The key idea to explore is that of the Corps themselves. It is crucial to get away from the entire "superhero" concept as it is so typically embodied. There's nothing interesting about yet another costumed hero saving a densely populated urban centre from mass CGI destruction. What's interesting is the promise of seeing entirely new worlds (the cosmic) and exploring the kind of society that makes a group like the Corps. There will be some reckoning with the concept of the superhero though, although this is properly understood more in terms of the "superman".
All About the Corps
The Green Lantern Corps is an intergalactic police force that patrols the universe. The very concept sends chills down one's spine. They form an elite group who are granted rings of incredible power which they control by focusing their own will power.
Numerous questions spring out from the existence of the Corps: why is the task of patrolling the entire universe given to a small elite corps? What sense of morality does the Corps possess that they feel they have the right to impose their will on the entire universe? Why is the Corps essentially a police force as opposed to a military power? While these may on the surface seem like bizarre "plot holes" to be hand-waved away with useless remarks like "it's a comic book!", the truth is that they can all spring from a central logical core. In essence, the Green Lantern Corps are merely the latest elite inner echelon within a planet that has become engulfed in totalitarianism.
According to the mythology, the Green Lantern Corps has been in existence for some 3 billion years, patrolling at the behest of the Guardians1. Rather than accepting the absurdity of this "history", we can recognize it for what it is: the erasure of history. Totalitarian movements must necessarily rewrite history in order to preserve a sense of purpose to their senseless dynamism. So the Guardians of Oa can be seen to have done the same. How long the Corps has actually been in existence need not be known or even very long. The totalitarianism of Oa, having enclosed the entire planet, finds itself running low on raw material to grind into pulp. With complete global control it is in serious danger of extinguishing itself, of settling into a steady-state. Unable to accept such a fate, the Guardians reach out to the cosmos. There are planets, whole systems, races and civilizations that have yet to be incorporated into their ideology.
It is characteristic of totalitarian regimes that the balance of power rests with the police rather than the military. This is because totalitarianism is always expansive and so knows no fundamental difference between domestic and foreign policy. It doesn't think in terms of the conventions of the nation-state, and so the military, an instrument of power of the nation-state, is seen as awkward and ill-suited to its means. Concepts of territory and boundaries have no purchase within the totalitarian mindset which must remain limitless at all costs. The police force is much better suited to totalitarian purposes: they are experts at terrorizing the populace, which totalitarianism does as a matter of course, and this makes them well-suited to foreign affairs, since totalitarianism sees no essential difference between those under its control and those it has yet to control.
Superheroes and Fascism
Superheroes are no strangers to fascism. Whether the connection is made overt and the hero presented as an anti-hero (Judge Dredd) or denied outright and smothered over with false pretenses (Superman), the superhero acts as a conservative reactionary force who seeks above all else to maintain or restore the status quo. That the status quo must be maintained evinces an ideology that denies the possibility of a better world, while it is up to those "special" individuals who are innately better than everyone else to set things right or to keep them that way. These stories embody the cult of the exceptional individual who is made great through the trials of combat - the glorification of violence and of physical strength. Regardless of what excuses are used to justify the success of the hero, in the end it almost always inevitably comes down to the hero simply being stronger than the villain. The conventional comic-book heroes generally avoid the most invidious readings by not meting out any punishment themselves - they simply turn the villains over to the authorities - although this merely reinforces their role as the fascist hound dogs of the authoritarian state. But fascist heroes are not totalitarian ones2, and so a totalitarian Green Lantern Corps would be new within the realm of conventional comic-book superheroes. As a totalitarian force they are not conservative or reactionary but revolutionary, actively seeking to change the world. They reject all calls for stability, for equilibrium, for order, and throw everything upon the altar of the ideology of the Will.
The Green Lantern Corps as thus envisioned would be recognizably un-heroic within the current paradigm. They would be recognized as villains rather than heroes. That's fine since the objective is to portray them as such. The Green Lantern Corps will be shown sans humans, in fact, there should be no humans whatsoever in the film, and no earth either. In keeping earth and humans out of the picture the movie comes across more like fantasy than as general superhero-fare - without relating to the film in terms of the destruction of things we know, we are forced instead to reckon with it on a more metaphoric level. That there are no humans is no difficulty, as the characters will display plenty of humanity so that it will only be a technicality in the sense of "no homo sapiens" - which has not proven a great difficulty ever in fiction. What will be challenging to the general audience is the absence of heroes. Watching the Green Lantern Corps will be akin to watching the exploits of elite members of the SS during the spread of Nazism across Europe. We see the universe through the lens of the bad guys. Doing the right thing will inevitably come to blows with the demands of Oa, which will equate such actions as lacking the will to carry out orders to their fullest, akin to a cowardice that refuses to follow through the founding ideology with merciless logic.
