in movies and mythology.'

And I couldn't agree more.

Gunga Din is suitable for people of all ages who enjoy Star Wars, with none of the action or tense situations exceeding anything seen in any of the Star Wars films. It's an enjoyable movie for a Saturday matinee with the kids, and it's become a favorite in my house among my children. They'll love the banter between the stars, develop an intense fondness for Cary Grant, and be moved by the ending. I would recommend following it up with Temple of Doom and then all of the episodes of The Clone Wars listed above.

Roadie posted:

Who the hell needs like 4 different ID cards all the time?

gfarrell80 posted:

So you're saying you would recommend the Temple of Doom?

jisforjosh posted:

KyloWinter posted:

If Marvel did a mashup of A New Hope and Empire Strikes Back you'd get Force Awakens.

Bongo Bill posted:

I think it is interesting that they decided to reanimate Peter Cushing's corpse rather than recast him. I'm all in favor of radical and extremely difficult effects, of course, and it's clear that Rogue One was heavily concerned with maintaining a high degree of visual continuity with A New Hope - Tarkin being the one character with a major role in both films - so I think it was the right choice and an extremely impressive result. But Star Wars as a whole is no stranger to recasting, with two of the most complex characters in the whole shebang being portrayed by different actors throughout, each of whom brought their own ideas to the performance. And we already know the next Anthology film will be recasting its two biggest characters.

I dunno.

Bongo Bill posted:

I think it is interesting that they decided to reanimate Peter Cushing's corpse rather than recast him. I'm all in favor of radical and extremely difficult effects, of course, and it's clear that Rogue One was heavily concerned with maintaining a high degree of visual continuity with A New Hope - Tarkin being the one character with a major role in both films - so I think it was the right choice and an extremely impressive result. But Star Wars as a whole is no stranger to recasting, with two of the most complex characters in the whole shebang being portrayed by different actors throughout, each of whom brought their own ideas to the performance. And we already know the next Anthology film will be recasting its two biggest characters.

I dunno.

Huzanko posted:

Who is getting recast? Leia? I doubt they'll recast anyone.

Bongo Bill posted:

Han and Lando.

dont even fink about it posted:

Friendly thread reminder: Star Wars is in general the most well-documented film series in history. As a well-documented franchise it is second perhaps only to Star Trek (from which writers have reconstructed the entire 50-year history almost entirely from written and spoken accounts, without any conjecture of their own).

The Phantom Menace production in particular is one of the most closely-watched and studied productions in film history, with video journals at every stage of production, supplemented with countless interviews of professionals who worked on the set, many with George Lucas himself, and heaps of journalism on the topic even besides all that.

Because of this work, we know that every "George Lucas, Nth-dimensional chess master and deep thinker" theory you have ever read in Cinema Discusso stands in stark contrast to reality and is made up from whole cloth.

SuperMechagodzilla posted:

THE CINEMA BEHIND STAR WARS: GUNGA DIN.

BRYAN YOUNG

Perhaps the first modern action/adventure movie, Gunga Din is a classic black-and-white film directed by George Stevens that came out in 1939. It stars Douglas Fairbanks, Jr., Victor McLaglan, and Cary Grant as a trio of sergeants in the British Army during the 19th century occupation of India. They're fun loving in their adventures and never want to see the group broken up, so when one of them decides he's retiring to get married, the other two do their best to rope him into one last mission. Nothing goes according to plan and they find themselves battling the bloodthirsty hordes of Thugee cultists.

In all of their fighting, they're still left for dead and the only person who can help them is a lowly water-bearer, discounted by everyone else. Gunga Din rises to the occasion, giving his life to save everyone else and stop the Thugee.

The film traces a few lines directly to Star Wars, but the most obvious comes by way of Indiana Jones and the Temple of Doom. The action/adventure tone of the Indy films seem to be a modern perfection of the formula begun with Gunga Din. Temple of Doom borrows many story elements, including the crazed Kali blood-cults, and is a perfect unofficial sequel to the '39 film. Thanks to the Lost Missions of The Clone Wars, we're given 'The Disappeared,' a two-part story that casts Jar Jar as Willie Scott and Mace Windu as Indiana Jones as they battle cultists looking to pull the life force out of their hapless victims. There are other Indiana Jones homages through the episodes, but the cultists can be traced directly back to Gunga Din.

Much of what the classic film brought to the filmmakers behind Star Wars were patterns for character relationships. The three sergeants in Gunga Din will do just about anything to save each other's lives, but they do it with such wit and gusto that it's impossible to watch them and not have a smile on your face. These tightly-knit friendships serve as the template for the friendship that develops between Han, Luke, and Chewie through the course of the original films. The formula is perfected through the prequel era, with the snark between Anakin and Obi-Wan rising through the end of Attack of the Clones and reaching it's highest peak through the opening of Revenge of the Sith. If you watch Gunga Din, and then watch Revenge of the Sith, the influence it had on Anakin and Obi-Wan's fraternal relationship through the first act is unmistakable.

There were more than a few episodes of The Clone Wars that built their relationship this way even further.

As for the titular character, Gunga Din, himself, one could very quickly draw parallels between he and Jar Jar Binks. Jar Jar is a life form looked down upon, but only wants to be seen as an equal among the others in the story. When it comes down to bringing the armies together to defeat the Trade Federation, it's Jar Jar who brings them together.

