The continued analysis, following part one and part two on the Magic of Myth Star Wars exhibit down under:

The materials featured in the next section, Return of the Jedi, reflects a much darker theme at times as the saga moves towards its conclusion. It shows a variety of creatures and characters from the film, both new and familiar. Han Solo is here once more, only now it is in a much more sinister form, frozen in a Carbonite slab. Here the prop has captured not only an image of Harrison Ford with an expression of pain, but with a certain defiance as well, appropriate for the scene. When Solo was awoken the filmmakers were meticulous to ensure continuity between that and the previous film; clothing and makeup and visual perspective had to be recreated and virtually duplicated. Solo?s reawakening itself reflected a change in the progression of his character, from a smuggler with a heart to full hero.

It also moved some of the focus away from Mark Hamill?s portrayal of Luke Skywalker, showing the heroes moving along their own paths, and the resurrection of one from death to life while Luke struggles with the strengthening light and dark forces inside him. In a separate section further along is a part that revolves entirely around perhaps the first third of the film, all the scenes that took place in Jabba?s palace, and with Han in Carbonite it links the sections, old and new. Here there are two costumes worn by Carrie Fisher as Leia, the Boushh disguise with which she infiltrates the palace and frees Solo, and the skimpy slave disguise; the slave outfit is noted as being one of the most remembered by fans of the saga but interestingly enough it appears less metallic than it does in the film, less realistic, while the fake suede and the intricate level of subtle description tailored into the Boushh disguise makes it the more impressive. The costumes mark Leia?s passage into full womanhood and move her personal story arc along from damsel in A New Hope to rescuer in this film, descriptive of how she has matured and is perhaps not as pure as before, hardened by war and the loss of the man she loves, trading the purity of white for much of the film for more gritty, darker colours. There are other costumes and creatures here that revolve around the palace and desert scenes, including Lando Calrissian?s skiff guard disguise and the Salacious B Crumb miniature, but it is the Jabba the Hutt mannequin that is supposed to be the highlight. Unfortunately, the effect is somewhat less impressive; its size is smaller than what might be expected and seems disproportionate to the others. The appearance of the slug-creature is still captured well, however, from screen to real-life. Jabba himself reflects little in mythology except perhaps a monster to be vanquished along the hero?s path, but is instead suggestive of a gangster or mobster. Further along are the Endor sections. They feature many of the original framed design paintings for the scenes that took place on the Forest Moon and for the Ewok aliens. One of the larger displays showcases a model of a speederbike complete with Scout Trooper and a model of the Ewok Leia befriended, Wicket. Nearby is a small model of the shuttle used to transport the Rebel strike team to Endor, and there is also a painting of the Second Death Star dominating one of the walls. This section of the exhibit is becoming more militaristic and mechanical now, darker as Luke moves to face his destiny amidst the evil the Empire represents, and that mirrors mythology as the hero?s journey comes full circle and he faces his villains in their dark lair. Often the end would be the hero selflessly giving his life to save others, but here it is Darth Vader who sacrifices himself, redeemed by his son to once again become Anakin Skywalker before his end. The last area of the Return of the Jedi section features the vibrant red antagonistic costume of the Emperor?s Royal Guard and the throne room chair itself. There is also Luke?s black costume, as well as Vader?s robotic one in the middle of the walkway area, both featuring their lightsabre weapons. Facing directly opposite Vader is the costume Ray Park donned during his scenes as Darth Maul during Episode 1: The Phantom Menace.

Every generation has a legend and every saga has a beginning. George Lucas always knew that there was more to the story of Star Wars than just the adventures of Luke Skywalker. At the heart of the overall saga?s story was not necessarily the struggle between the Rebellion and the evil Empire, but rather the fall from grace of Anakin Skywalker and his redemption through his son. But actually writing and designing the "prequel" trilogy was an extremely complicated process. It wasn?t a matter of designing a new world or of new reflections upon an old myth, but rather of recreating the one that already existed. Gone were so many of the characters and situations that were so familiar, and even the evil Darth Vader existed only as an innocent young boy.

Lucas had to use the signature of one galaxy to make another from an earlier, more elegant age, recognisable to the latter but different also, and while doing it he had to face new emotional territory. To do that visually was almost impossible, and it certainly could not be done alone with the elements used in the previous films; it was a different time that was envisioned, after all, a more beautiful, sophisticated time that could only be created artistically. To translate that visually instead it would be computer imagery playing a substantial role, and it was in that fashion the new worlds and creatures of the prequel trilogy would be created, and as such the materials that were made were more limited but much more intricate in their designs. It was a new challenge for their creators to make costumes and some creatures and props that would fit seamlessly alongside the effect sequences so that neither would detract from the other, creating an element of subtle, almost unnoticeable realism and retaining a sense of personal elegance as well that just couldn?t be attained with computers; while the lustrous green countryside of Naboo and the vast cityscape of Coruscant could be created, many of the intricate details couldn?t, if only because they needed actor interaction to truly come to life, and it was for those that props were created, and memorable costumes that reflected the monastic nature of the Jedi and the beauty of Naboo, the pomp, splendour and corruption of the Republic?s capital Coruscant, and the harsh temperate conditions of the poor backwater world Tatooine. It was only in that fashion, with a combination of old and new forms of artistry, that so visual a film could be brought to life.

Episode 1: The Phantom Menace focuses on Anakin Skywalker, the future Darth Vader, and the artefacts featured within this section of the exhibit perfectly reflect the beginning of his descent toward darkness. Anakin?s slave costume is here with his podracing helmet, and there is a model next to it of his podracer, together with conceptual artwork for both Tatooine and Mos Espa. Anakin being the "Chosen One" is reflective less of mythology and more of religion, formed from pieces of Christianity and other religions, and remade to fit with the Star Wars saga. Beyond this is an example of one of Amidala?s magnificent court dresses made with Asian influences, a rich vibrant red gown highlighted by streaks of gold and elaborate headpieces, and beside this are the elegant dresses of Amidala?s handmaidens. There are several smaller displays as well, but one of the most memorable is the aforementioned costume of Darth Maul with the double-bladed lightsabre handle positioned next to it; the mannequin dressed in Maul?s robes features the same design of face paint and tattoos and the demonic overtures are actually more obvious here upon close.