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 (081508)
Out of all the astonishing sights and sounds plastered to the big screen by the
George Lucas franchise juggernaut “Star Wars,” I think the last item on the
average fan’s wish list of things to see was “Teen Girl Jedi.” Not that the
inclusion of more female warriors is something to be shamed, but this
puberty-bound knight is indicative of the infantilized experience put forth by
“The Clone Wars.”
With the Clone Wars raging on, spreading out across the galaxy, a new
predicament has appeared to challenge the Galactic Republic: the kidnapping of
Jabba the Hutt’s infant son, Rotta. Dispatching Anakin Skywalker (voiced by Matt
Lanter) and Obi-Wan Kenobi (James Arnold Taylor) to return the baby to Jabba so
critical space routes can be freed up, the Jedi are accompanied by young Ahsoka
Tano (Ashley Eckstein), who is given to Anakin as is Padawan Learner. With
Obi-Wan off to thwart Count Dooku’s evil schemes, Anakin and Ashoka are left in
charge of the smelly little slug, eager to return the child to Tatooine safely
before Jabba sides with the Separatists and the war plunges further into chaos.
Essentially a pilot episode for the upcoming “Clone Wars” televisions series due
this autumn, this CG-animated effort is making a pit stop on the big screen to
goose some excitement for this unique detour in the “Star Wars” universe.
Directed by Dave Filoni, “Clone Wars” attempts to drum up a few fistfuls of
conflict within a plotline that runs between “Attack of the Clones” and “Revenge
of the Sith.” The audience already knows how the whole Skywalker saga concludes,
but there’s a horde of other action tangents and unanswered question to pursue
here, such as: did Jabba have a gay uncle named Ziro? Turns out he does! “Clone
Wars” isn’t shy reminding the audience that it’s solely a cartoon and more or
less meant for kids, not nitpicky, thirty-something message-board vultures who
hold all things canon dear to their plastic-light saber hearts. Instead, the film
is a romp; a burst of wall-to-wall action and high-energy duels that plays
merrily in the “Star Wars” sandbox without the burden of narrative connection.
It’s slight, but effective, only requiring a crash helmet for a few of the
script’s more outrageous and ill-conceived characterizations.
Rooted firmly in prequel iconography, “Clone Wars” takes what Lucas started with
his controversial live-action efforts and embellishes the fantastical fringes
further. While limited by stiff, budget, exaggerated CG animation (the lip-sync
is distractingly terrible), the film works past the monetary limitations with a
strong emphasis on adventure and smash mouth military campaigns. Filoni
concentrates on the explosions and epic grandeur of intergalactic warfare,
embedding the camera with the expendable clone troopers as they battle against
clueless robot infantry. The action comes fast and furious, utilizing famous
“Star Wars” vistas and sound cues while ratcheting up the velocity of the combat
in a manner that live-action could never match. This extends to the light saber
and spaceship skirmishes, which now ring with a cartoon polish that’s immensely
satisfying and often positively electric.
While “Clone Wars” remains a kick both in animated bravado and Skywalker
nostalgia, the reality of the screenplay is a matter that pins the film down
from true matinee greatness. While the traditionally-animated “Clone Wars”
series of shorts released years back relied on silence to hook the viewer into
Jedi precision, the new picture is a verbose affair, with each character
breathlessly informing the audience of their every thought. And we’re not
talking Algonquin round table bon mot's, but juvenile dialogue aimed directly at
the nose pickers. It fits accordingly with the overall intent of the upcoming
series, but remains extremely off-putting with these characters, who nickname
the infant Rotta as “Stinky,” and offer withered comedic retorts with every step
they take.
Because the action is so forceful and imaginatively animated, it’s easy to
ignore the relentless chatter. However, it’s hard to turn a blind eye toward a
character like Ziro. A cocktail-hour Hutt stationed in a jazz bar on Coruscant,
Ziro has painted himself purple, wears feathers around his head, and speaks with
a lispy Cajun drawl. What this character means to the overall “Star Wars”
universe is not for me to answer, but it’s a strange, self-aware moment in a
rather stoic picture. It’s already a house of horrors thinking about how Jabba
even conceived a child, I don’t think introducing his party boy uncle was an
artistically necessary detour. Well, at least Jar-Jar Binks can take a breather
as the most loathed character to emerge from the Lucas magic wand.
With appearances by Jawa's, sail barges, and familiar voices (Samuel L. Jackson,
Anthony Daniels, and Christopher Lee contribute); a few impressive light saber
and blaster duels; the rise of a formidable Sith apprentice threat in Asajj
Ventress; and a delightful new elasticity to all things “a long time ago in a
galaxy far, far away,” “Clone Wars” can be a complete gas to more open-minded
fans, and assured catnip to children. The occasional sexually-ambiguous Hutt or
Sassmouthed, premenstrual Jedi aside, it’s an exciting picture and a tempting
commencement for the television series.
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