The most obvious influence from Gunga Din on Star Wars wouldn't be seen until the Season Three premiere of The Clone Wars. In the episodes 'Clone Cadets' and 'Arc Troopers,' we're introduced to the malformed clone, 99. He wants to be a soldier, just like the water-bearer from the film. He watches what the soldiers do and wishes he could do it as well. He's dismissed as just a bad-batcher, unable to perform the duties of a soldier, but in the end proves as much or more heroic than any of the bravest of clones. His ending matches the tenor of Gunga Din's both emotionally and story-wise.

At the Season Three premiere of The Clone Wars, supervising director Dave Filoni told me how the inspiration for the Gunga Din homages in those two episodes came directly from George Lucas. To which James Arnold Taylor, the voice of Obi-Wan Kenobi, added, 'The greatest thing about this show is that George Lucas is educating kids in movies and mythology.'

And I couldn't agree more.

Gunga Din is suitable for people of all ages who enjoy Star Wars, with none of the action or tense situations exceeding anything seen in any of the Star Wars films. It's an enjoyable movie for a Saturday matinee with the kids, and it's become a favorite in my house among my children. They'll love the banter between the stars, develop an intense fondness for Cary Grant, and be moved by the ending. I would recommend following it up with Temple of Doom and then all of the episodes of The Clone Wars listed above.

gfarrell80 posted:

In one of the Plinket reviews there's video also of George referring to them as 'goongas'.

I think it is brilliant though how far some people are willing to reach.

Huzanko posted:

Oh, you said they're recasting for the next anthology film, of which the young Han movie is not one. Unless I'm mistakenly ascribing the term anthology to the mainline series.

Bongo Bill posted:

The non-Episode movies are the Anthology. Or, at least, they were. Maybe they stopped using that term.

SuperMechagodzilla posted:

The poem's only like two pages long, so give it a read.

SuperMechagodzilla posted:

I would recommend Temple Of Doom as a prototypical Crank 2 and, consequently, as a more overt and parodic version of what Lucas is doing with the prequels. It's also a sister film to Big Trouble In Little China.

Lucas and Spielberg (and N/T, and Carpenter) are well aware that the imagery that they employ in these films is racially charged and confrontational. That's the entire point: to exaggerate racist imagery to the point of parody, and/or to explore race as an abstract concept by creating fictional races (e.g. Skull Islanders, Giant Apes). Jackson's King Kong film is literally about Andy Serkis in blackface, and opens with an Al Jolson song.

This is the cultural context. Fans are often blinkered into only thinking about Star Wars films in terms of other Star Wars films. So the prequels are never spoken of at the same time as (say) Peter Jackson's King Kong, or The Avengers - even though those are clear aesthetic descendents.

Razputeen posted:

Thees is impossibur!!!
________/

wyoming posted:

I like how there's no death date for Kipling. Maybe 2016 will claim him before his 151st birthday!


Leia as a bounty hunter has always been one of my favourite designs in Star Wars, and just a great moment of her being badass.


But then I realized the design was reflected in a character from Attack of the Clones.


Thinking about it, it goes a lot farther than just costume design, on one hand you have an alien bounty that turns out to be a beautiful woman.




Then you have a femme fatale that turns out to be the freaky alien.




But anyways, this still the coolest shot in all of Star Wars:

underage at the vape shop posted:

Thats the same logic trey and matt used to say that human being can mean dickhead and not gay people.

underage at the vape shop posted:

Thats the same logic trey and matt used to say that human being can mean dickhead and not gay people.

Cnut the Great posted:

George Lucas has a documented history of creating names with clever dual etymologies. "Ewok" is both a quasi-reversal of the syllables in "Wookiee" and a reference to the indigenous Miwok peoples who inhabited the forests of Northern California like the one which doubled as Endor.

Add to that this...


...and yes, I'd say there's sufficient documented evidence to support the assertion that the "Gungans" of The Phantom Menace derive some influence from Gunga Din, even if the thing that first sparked the idea in Lucas's mind was some baby talk from his son. If you have ever had any experience whatsoever with the creative process, the plausibility of this scenario really shouldn't be all that vexing to you.


If you pay attention, that's how the Gungans refer to themselves in the film: "Gungas." Their underwater city is called Otoh Gunga. It's just another name for them; the non-anglicized name the Gungans themselves use.

I'm also failing to see how the fact that the Gungans are actually, really called the Gunga is somehow supposed to disprove the notion that there's an intended connection to Gunga Din. You guys really are very good at tripping all over yourselves in your attempts to prove that we're the real idiots for using our brains.

quote:

The historically racist depiction of Jews is the way it is because it was intended to connect Jews with the archetypal ideas about vultures and other such "greedy", predatory birds. But Watto actually literally is a predatory bird-man; George Lucas is making use of the same archetypes, but in a way that's totally disconnected from Jews. He's reclaiming the archetype from the racists.The only way you can seriously claim Watto is a Jew is if you concede that Jews are vultures, or that they must necessarily and forever be associated with the archetype of the vulture-man.

wyoming posted:

But anyways, this still the coolest shot in all of Star Wars: