Star Wars: The Complete Saga Blu-ray

DigiBook / Episodes I-VI





Star Wars: The Complete Saga Blu-ray Review

Is the Force strong with this one?

Reviewed by Casey Broadwater, September 12, 2011



It's Star Wars. On Blu-ray. Take a deep breath. One more. And again. Slowly. That's good. Nice and easy, no need to hyperventilate. Now, go grab a snack, fix yourself a drinka stiff one if you need itand come back when you're ready. We're about to dive into what's arguably the most anticipated home video release of the past twenty years, and maybe ever. For the most part, this isn't going to be a conventional review. I'm not going to give a pithy plot synopsis for each film or argue the merits of Episode III. I won't get into details of characterization, and I'm not going to talk about the actors or discuss the technological feats that George Lucas and Co. accomplished in the process of bringing these six films to the screen. There's no need. You've probably already come to your own conclusions about Star Wars, and I'm not out to change them. And on the off chance that you haven't seen the Star Wars films yetand there are a few of you oddballs out therehere's my quick capsule opinion: The original trilogy is all kinds of awesome and the prequels are mostly disappointing, but all of the films are worth watching, if only so you can finally understand what your nerd friends are rabidly arguing about. If you're reading this, the odds are you're a longtime Star Wars fan who simply wants to know how this release of The Complete Saga stacks up against previous editions. And that's what we'll try to cover here. I'll spend a few paragraphs on the changes made to the films for their Blu-ray debut, and then we'll get down to the nitty-gritty of the video transfers, the audio presentation, and the bonus features.





Chewie, Han, Leia, and Luke...



A long time ago1973in a galaxy far, far awayLos Angelesa young filmmaker named George Lucas started working on a script treatment for a story called The Star Wars. Drawing inspiration from the Flash Gordon space adventure serials he loved as a boy, and sketching out a plot loosely borrowed from Akira Kurosawa's The Hidden Fortress, Lucas penned a short 14-page synopsis that, over the next few years and several drafts, became its own entity and took on an epic, legendary scope. It was a sci-fi story, yes, but also a sweeping fantasy that incorporated an ancient dualistic religion devoted to an all-pervasive Force, light-sword toting warrior monks known as the Jedi, and a young protagonist initially named Luke Starkillerwho would leave his outer-rim planet as an orphan and embark on a quest to fulfill his destiny. Using anthropologist Joseph Campbell's seminal work of comparative mythology Hero with a Thousand Faces as a narrative guide, Lucas essentially created a modern universal myth, one that has since spanned six main feature films, not to mention assorted TV spin-offs, animated movies, and an extensive, world- expanding series of books. There's no way George Lucas could've ever envisioned the impact his story would have on pop culture, genre filmmaking, and yes, the lives of the millions of fans who would come to embrace Star Wars as a rite of passage and formative part of their childhoods. To these people, Lucas is a kind of godliterally, a universe creator. That said, while he's certainly all-powerful when it comes to all things Star Warshe can do, and frequently does, whatever he wants with the franchisethis has led to a backlash among many fans, who have come to view Lucas as an increasingly out-of-touch and non-benevolent deity who tinkers recklessly with his creation, giving little thought to those for whom it means so much.



Of course, you know exactly what I'm talking aboutthe numerous changes Lucas has made to Star Wars starting with the 1997 "Special Editions," where he added or altered several sequences in the original trilogy in order to bring them closer to his vision for how the films should be. And later, to give additional continuity between the original movies and the generally panned prequel trilogy, even more modifications were made for the 2004 DVD re-release, newly angering a wide swath of fans. Many of the changes were restorative and cosmeticlike fixing certain special effects that never really worked in the first placebut others blatantly shifted the tone and tenor of the films. The most infamous example is probably the whole "Han Shot First" debacle, where Lucas went in and re-edited a scene in the Mos Eisley cantina to make it look like Han Solo shot the bounty hunter Greedo defensively, and not pre-emptively. I get it, Lucas was trying to make Han more sympathetic, and less of a roguish badass, but we like Han precisely because he wouldn't hesitate to shoot first in A New Hope. Inevitably, this change diminishes the arc Han makes as a character between the first film and Return of the Jedi.