Predecessors
Within science-fiction, this kind of take has been done before, with perhaps the most notable and purest example being Paul Verhoeven's 1997 film Starship Troopers. In it, Verhoeven appropriated the imagery and tone of WWII propaganda films, particularly Leni Riefenstahl's Triumph of the Will, to present a satirical take on the world created in Robert Heinlein's book upon which the film is based. The society as presented in Starship Troopers is a fascist society, and it is also totalitarian, needing to spread out across the galaxy to seek new enemies to dominate among the stars following the unification of Earth (Death From Above: The Making of 'Starship Troopers'). What is absent in Starship Troopers, and what would be a key component of Green Lanterns Corps, is the focus on and the fetishization of the elite. The Corps as an elite unit, and the members as elites within a society of nested elites - inner parties within inner parties like a Matryoshka Doll3 - is an aspect which gets to the core of the ideology latent in the superhero.
The World of Oa
Oa is a totalitarian planet - a world entirely consumed and techno-digested by the religious techno-science of the Guardians. It is a Brutalist planet: its architectural forms reminiscent of Nazi monuments and of Futurist architect Antonio Sant'Elia's sketches, sketches which inspired such films as Blade Runner (1982) and Metropolis (1927). Also of inspiration are the architectural drawings of Hugh Ferriss, particularly his setback forms illustrating the building envelope dictated by New York City zoning laws, which in their simplified yet monumental geometry straddle the line between buildings and mountains. True to the totalitarian movement it is an architecture that is not architecture as such, for it rejects boundaries. There is no distinction between the “natural” world and the built world, the whole planet is given over to continuous, unbroken rock formations that appear to be alternately designed and grown. It is the Manhattan skyline as seen from the perspective of a peregrine falcon: idealised forms of sharp and abrupt cliffs - an endless rocky world. One does not get the impression of a world that has been hollowed out or mined; any sense of a previously existing world before totalitarian civilization has been completely effaced. The planet presents itself as if it had been built in its entirety; as if the Guardians had willed it into being in a singular act.
 |
| Hugh Ferriss Architectural Sketch of NYC Building Envelopes (Source) |
Oa is the physical embodiment of the totalitarian movement. It is a kind of living death. The Brutalist landscape appears skeletal, emaciated and bone dry while simultaneously animated by an unnatural glow and bristling with insect-like activity. The world gives the impression of having fallen to a disaster long ago, as though it is some cosmic whale carcass, with scarce industrial machinery appearing as scavengers still quietly picking over the remains.
The landscape recalls curving basalt columns and the vast rocky ice-covered terrain of Iceland. Twisted forms seamlessly reveal themselves to be integral to the extended and limitless planet-wide city. Oa is the planetary cityscape of Trantor from Isaac Asimov's Foundation trilogy (or Coruscant from the Star Wars prequels for a more visual reference) become fossilized, petrified, locked in stone.
The Role of Religion
While neither Nazism nor Bolshevism were religious totalitarianisms, the same is not true for Oa. The Green Lantern is well-known for his oath: "In brightest day, in blackest night, No evil shall escape my sight, Let those who worship evil's might, Beware my power - Green Lantern's light!" As is to be revealed, this is not simply an oath, but the opening to prayer that is part of the techno-religious order of Oa. On Oa religion and science are inextricably linked, and each order within the bureaucracy is necessarily simultaneously a priestly order. The religious doctrine is the ideology that underlies all of the society - the fetishization of will and power, the belief in 'might makes right', the justification for the merciless subjugation of any and everyone who falls into the wrong categories. In keeping with its totalitarian drive, the religion of Oa is not a fixed or even well-defined doctrine, rather it mutates and leaps along with the science. What is most important is continual development, constant progress, a sense of dynamism. Nothing can stand in the way of this, and so too overly rigid religious dogma are spurned. In practise, this takes the form of new religious decrees rapidly materialising, being devoutly followed, and then hastily discarded as soon as they prove to no longer be useful. No one is particularly bothered by the lack of fixity of their religion, what would be truly absurd to all would be a religion that refused to change in the face of changing conditions.
