'Enter Lord Vader' has some weighty drama as Anakin accepts his new master, and figures out what has to be done: the Jedi must be stopped. Jackson) to arrest Palpatine, the camera cuts back and forth between Padme (who is concerned that Anakin might go to Palpatine's office), and Anakin (who is contemplating going to the office). After Anakin has sent Mace Windu (Samuel L. This ethereal track uses atmospherics and a wailing female vocal (almost like Minority Report) as the sun is setting over Coruscant. One of the tracks that stands out because it's completely unlike anything else heard in a Star Wars film is 'Padme's Ruminations'. Williams even uses a few of the fast descending brass hits that he used to great effect in Return of the Jedi. 'General Grievous' is a cacophonous cue providing plenty of action, and a nice follow-up to that one is 'Grievous and the Droids' that has a lot of energy. The last bit of the cue covers another scene, where Anakin and Padme are speaking, and you can hear a nice transition from the Love Theme to the Sorrow Theme. 'Grievous Speaks to Lord Sidious' has a building ostinato that is joined by chorus - and while it's a great bit of music on the album, in the film it feels a bit misplaced - it's literally just General Grievous having a small chat, and walking around a bit. String work is slow and heavy, as things calm down. It gets darker and more dissonant when Anakin starts having his dreams of Padme's death, though. 'Anakin's Dream' starts out with a soft rendition of the Love Theme from Episode II, with a flute and solo violin providing a counter melody, as Anakin and Padme reaffirm their secret love for one another. Like most Williams albums, this soundtrack is not presented in film order, and many of the cues are heard in different pieces in the film itself. It's a great way to start the album, and the film. A rousing action cue with punctuated brass and tense strings plays out as we follow Obi-Wan and Anakin as they fly their fighters on a rescue mission. Unlike the previous two prequel soundtracks, the music heard after the opening title crawl is actually from the opening sequence in the film. The album opens with the main title, 'Star Wars and The Revenge of the Sith'. We all know which side he ultimately chooses, and this film is a dark and bleak film, with lots of emotion and death, underscored by John Williams's final Star Wars score.ДЄs far as things go, the score is good - there are two main new themes: 'Battle of the Heroes' is the climactic music used for the duel between Anakin and Obi-Wan, and there's a sorrowful tragic theme used to underscore the deteriorating relationships with, well, just about everybody. Led astray by his mentor and friend, the two-faced Supreme Chancellor Palpatine, Anakin is torn between his loyalty to Obi-Wan Kenobi (Ewan McGregor) and the Jedi Knights, and his seduction towards the Dark Side to save his wife. His motives are simple: after the way he failed (in Episode II) to save his mother, he is hell-bent on saving the life of his secret wife Padme (Natalie Portman), whom he has been having dreams about dying in childbirth.

In this installment, we watch Anakin Skywalker (Hayden Christensen) take the final plunge towards the Dark Side. The final chapter in the Star Wars prequel trilogy is finally here.

Star wars iii