The worst amendments, though, are those that seem designed to make the original trilogy more consciously "kid-friendly." Specifically, I'm thinking of the frankly ear-grating funk song that was added to Return of the Jedi, featuring a lippy CGI soul singer and a chorus of alien freaks. This scene serves no purpose whatsoeverbesides being a tech demo for now woefully outdated techand worse, it's cringe-inducingly awful. I have no idea how anyone could've ever thought this was a good idea. And then there are the multitudinous examples of Lucas just throwing in new CGI creatures and spacecraft into the frame in an attempt to give the scenes more life and activity, when in reality they end up becoming digital distractions that stand out awkwardly from the surrounding practical effects.



I have a theory about George Lucas, and it has to do with third-world cult-of personality dictators. Hear me out. Why is it that dictators always wear the most ridiculous outfits? In his green jumpsuit, Kim Jong-il looks like an elevator repairman. General Idi Amin Dada wore a kilt and pretended he was Scottish. Colonel Gaddafi is a veritable anti-fashion show of sartorial blunders. Why? Because there's no one to tell them, "No. You look like an idiot. Put some real clothes on." I never thought I'd quote a Kanye West lyric in a review, but "No one man should have all that power." And I think that's what's happened with George Lucas. He has too much power. He can toy around with his creation as much as he'd like, and there's no one to tell him, "No, George, stop. You're only making it worse." You've probably already heard that all six films are now in the process of being retooled for 3D theatrical re-releases. Sigh. What's ironic and self-condemning is that, in 1988, Lucas once issued a statement to the assembled U.S. Congress, asserting that, "People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians." I'll let that one speak for itself.



If you were holding out hope that the original trilogy in all its untouched glory would be included here on Blu-ray via seamless branching technology, I'm afraid you're going to be disappointed. Almighty George has seen fit to base the new Blu-rays exclusively on the 1997 "Special Editions," including most of the additional changes from the 2004 re-release. But this isn't a straight port of the DVDs. Several new adjustments have been made, some of them seemingly arbitrary and many inconspicuous unless you know Star Wars like the back of your hand. In Return of the Jedi, Wicket now blinks and has more expressive CGI eyes. (I can't tell which is creepier, the dead doll eyes from before, or the humanoid ones put in their place.) Obi-Wan's siren to scare off the Sand People in A New Hope has been switched to a more piercing, immersive "Krayt Dragon Call." (I might be in the minority, but I kind of like this new effect.) More noticeably, the puppet Yoda from The Phantom Menace has been replaced with the more convincing CGI model that's included in the following prequels. By and large, these switcheroos are unobtrusive, butand no surprise herethere is one addendum that's already caused a flurry of online controversy. If you've been following the news of this release, you already know what I'm referring to; in Return of the Jedi, when Darth Vader grabs the Emperor to throw him over the railing, he now lets out a goofy cry of "NOOOOO," a mirroring of the scene in Revenge of the Sith when he's first reborn as a dark Sith lord. It's silly and over-obvious and completely unnecessary. I'm sure hardcore fans will be cataloging the differences between the DVDs and Blu-rays for weeks to come, but these are the big ones.



Here's the thing; ever since the The Complete Saga was announced, I was aware of the controversies, I had a hunch the original trilogy wouldn't be included in its untouched state, and I knew any new changes were going to be debated far and wide. This left me rather indifferent to the whole idea of revisiting Star Wars. But when I actually got the set in my hands, something changed. At pains of sounding like a sap, I started to feel that inner childhood giddiness bubbling up. And then, when I popped A New Hope into my Blu-ray player and heard John William's iconic fanfare over that familiar yellow text crawl, it hit meI wasn't going to let any residual bitterness over George Lucas' endless alterations bother me. I was going to have a blast watching these films. And I did. Sure, there were moments when I winced the wince of a man getting a cavity filled without anesthetic, and yes, I still think the prequelsfor the most partare a monumental disappointment, but given the choice between a Star Wars that isn't exactly to my liking and no Star Wars at all, I've decided to be happy with the former and bide my time. Like Anakin Skywalker finding redemption in his dying breaths, I'm convinced George Lucas will one day realize the cultural and historic value in preserving the original films in their original form. Until then, I'm going to enjoy this epic Blu-ray box set and try my best to ignore the bits that bother me. I like this approach; I feel like, in my own mind at least, I've brought a certain balance to the Force.