The oath, a ritualistic chant that the Lantern utters before engaging in his full power, is quite revealing as to the insidious nature of Lantern ideology. Omniscience is desired, since no evil is to escape the Lantern's sight, indicating a society fixated on surveillance and monitoring. "Those who worship evil's might" may appear to be an indisputably bad category in a particularly charitable and uncritical reading, but it serves to draw attention that a category exists where people can be thrown into where they are then subjected to terror, a terror that is then totally justified by the existence of the category. Who defines what is evil? The category places the focus on persons rather than actions, it is those who "worship evil" rather than those who "commit evil" or even evil actions themselves that are the targets of terror. The oath ends with a threat: "Beware my power..." which reveals the intent to instill fear, and in this case not merely across the society or the planet, but across the entire universe.
Racial Ideology
On the surface Oa is not underpinned by a racial ideology. Members of the Green Lantern Corps may be recruited from a diverse array of species from across the galaxy, and Oa itself serves as a nexus for this diversity. However, the power of the Lanterns derives from the Guardians on Oa, who themselves do not dirty their hands but instead issue the directives for the Lanterns. And the Guardians are all of a single race, a race that originated on Oa (or so they claim). In this way the ideology of the Guardians is revealed to indeed be racial, albeit in a mediated way. Only one race is permitted to be Guardians, many races (but not all) are permitted into the ranks of Lanterns and other members of Oa society, while there may be still racial underclasses who are not "fit for purpose" and deemed to be vermin worthy only of extermination. These classes would not necessarily be permanent, enabling categories to shift and drift according to the whims of the movement. Deviant categories might be created within a race, soon coming to encompass that entire race until it had been adequately subjugated. Just as the Nazis would never have been able to stop at the Jews, their categories of exclusion becoming more and more exclusive, so too the society on Oa would need new categories of enemies within and without against which to practice terror. However, Oa society would be closer to Stalinism in this respect, in that literally anyone could end up becoming an enemy of the system, marked as vermin not because of a biological basis or on account of any actions, but simply because it was required of the system.
In many ways the ideology of Oa is a pan-movement. Like the pan-movements of Pan-Slavism and Pan-Germanism which gave much to Bolshevism and Nazism respectively, Oa preaches the divine origin of "chosen" people - those who have been chosen by the rings of power - with differences between members dissolving before the uniformity of their being chosen. Those who are chosen are in possession of an innate "goodness" or worthiness to the call of being a Lantern, and while the criteria is not based on a racial category, neither are they beholden to the actions of the individual. Just as the rings may arbitrarily choose individuals with an appeal to an innate nature that is vague and undefinable, so too may the Guardians designate individuals as possessing an innate deviant nature, transforming them into objective enemies who are evil irrespective of anything they have or have not done.
The Look of the Green Lantern Corps
The uniforms of the Green Lantern Corps are to follow fascist aesthetics. Fascist aesthetics flow from a preoccupation with control/submission; they are based on the containment of vital forces, with movements held tight and confined. At the same time they fetishize physical perfection to a pornographic degree, being preoccupied with the beautiful and the monumental (Sontag, 1981). Nazi paraphernalia follow these principles: gloves to contain, boots, leather, and chains - the objects of domination and servitude.
Many fascist elements are already present in the Green Lantern uniform of the comics. The skin-tight uniform which serves to highlight and contain the implausibly defined superhero physique is typical of superhero attire, but while most heroes wear a unique skin-tight piece, that of the Green Lantern is a uniform. In the comics the uniform includes gloves, typically white, and it is important that gloves be maintained in the costumes for the film: the gloves offer the Lantern a clinical distance from the violence wrought by his or her hand. The costumes should follow the idea of containment; they serve to simultaneously showcase the physique of the Green Lantern as an ideal specimen and to contain and control those potent energies. The uniforms of the comics follow a black and green colour scheme and this should be carried over to the film. The black should be interpreted as leather so as to make the fascist connections very evident.
The Green Lanterns are the elite of the elite, so their uniforms should be essentially the 'Darth Vaders' within the society. There should be no mistaking a Green Lantern in uniform from one outside of their ranks.
