the m0vie blog

It is almost a cliché to say it, but 1999 was an amazing year for movies.

No, really.

Of course, everything is subjective and different people have very different tastes, but there was something special about that year. There were traditional crowd-pleasers like The Green Mile and The Cider House Rules. There were young poppy disruptors like Go! or Run Lola Run. There were formative films from era-defining directors like The Sixth Sense, Magnolia or Election. There were epoch-defining hits like The Matrix or Fight Club. There was a wave of teen movies serving an underserved audience like Cruel Intentions, 10 Things I Hate About You or The Virgin Suicides.

And there was Star Wars: Episode I – The Phantom Menace. It was comfortably the most anticipated movie of the year, to the point that its teaser trailer became a cinematic event that arguably inflated the box office of Meet Joe Black. It seemed perfectly timed. The generation of fans who had grown up with Star Wars were now old enough to have their own families, with which they might share the experience. The public’s appetite had been whetted by theatrical re-releases of the original films to prove that there was still a hunger out there for the franchise.

Not quite a duel in the franchise crown.

However, The Phantom Menace is very rarely discussed in the context of the cinematic marvel of 1999, despite being crowned the year’s box office champion. There are plenty of reasons for that, of course. Most obviously, it wasn’t very good. Perhaps more importantly, it aggressively upset the established fanbase who promptly made very silly statements about how George Lucas had “raped their childhood” by continuing to make films that weren’t to their specifications. As such, The Phantom Menace is primarily notably as a failure and disappointment, which it undoubtedly is.

That said, there is something very interesting happening beneath the surface of The Phantom Menace, and something that perhaps merits discussion in the specific context of its original release. The Phantom Menace was the only Star Wars film to be released in the nineties, serving as both the cornerstone and the capstone of what Star Wars looked like during the decade. The films that would follow were shaped by the concerns of their own era, warped and informed by the War on Terror. However, in hindsight, The Phantom Menace is very much a 1999 movie, through and through.

Anakin, not Anakin’t.

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Filed under: On Second Thought | Tagged: 1999, america, anxiety, cultural moment, moment, stra wars, the american century, the end of history, the phantom menace, the unipolar moment, Twentieth Century | Leave a comment »