It's. On Blu-ray. Take a deep breath. One more. And again. Slowly. That's good. Nice and easy, no need to hyperventilate. Now, go grab a snack, fix yourself a drinka stiff one if you need itand come back when you're ready. We're about to dive into what's arguably the most anticipated home video release of the past twenty years, and maybe. For the most part, this isn't going to be a conventional review. I'm not going to give a pithy plot synopsis for each film or argue the merits of. I won't get into details of characterization, and I'm not going to talk about the actors or discuss the technological feats that George Lucas and Co. accomplished in the process of bringing these six films to the screen. There's no need. You've probably already come to your own conclusions about, and I'm not out to change them. And on the off chance that youseen thefilms yetand there are a few of you oddballs out therehere's my quick capsule opinion: The original trilogy is all kinds of awesome and the prequels are mostly disappointing, but all of the films are worth watching, if only so you can finally understand what your nerd friends are rabidly arguing about. If you're reading this, the odds are you're a longtimefan who simply wants to know how this release ofstacks up against previous editions. And that's what we'll try to cover here. I'll spend a few paragraphs on the changes made to the films for their Blu-ray debut, and then we'll get down to the nitty-gritty of the video transfers, the audio presentation, and the bonus features.A long time ago1973in a galaxy far, far awayLos Angelesa young filmmaker named George Lucas started working on a script treatment for a story called. Drawing inspiration from thespace adventure serials he loved as a boy, and sketching out a plot loosely borrowed from Akira Kurosawa's, Lucas penned a short 14-page synopsis that, over the next few years and several drafts, became its own entity and took on an epic, legendary scope. It was a sci-fi story, yes, but also a sweeping fantasy that incorporated an ancient dualistic religion devoted to an all-pervasive Force, light-sword toting warrior monks known as the Jedi, and a young protagonist initially named Luke Starkillerwho would leave his outer-rim planet as an orphan and embark on a quest to fulfill his destiny. Using anthropologist Joseph Campbell's seminal work of comparative mythologyas a narrative guide, Lucas essentially created a modern universal myth, one that has since spanned six main feature films, not to mention assorted TV spin-offs, animated movies, and an extensive, world- expanding series of books. There's no way George Lucas could've ever envisioned the impact his story would have on pop culture, genre filmmaking, and yes, the lives of the millions of fans who would come to embraceas a rite of passage and formative part of their childhoods. To these people, Lucas is a kind of godliterally, a universe creator. That said, while he's certainly all-powerful when it comes to all thingshe can do, and frequently, whatever he wants with the franchisethis has led to a backlash among many fans, who have come to view Lucas as an increasingly out-of-touch and non-benevolent deity who tinkers recklessly with his creation, giving little thought to those for whom it means so much.Of course, you know exactly what I'm talking aboutthe numerous changes Lucas has made tostarting with the 1997 "Special Editions," where he added or altered several sequences in the original trilogy in order to bring them closer to his vision for how the films should be. And later, to give additional continuity between the original movies and the generally panned prequel trilogy, even more modifications were made for the 2004 DVD re-release, newly angering a wide swath of fans. Many of the changes were restorative and cosmeticlike fixing certain special effects that never really worked in the first placebut others blatantly shifted the tone and tenor of the films. The most infamous example is probably the whole "Han Shot First" debacle, where Lucas went in and re-edited a scene in the Mos Eisley cantina to make it look like Han Solo shot the bounty hunter Greedo defensively, and not pre-emptively. I get it, Lucas was trying to make Han more sympathetic, and less of a roguish badass, but we like Hanhe wouldn't hesitate to shoot first in. Inevitably, this change diminishes the arc Han makes as a character between the first film andThe worst amendments, though, are those that seem designed to make the original trilogy more consciously "kid-friendly." Specifically, I'm thinking of the frankly ear-grating funk song that was added to, featuring a lippy CGI soul singer and a chorus of alien freaks. This scene serves no purpose