Depiction of Powers
Perhaps one of the most challenging aspects of any on-screen depiction of the Green Lantern Corps is that of their powers. As with most comic book characters the power levels are wildly inconsistent and vary between story arcs and writers. In some depictions the power rings offer the Lanterns a protective shield and provide faster-than-light travel across space, while in others the Lanterns use spaceships at least for very long distance travel.
The biggest issue with the power of the rings is that they enable the wielder to make constructs from his or her imagination. In practice, this means the Lantern creates ridiculous objects such as giant baseball gloves, giant nets or chains and other goofy sporting equipment and objects of childhood. No matter how imaginative these objects are meant to be, they come across as rather unimaginative to the viewer and their presence undoes any sense of groundedness, lending a Looney Toons sensibility to everything.
In order to reconcile the power of the rings with the totalitarian world of Oa, quite a few liberties are to be taken with the depiction of the power. The energy of the rings will still be green, but it will take its visual cues from fluids and gases rather than glowing solid forms. Rather than making constructs, individual Green Lanterns will be able to control, direct and distort the energy of the ring using their willpower. In this way the energy could come to somewhat resemble familiar shapes, but this would only be consequential; if one is using the energy to hold someone in place it makes no difference whether it looks like rope, chains, or an amorphous cloud so instead there will be a kind of continuity of visual appearance. The energy of the ring will be massive but also well understood, on the level of many thousand hydrogen bombs or perhaps powerful enough to destroy a planet. When a Green Lantern arrives on a world, it is well understood that he or she has within one hand the power to destroy that world, and fear of the deployment of this power ensures fealty to Oa. At the same time, excessive use of force is not at all commonplace: it is the threat of force, rather than its direct use, by which the Lanterns mostly maintain order.
Plot Notes
The main characters of focus will be Thaal Sinestro, Kilowog, Katma Tui and Arisia Rrab. Arisia Rrab will be the closest proxy for the audience, being an idealistic newcomer to the order of the Green Lantern Corps, having worked her way up through the ranks to finally be 'randomly' selected for chosenness by one of the rings of power. Rrab is a follower of the system, but smart enough to not be too much of a believer - the system has little use for 'true believers' since adherents are meant to follow by coercion not by choice.
Kilowog will represent the ideal servant of the system. He is blindly loyal to the movement, even as it constantly mutates and changes its foundations, and is meant to serve as an example to new initiates into the Corps. Rrab comes under the supervision of Kilowog. Both end up working alongside Sinestro, who offers the first opposition to the system of Oa.
Sinestro will come to blows with Oa not because his methods are too extreme, but because his ambitions are too tame - Sinestro wants the Lanterns to consolidate their existing power base and become more ordered and efficient rather than continually stretching themselves at the frontier regions. Sinestro will share the mercilessness of the Guardians, but every one of his objections will make strategic and economic sense. He will oppose the senseless oppression of certain peoples on economic grounds and be against territorial expansion when their forces are weak. His tendency will be toward militancy rather than terror and the Guardians will designate him an objective enemy to ward off any threat to their totalitarian agenda.
Sinestro is tried at a court modeled after the People's Court in Nazi Germany (the Volksgerichtshof). Set up as extended limbs of the propaganda machinery of Nazism, the Court made a mockery of any notion of justice with show-trials that served only to make examples of "public enemies". The judicial system of Oa will be every bit as corrupt and hysterical, with the judge serving as the jury and prosecutor and screaming histrionics at the accused with no opportunity for reply. The accused is not provided with a defender and denied the chance to defend himself. The judge makes a point of reminding him that his fate is already sealed, that nothing that unfolds in the trial will affect the judgment that he is to be handed. Kilowog and Rrab will be forced to turn on their former partner, and while Kilowog will dutifully follow orders to the end, Rrab ultimately displays weakness and is unable to fully carry through her orders, enabling Sinestro's escape and his swearing off of the order that tried to kill him.
There needs to be an antithesis within the film, a competing ideology that arises, enabling the possibility of the outside4. Sinestro comes to possess a yellow ring of power and begins to establish the Yellow Lanterns, founded on an ideology of Fear as opposed to Will, as a counter to the authority of Oa. The very introduction of another ring of power, the pitting of Fear against Will, breaks the exclusivity that Will had held over power. With it the possibility is opened up to other emotional potentialities. This is what Sinestro's break from Oa awakens in Rrab - the possibility of a counter to the power of Oa not based on Will or Fear.
