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The Music Of Star Wars: A Recollection - Episode I

Posted by Chris on September 9, 2014 at 11:00 AM CST


One of the most integral aspects of any film is its score, and the music of Star Wars is no exception. Some of the themes heard throughout the saga are recognizable to virtually anyone, and it is not often that we see a film’s soundtrack add so much meaning to what is presented on screen as much as the Star Wars saga does. Let’s look back at each film and analyze just how much what we hear affects what we see in an ongoing chronological series called The Music of Star Wars: A Recollection.

Very few movies released have been as important to society and popular culture as Star Wars Episode I: The Phantom Menace was when it came out in 1999. Because it was the first Star Wars film in over 15 years, expectations were incredibly high. Fans spanning multiple generations were prepared to see Star Wars on the big screen once again.

The score for The Phantom Menace starts off as very friendly and light-hearted, and it fits the tone of the film rather well. Jar Jar’s Introduction and The Swim to Otoh Gunga is an example of this. It is a playful tune that captures not only the Jar Jar Binks character, but also the present state of the galaxy since it plays before much of the primary conflict begins.

As the story progresses, the music evolves. The brass and percussion instrumentation that leads the more intense themes gives way to more string and woodwind-led cues, especially when the characters arrive on Tatooine. Tracks like Watto’s Deal and Kids At Play, and He Is The Chosen One emphasize this point. The best example, however, is Anakin’s Theme. Generally stated, it is a very warm track, led by a very moving string melody that perfectly captures the innocence of young Anakin Skywalker. John Williams’ genius comes through in this song, as subtle hints of The Imperial March can be heard, foreshadowing the boy’s fate. Many people tend to criticize the character of Anakin as he was portrayed in The Phantom Menace, but his theme accurately reflects his personality at this stage of his life.

The post-Tatooine act of the movie is accompanied by the strong brass themes that we were originally introduced to. Panaka And The Queen’s Protectors symbolizes the heroic nature and attitude of Captain Panaka as well as the rest of the crew that is assigned to protect the Queen. As the final act of the story continues, the music builds up in intensity. It’s almost like Williams composed the music with a mysterious tension in mind as we are exposed more and more to the conflict that is playing out on screen. Everything cumulates in The Droid Invasion and The Appearance of Darth Maul which is arguably one of the highlights of the soundtrack. Beginning with ominous percussion, a grand brass melody, supported by strings and woodwinds, carries a march that signifies the beginning of the main invasion and battle of Naboo. Later on, a haunting rendition of The Emperor’s Theme begins. What makes this portion of the track stand out even more is the fact that we know little to nothing about the Emperor himself at this point, except for the fact that he is evil (and his theme certainly gives us that impression).

The standout song of The Phantom Menace is easily Duel of the Fates. While not presented as a complete song in the movie itself, enough of it is heard so that you recognize it, and as it plays, you can almost feel the adrenaline of the lightsaber duel that it accompanies. The opening synchronizes perfectly with the reveal of Darth Maul to the Jedi, something that we’ve been teased with throughout the film. As the main melody of the song begins and continues on, the listener must watch as the events on-screen bring them to the edge of their seats.

Duel of the Fates can also be considered an important song to Obi-Wan’s character development. In the final movie, the music (which has been building up since Maul’s original reveal) stops abruptly when the Jedi are separated by the plasma shields. In each subsequent scene with the Jedi and Maul, either the music is held back, or there is none at all. After Obi-Wan is forced to fight the Sith by himself, nothing plays except for a very eerie background noise. Therefore, Duel of the Fates can in some ways be interpreted as signifying Obi-Wan’s ascendance from Padawan to Jedi Knight in that it starts off soft, continues strong, and ends on a gallant, powerful note.

The ending tracks that play as the movie nears its conclusion match the uncertainty that presents itself on screen. Qui-Gon’s Funeral is not only a heartbreaking, tragic song, but it also underlines the fact that while everyone may think that the conflict we just witnessed is over, in reality, the worst is yet to come. It is for that reason that Augie’s Great Municipal Band is such an ironic track. It is a very upbeat, joyous track reminiscent of the Throne Room finale we see in Episode IV, so you would think that it would represent a final victory for the good guys, which in this case is the Republic. In reality, though, it represents a victory for the Emperor (or Palpatine) as his grand plan is finally set into motion. Furthermore, because this piece is actually a sped-up version of The Emperor’s Theme, it helps foreshadow even more the events that follow, particularly the rise of the Sith.

The Phantom Menace may not be without flaws, and it may not be the Star Wars film we all were expecting in 1999, but musically, it feels like a Star Wars movie should. It takes you on an emotionally charged journey filled with mystery, heroism, and tragedy, and the urge to see what comes next.


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