whatsoeverbesides being a tech demo for now woefully outdated techand worse, it's cringe-inducingly awful. I have no idea how anyone could've ever thought this was a good idea. And then there are the multitudinous examples of Lucas just throwing in new CGI creatures and spacecraft into the frame in an attempt to give the scenes more life and activity, when in reality they end up becoming digital distractions that stand out awkwardly from the surrounding practical effects.I have a theory about George Lucas, and it has to do with third-world cult-of personality dictators. Hear me out. Why is it that dictators always wear the most ridiculous outfits? In his green jumpsuit, Kim Jong-il looks like an elevator repairman. General Idi Amin Dada wore a kilt and pretended he was Scottish. Colonel Gaddafi is a veritable anti-fashion show of sartorial blunders. Why? Because there's no one to tell them, "No. You look like an idiot. Put some real clothes on." I never thought I'd quote a Kanye West lyric in a review, but "No one man should have all that power." And I think that's what's happened with George Lucas. He has too much power. He can toy around with his creation as much as he'd like, and there's no one to tell him, "No, George, stop. You're only making it worse." You've probably already heard that all six films are now in the process of being retooled for 3D theatrical re-releases. Sigh. What's ironic and self-condemning is that, in 1988, Lucas once issued a statement to the assembled U.S. Congress, asserting that, "People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians." I'll let that one speak for itself.If you were holding out hope that the original trilogy in all its untouched glory would be included here on Blu-ray via seamless branching technology, I'm afraid you're going to be disappointed. Almighty George has seen fit to base the new Blu-rays exclusively on the 1997 "Special Editions," including most of the additional changes from the 2004 re-release. But this isn't a straight port of the DVDs. Several new adjustments have been made, some of them seemingly arbitrary and many inconspicuous unless you knowlike the back of your hand. In, Wicket now blinks and has more expressive CGI eyes. (I can't tell which is creepier, the dead doll eyes from before, or the humanoid ones put in their place.) Obi-Wan's siren to scare off the Sand People inhas been switched to a more piercing, immersive "Krayt Dragon Call." (I might be in the minority, but I kind of like this new effect.) More noticeably, the puppet Yoda fromhas been replaced with the more convincing CGI model that's included in the following prequels. By and large, these switcheroos are unobtrusive, butand no surprise herethere is one addendum that's already caused a flurry of online controversy. If you've been following the news of this release, you already know what I'm referring to; in, when Darth Vader grabs the Emperor to throw him over the railing, he now lets out a goofy cry of "NOOOOO," a mirroring of the scene inwhen he's first reborn as a dark Sith lord. It's silly and over-obvious and completely unnecessary. I'm sure hardcore fans will be cataloging the differences between the DVDs and Blu-rays for weeks to come, but these are the big ones.Here's the thing; ever since thewas announced, I was aware of the controversies, I had a hunch the original trilogy wouldn't be included in its untouched state, and I knew any new changes were going to be debated far and wide. This left me rather indifferent to the whole idea of revisiting. But when I actually got the set in my hands, something changed. At pains of sounding like a sap, I started to feel that inner childhood giddiness bubbling up. And then, when I poppedinto my Blu-ray player and heard John William's iconic fanfare over that familiar yellow text crawl, it hit meI wasn't going to let any residual bitterness over George Lucas' endless alterations bother me. I was going to have a blast watching these films. And I did. Sure, there were moments when I winced the wince of a man getting a cavity filled without anesthetic, and yes, I still think the prequelsfor the most partare a monumental disappointment, but given the choice between athat isn't exactly to my liking and noat all, I've decided to be happy with the former and bide my time. Like Anakin Skywalker finding redemption in his dying breaths, I'm convinced George Lucas will one day realize the cultural and historic value in preserving the original films in their original form. Until then, I'm going to enjoy this epic Blu-ray box set and try my best to ignore the bits that bother me. I like this approach; I feel like, in my own mind at least, I've brought a certain balance to the Force.