Rrab comes under the command of Katma Tui, who replaces Sinestro's position as the Green Lanterns rally to deal with the unacceptable revolt. Rrab begins to conspire a way to strike out at the power of the Guardians, studying how Sinestro came to possess the yellow ring of power as an example. Meanwhile Kilowog comes to suspect that Rrab may have facilitated Sinestro's escape and places her under surveillance. However, an overabundance of suspicion leads to Kilowog also being suspect, and Katma Tui heads up a secretive investigation that monitors him as he monitors Rrab.
Rrab becomes wise to being monitored and successfully frames Kilowog for her crimes. The evidence has Kilowog declared an objective enemy and, unable to show any disloyalty to the movement, Kilowog is forced to admit to his criminality and accept his judgment without protest. Freed of Kilowog's investigations, Rrab is able to start a sabotage of the central battery. However, she is caught by Katma Tui and placed before the Guardians.
Just as Sinestro and Kilowog before her, Rrab is placed on trial and then given her sentence. She serves her sentence, which lasts for many years and contains reconditioning. Eventually she earns her freedom and is released. However, she is not released back into the fold of society, but rather to be liquidated. Rrab is taken to a concentration camp where she is stripped of her humanity and endures the accompanying psychological collapse.
Yellow Lanterns storm the camp having taken the surrounding territory. In the years since Rrab's imprisonment, Sinestro has built up his own counter army and now attacked Oa outright. When Sinestro sees the conditions in the camp, he orders the people to be executed, but Rrab calls out to him. Rrab shows Sinestro her failed plan to sabotage the central battery, a plan that would enable the creation of diverse rings of power. Sinestro takes the plan, and then on Rrab's request, executes her.
Closing Thoughts
Many of the ideas developed here are not alien to the Green Lantern comics and ancillary media but latent within them, and sometimes expressed outright. The Guardians have been depicted as having not entirely benevolent agendas and as at odds with the Green Lanterns. However, what typically remains in the various depictions is the infallible goodness of a select group of Lanterns, if not the majority of the Lanterns. In this way there is occasionally an admission that the system may be corrupt, but with the caveat that this is because bad people are in charge, and so long as good people are the ones with the power, the day will be saved. It is precisely this thinking that the film would aim to challenge, by showing the system itself as fundamentally flawed while also perhaps incapable of internal reorganization into anything positive.
It is indeed a very dark film, with a setting, tone and plot not uncommon in dystopian science-fiction but completely absent from large-scale superhero-films. Such serious or deconstructionist takes on the 'genre' are perhaps predestined to failure as their desire to say something meaningful conflicts so strongly with the raison d'être for superhero films in the first place5.
The film should not be an effects-heavy, explosion-filled spectacle, but a more contemplative affair, with the visual effects used to portray the world so as to visually communicate the themes. It should also be somewhat short for these types of films - under two hours - saying what it needs to compactly and without bloated action set-pieces. While a superhero film may seem inappropriate for telling this kind of story, there is sadly little appetite for original science-fiction worlds. But it is also from its position as a superhero film, an adaptation of a major comics property, that would give the film so much of its subversive charge. And if superheroes cannot be used for telling such stories, if they are to be forever limited to regurgitating the banal mores of consumerist culture, then they really are good for nothing.