Star Wars: The Complete Saga Blu-ray, Video Quality



It goes without saying that just because this is Star Wars, it doesn't mean that this set is going to be the best looking Blu-ray release of all time. So, temper your expectations. That said, we do expect a lot from George Lucas and THX when it comes to cutting edge home video technology. I'm happy, then, to report that, for the most part, these films look wonderful. Not all of them might be described as "reference quality," whatever that meansalthough Episode III probably qualifiesbut the transfers/restorations the films have been given represent an exponential leap in picture refinement, integrity, and clarity from previous DVD releases. While watching The Complete Saga this weekend there were several instances where I felt compelled to rewind and just bask in how beautiful certain scenes look in high definition.



Let's get the bad out of the way first. Namely, The Phantom Menace. Somehow it seems appropriate that the worst film in the series would have the worst picture quality of the set, but it's still disappointing. The main culprit here is digital noise reduction. Unlike the other two prequels, Episode I was shot on 35mm, but here it's been fairly strongly filtered so that grain is scrubbed out, giving a more video-ish appearance. I'm assuming this was probably done to give a sense of visual continuity to the prequels, but it frequently results in softened textures and smeared over detail. The application of DNR isn't nearly as egregious as it was in the notorious Predator re-release, but the image does look a bit off at times, with faces taking on that distinctly smooth, waxy quality that always accompanies excessive filtering. It's not all bad however; the predominately CGI sceneslike the battle on Naboolook excellent, if a bit outdated and cartoonish, and there are no issues with color or contrast. Edge enhancement isn't a concern eitherwhich is kind of surprising given that DNR is usually accompanied by oversharpening to compensate for the inherent softeningand there are no blatant compression problems. The main improvement here, aside from the obvious increase in clarity from standard definition, is that there's actually more of the image onscreen now. Let me explain. When the DVD was being prepared, the producers slightly magnified the pictureessentially cropping on all sidesin order to avoid frame edges and artifacts like hairs stuck in the film gate from appearing. This missing screen real estate has now been restored, for a more faithful representation of the original compositions.







Attack of the Clones fares better all around, but noise reduction still dampens the level of clarity. Episode II was the first film in the series to be shot, processed, and edited with an entirely digital workflow, but it was felt at the time that some of the digital footage was too sharp, so it was softened in post. (Not specifically for this Blu-ray release.) The CGI-heavy sequences aren't as affected, but most of the live-action footage has that characteristic filtered look, and sometimes the actors almost seem to have a kind of hazy glow around their bodies, especially when they're clearly standing in front of a digital backdrop. That's not to say there isn't any fine detail on display herethere certainly is, especially in the intricacies of the computer generated imageryjust not as much as there is in Revenge of the Sith, where Lucas and Co. fully embraced digital filmmaking.







Episode III is on a whole different picture quality plane of existence. This is the outright stunner of the prequels, with a degree of clarity and color that approaches Avatar and other high-profile eye-candy releases. You can see instantly how much crisper and more detailed everything is here, CGI and live-action material alike. The filtering has been abandoned in favor of an exceptionally resolved picture. See the fabric of General Grievous' cape. The clean lines of the nascent Darth Vader's shiny new helmet. The wrinkles on Yoda's weathered face. Count Dooku's eyebrow hairs, individually visible. This is impressive stuff. Just as striking is the brilliance of the film's color. The first two prequels are far from washed out, but Episode III takes the vibrancy up a notch, with tighter contrast, darker blacksthough not too darkand some gorgeously vivid hues, like hot magenta spacecraft exhaust ports and, of course, searing neon lightsabers. All of the film's environmentsfrom Kashyyyk to the climactic lava worldlook fantastic. I'm not big on scoresthey're too arbitrarybut if The Phantom Menace is a 3/5 and The Clone Wars is a 3.5/5, Revenge of the Sith gets full marks.







But, if you're like me, you're probably more interested in how faithfully the original trilogy has been ported to Blu-ray. We've already covered content, of course, so I'm talking cosmetically. Unlike the prequels, which look quite different from one to the nextespecially in the jump from the second to the thirdthe 1080p/AVC-encoded transfers of the three "classic" Star Wars films are fairly consistent with one another and, in a word, amazing. If you need a number, I'm comfortable giving 4.5's across the board for the integrity and simple gorgeousness of these three transfers. If you grew up watching these films on VHS you're going to be blown away. I don't say that lightly. When I popped in A New Hope and saw that first great close-up of R2 in all his worn-in glorythe scuff marks finely resolved in high definitionI knew I was in good hands. And I kept having moments like this. Seeing the weft of the fabric of Obi-Wan's cloak as he tells the stormtroopers "these are not the droids you're looking for." The level of detail inside the Millennium Falcon. The mottled facial texture of the Yoda puppet in Empire. The almost palpable ripples of Jabba's skin in Jedi. You'll notice background details you've never noticed before. Imperfections in the model work. Aspects of the costumes that previously escaped your attention.







There are certain scenes that look softI'm specifically thinking of the first few shots when our heroes land on Endor's forest moonbut any softness seems inherent in the cinematography, not introduced later due to DNR. Any filtering of the original trilogy is minimal; there are no clay-like, Vaseline- smeared faces to worry about here. You can tell occasionally that the image has been lightly cleaned up, but grain is visible and better yet, the prints are absolutely pristine. I don't think I spotted a single white speck or bit of debris. The fluctuations that appeared on the DVDs are also a thing of the past; color is more stable now and better balanced. Remember how the lightsabers' hues sometimes shifted? Not so here. Color reproduction in general is astute; rich and vibrant without looking boosted or oversaturated. There are times when black levels seem like they could be either a hair darker or lighter, but contrast seems carefully considered for the most part, with an emphasis on preserving detail in the shadows. And aside from some light noise, I didn't see any real signs of depreciatory compression. I can't imagine these three films looking much better than they do here. I suppose it's possible, but I'll leave that for Lucas to figure out.













It goes without saying that just because this is, it doesn't mean that this set is going to bebest looking Blu-ray release of all time. So, temper your expectations. That said, weexpect a lot from George Lucas and THX when it comes to cutting edge home video technology. I'm happy, then, to report that, for the most part, these films look wonderful. Not all of them might be described as "reference quality," whatever that meansalthoughprobably qualifiesbut the transfers/restorations the films have been given represent an exponential leap in picture refinement, integrity, and clarity from previous DVD releases. While watchingthis weekend there were several instances where I felt compelled to rewind and just bask in how beautiful certain scenes look in high definition.Let's get the bad out of the way first. Namely,. Somehow it seems appropriate that the worst film in the series would have the worst picture quality of the set, but it's still disappointing. The main culprit here is digital noise reduction. Unlike the other two prequels,was shot on 35mm, but here it's been fairly strongly filtered so that grain is scrubbed out, giving a more video-ish appearance. I'm assuming this was probably done to give a sense of visual continuity to the prequels, but it frequently results in softened textures and smeared over detail. The application of DNR isn't nearly as egregious as it was in the notoriousre-release, but the image does look a bitat times, with faces taking on that distinctly smooth, waxy quality that always accompanies excessive filtering. It's notbad however; the predominately CGI sceneslike the battle on Naboolook excellent, if a bit outdated and cartoonish, and there are no issues with color or contrast. Edge enhancement isn't a concern eitherwhich is kind of surprising given that DNR is usually accompanied by oversharpening to compensate for the inherent softeningand there are no blatant compression problems. The main improvement here, aside from the obvious increase in clarity from standard definition, is that there's actually more of the image onscreen now. Let me explain. When the DVD was being prepared, the producers slightly magnified the pictureessentially cropping on all sidesin order to avoid frame edges and artifacts like hairs stuck in the film gate from appearing. This missing screen real estate has now been restored, for a more faithful representation of the original compositions.fares better all around, but noise reduction still dampens the level of clarity.was the first film in the series to be shot, processed, and edited with an entirely digital workflow, but it was felt at the time that some of the digital footage wassharp, so it was softened in post. (Not specifically for this Blu-ray release.) The CGI-heavy sequences aren't as affected, but most of the live-action footage has that characteristic filtered look, and sometimes the actors almost seem to have a kind of hazy glow around their bodies, especially when they're clearly standing in front of a digital backdrop. That's not to say there isn't any fine detail on display herethere certainly is, especially in the intricacies of the computer generated imageryjust not as much as there is in, where Lucas and Co. fully embraced digital filmmaking.is on a whole different picture quality plane of existence. This is the outright stunner of the prequels, with a degree of clarity and color that approachesand other high-profile eye-candy releases. You can see instantly how much crisper and more detailedis here, CGI and live-action material alike. The filtering has been abandoned in favor of an exceptionally resolved picture. See the fabric of General Grievous' cape. The clean lines of the nascent Darth Vader's shiny new helmet. The wrinkles on Yoda's weathered face. Count Dooku's eyebrow hairs, individually visible. This is impressive stuff. Just as striking is the brilliance of the film's color. The first two prequels are far from washed out, buttakes the vibrancy up a notch, with tighter contrast, darker blacksthough notdarkand some gorgeously vivid hues, like hot magenta spacecraft exhaust ports and, of course, searing neon lightsabers. All of the film's environmentsfrom Kashyyyk to the climactic lava worldlook fantastic. I'm not big on scoresthey're too arbitrarybut ifis a 3/5 andis a 3.5/5,gets full marks.But, if you're like me, you're probably more interested in how faithfully the original trilogy has been ported to Blu-ray. We've already covered content, of course, so I'm talking cosmetically. Unlike the prequels, which look quite different from one to the nextespecially in the jump from the second to the thirdthe 1080p/AVC-encoded transfers of the three "classic"films are fairly consistent with one another and, in a word,. If you need a number, I'm comfortable giving 4.5's across the board for the integrity and simple gorgeousness of these three transfers. If you grew up watching these films on VHS you're going to be blown away. I don't say that lightly. When I popped inand saw that first great close-up of R2 in all his worn-in glorythe scuff marks finely resolved in high definitionI knew I was in good hands. And I kept having moments like this. Seeing the weft of the fabric of Obi-Wan's cloak as he tells the stormtroopers "these are not the droids you're looking for." The level of detail inside the Millennium Falcon. The mottled facial texture of the Yoda puppet in. The almost palpable ripples of Jabba's skin in. You'll notice background details you've never noticed before. Imperfections in the model work. Aspects of the costumes that previously escaped your attention.There are certain scenes that look softI'm specifically thinking of the first few shots when our heroes land on Endor's forest moonbut any softness seems inherent in the cinematography, not introduced later due to DNR. Any filtering of the original trilogy is minimal; there are no clay-like, Vaseline- smeared faces to worry about here. You can tell occasionally that the image has been lightly cleaned up, but grain is visible and better yet, the prints are absolutely pristine. I don't think I spotted a single white speck or bit of debris. The fluctuations that appeared on the DVDs are also a thing of the past; color is more stable now and better balanced. Remember how the lightsabers' hues sometimes shifted? Not so here. Color reproduction in general is astute; rich and vibrant without looking boosted or oversaturated. There are times when black levels seem like they could be either a hair darker or lighter, but contrast seems carefully considered for the most part, with an emphasis on preserving detail in the shadows. And aside from some light noise, I didn't see any real signs of depreciatory compression. I can't imagine these three films looking much better than they do here. I suppose it's possible, but I'll leave that for Lucas to figure out.