Footnotes
1 The self-described Guardians of the Universe are a race of essentially old blue men who rule the planet of Oa and control the central power battery there which powers the rings from which the Green Lanterns draw their power. The Green Lanterns exist because of and in service of the Guardians.↩
2 To some, the distinction between fascism and totalitarianism may not be clear, the divisions blurred in their minds. Here some clarification as provided by Hannah Arendt is helpful: fascism is the end vector of a totalitarian movement that has become absorbed by (and therefore contented with) the state. A fascist society is ordered, authoritarian, militaristic, but not totalitarian. Arendt holds out Nazism and Bolshevism as the exemplars of totalitarianism. These societies did not settle into fascist or other authoritarian steady-states, but rather were compelled by an inner dynamism to continually consume human material. Mussolini's Italy was merely fascist, Hitler's Germany was totalitarian (Arendt, 1979).↩
3 Totalitarianism does not simply duplicate administrative functions but multiplies them endlessly, creating confusing façades behind façades behind façades. Within the Soviet Union this process progressed to the point that there were secret police to spy on the secret police (Arendt, 1979).↩
4 One of the difficulties that arises in a depiction of a fascist society is ensuring that the audience does not identify with it and fail to recognize it as problematic. Even in cases where there is essentially nothing in the way of ambiguity concerning the villains, often the fans latch onto them. Star Wars represents a prime example of this, where the Empire is portrayed as definitively evil, yet became and remains a source of strong identification for cinema-goers who revel in the sadistic machinations of Darth Vader or long to see the Stormtroopers emerge victorious from battle. This is perhaps not surprising. In part because fascism is after all the aestheticization of politics, so that fascist imagery is appealing to a mass audience, and also due to the heavy influence of merchandising in entertainment, where large corporations are keen to sell pop-culture detritus of the heroes and villains. While in Star Wars people may have secretly identified with the Empire while openly recognizing them as evil, Starship Troopers suffered a worse fate, with many filmgoers simply failing to recognize the film's use of irony. Part of the problem with Starship Troopers is its lack of an antithesis within the film itself, the audience is meant to draw their own conclusions about the fascist society as depicted by drawing upon their own reason and experience. Even upon viewing the film however and understanding the film's ironic orientation, some viewers may simply have been baffled as to the purpose of essentially a 129-minute fascist propaganda film.↩
5 This is mostly a recent phenomenon, seemingly generated by the backlash to Zack Snyder's take on a connected DC-universe and the astronomical success experienced by Marvel's more lighthearted and less self-serious fare. While Aquaman's playful tone and recent success would seem to reinforce the idea that 'audiences just want a good time', the themes and ambition of Black Panther, an outlier in the recent Marvel films in this regard, along with its subsequent success indicate an appetite among audiences for such films that have something to say. What I think the success of these films indicates more than anything is a desire among audiences to see well-executed world-building alongside a departure from the hero-origin story while being couched in the protective glow of 'superhero-movie' and 'known brands'.↩
References
Apmann, S. B. (2016) Hugh Ferriss Lived Here. Available at: https://gvshp.org/blog/2016/08/16/hugh-ferriss/ (Accessed: 19 March 2019)
Aquaman (2018) Directed by James Wan [Film]. Burbank, Calif.: Warner Bros. Pictures, Inc.
Arendt, H. (1979) The Origins of Totalitarianism: New Edition with Added Prefaces. London: Harvest Books. Originally published by Schocken Books, 1951.
Asimov, I. (1951) Foundation. New York: Gnome Press.
Bauman, Z. (1989) Modernity and the Holocaust. Cambridge: Polity Press.
Black Panther (2018) Directed by Ryan Coogler [Film]. Burbank, Calif.: Walt Disney Studios Motion Pictures.
Blade Runner (1982) Directed by Ridley Scott [Film]. Burbank, Calif.: Warner Bros. Pictures, Inc.
Burtynsky Studio (no date) Quarries. Available at: https://www.edwardburtynsky.com/projects/photographs/quarries (Accessed: 19 March 2019)
Death From Above: The Making of 'Starship Troopers' (2002) Directed by Jeffrey Schwarz [DVD].
Green Lantern (2011) Directed by Martin Campbell [Film]. Burbank, Calif.: Warner Bros. Pictures, Inc.
Metropolis (1927) Directed by Fritz Lang [Film]. Parufamet.
Rainey, L. (2009) 'Introduction: F.T. Marinetti and the Development of Futurism', in Rainey, L. Poggi, C., and Wittman, L. (ed.) Futurism: An Anthology. London: Yale University Press, pp. 1-39.
Sontag, S. (1981) 'Fascinating Fascism', in Under the Sign of Saturn. New York: Vintage Books, pp. 73-105. Originally published in The New York Review of Books, Vol. XXII, No. 1 (Feb. 6, 1975)
Starship Troopers (1997) Directed by Paul Verhoeven [Film]. Culver City, Calif.: TriStar Pictures, Inc.
Star Wars (1977) Directed by George Lucas [Film]. Los Angeles, Calif: Twentieth Century Fox Film Corporation.
Star Wars: Episode III - Revenge of the Sith (2005) Directed by George Lucas [Film]. Los Angeles, Calif: Twentieth Century Fox Film Corporation.