Star Wars: The Complete Saga Blu-ray, Audio Quality



Yes, yes, and yes again. I don't even need to write up separate audio reviews for each of the films. You know why? Because these lossless DTS-HD Master Audio 6.1 surround tracks are perfect. Not perfect like, "Yeah, they seem generally true-to-source and, no, there's no muffling or anything," but perfect like, "Yes. Hell yes. This is what sci-fi should sound like." Perfect as in completely exemplary in all the ways you'd hope they'd be. Superlative. Grade-A. Certified Gold.



Okay, let me calm down for a second before I fly off in a tornado of hyperbole. Really, though; these tracks are that good. If you've yet to experience John Williams' Star Wars theme in glorious 6.1 channel lossless audio, you've got quite a treat coming. Williams' cues are some of the most recognizable and hummable in the known universe, and they sound spectacular here, from the lilting and quiet heartswelling of Leia's theme to the balls-out, brash militancy of Vader's unstoppable death march, which feels like the brass section of the orchestra is clubbing you in the face with their instruments. In the best way imaginable. All of the music is grand, filling every channel, with distinct placement of the instruments in the soundspace. Rich, dynamic, fullyou name it, that's what these scores are.



And that's before we even get into the good stuffthe sound effects. Sound design has been a part of the movies since the late 1920s, but the Star Wars series emphasized it in a way that few films had previously done. The audio really is integral to the storytelling. Think "Star Wars sounds." What do you hear? The electric hum of swinging lightsabers. The crisp pew-pew of laser blasters. The low ambient, oscillating rumble inside the Death Star. The high-pitched language of the Jawas. Darth Vader's heavy, respirator-assisted breathing. You could go on and on. How many films can claim to have made noises iconic?



But that's only the start of it. What makes these new 6.1 tracks so wonderful is how precisely and expressively they're mixed. Sound design and score achieve an ideal balance, each forceful and clean without drowning the other out. And the action sequences. Oh, the action sequences. Lasers criss- crossing the soundfield. Spaceships swooshing in every direction, their pulsing engines roaring past with a kind of down-shifting Doppler Effect. Massive explosions that send concentric arcs of debris spreading out from front to back. The thunderous LFE roar of an Imperial Star Destroyer drifting overhead. Even in the quieter moments there's ambience in the rears; the bleat of a tauntaun on Hoth, pouring rain before the Obi- Wan/Jango Fett fight in Clone Wars, et cetera, et cetera, et cetera. Obviously, the effects in the prequels are a bit more sophisticated, but you'll be surprised by how epic the original trilogy sounds. Throughout it all, dialogue is always easy to understand, and I didn't hear any disconcerting crackles, hisses, or dropouts. Fans couldn't have asked for more.



Each film includes English Dolby Digital 5.1 descriptive audio, Spanish, French, French-Quebec, and Portuguese dubs, and optional subtitles in English SDH, Spanish, French, and Portuguese.





Yes, yes, and yes again. I don't even need to write up separate audio reviews for each of the films. You know why? Because these lossless DTS-HD Master Audio 6.1 surround tracks are. Not perfect like, "Yeah, they seem generally true-to-source and, no, there's no muffling or anything," but perfect like, "Yes.yes.is what sci-fi should sound like." Perfect as in. Superlative. Grade-A. Certified Gold.Okay, let me calm down for a second before I fly off in a tornado of hyperbole. Really, though; these tracks are that good. If you've yet to experience John Williams'theme in glorious 6.1 channel lossless audio, you've got quite a treat coming. Williams' cues are some of the most recognizable and hummable in the known universe, and they sound spectacular here, from the lilting and quiet heartswelling of Leia's theme to the balls-out, brash militancy of Vader's unstoppable death march, which feels like the brass section of the orchestra is clubbing you in the face with their instruments.All of the music is grand, filling every channel, with distinct placement of the instruments in the soundspace. Rich, dynamic, fullyou name it, that's what these scores are.And that's before we even get into thestuffthe sound effects. Sound design has been a part of the movies since the late 1920s, but theseries emphasized it in a way that few films had previously done. The audio really is integral to the storytelling. Think "sounds." What do you hear? The electric hum of swinging lightsabers. The crispof laser blasters. The low ambient, oscillating rumble inside the Death Star. The high-pitched language of the Jawas.. You could go on and on. How many films can claim to have madeiconic?But that's only the start of it. What makes these new 6.1 tracks so wonderful is how precisely and expressively they're mixed. Sound design and score achieve an ideal balance, each forceful and clean without drowning the other out. And the action sequences. Oh, the action sequences. Lasers criss- crossing the soundfield. Spaceships swooshing in every direction, their pulsing engines roaring past with a kind of down-shifting Doppler Effect. Massive explosions that send concentric arcs of debris spreading out from front to back. The thunderous LFE roar of an Imperial Star Destroyer drifting overhead. Even in the quieter moments there's ambience in the rears; the bleat of a tauntaun on Hoth, pouring rain before the Obi- Wan/Jango Fett fight in, et cetera, et cetera, et cetera. Obviously, the effects in the prequels are a bit more sophisticated, but you'll be surprised by how epic the original trilogy sounds. Throughout it all, dialogue is always easy to understand, and I didn't hear any disconcerting crackles, hisses, or dropouts. Fans couldn't have asked for more.Each film includes English Dolby Digital 5.1 descriptive audio, Spanish, French, French-Quebec, and Portuguese dubs, and optional subtitles in English SDH, Spanish, French, and Portuguese.

Star Wars: The Complete Saga Blu-ray, Special Features and Extras



To start, a quick note on the packaging. The Complete Saga is housed in case that's nearly identical, structurally, to last year's Alien Anthology releasethe same height, width, depth, and material. (Only less glossy this time around.) The cardboard pages are thick and have embedded semi-circle slots for the discs, which are easy to slide out, but not so easy that you'd ever worry about them falling out on their own. Each page features painted artwork, and in the back you'll find a "Guide to the Galaxy" booklet that provides a break-down of what special features are included. I'm not incredibly fond of the cover art, but this is definitely a handsome Blu-ray set, one that will look great sitting next to the Alien Anthology on your shelf.





See all packaging photos in the Star Wars Blu-ray screenshots section



Now, on to the good stuff. I'll give a detailed listing below of everything that's included, but it will probably be beneficial to first give a breakdown of the types of special features that are spread out across these nine discs.



Audio Commentaries: Each film includes two audio commentaries, and these are the only bonus features actually on the discs for the films themselves. In addition to the tracks that were included on the DVDsfeaturing George Lucas and various members of the cast and crew, all recorded separatelysix all new tracks have been created especially for this release, comprised of archival interviews with, well, just about everyone who ever played a role in the creation of Star Wars, in front of or behind the camera, from George Lucas on down. These are more hodgepodge than typical commentary tracks, but despite the fact that they were sourced from various interviews, they manage to stay fairly scene specific. There's a wealth of Star Wars-related knowledge to be gleaned here. Along with the disc for each film, the set includes three bonus Blu-rays, where you'll find a substantial collection of old and new material. The third disc contains an assortment of documentaries, most of which we've seen before, while the first two contain film-specific supplements, arranged by the locations within each film. You'll see what I mean below. The layout for discs one and two is fairly easy to peruse, but if you enjoy watching special features in bulk you might want to hit "play all," as the transitions between each section can get repetitive. Here are the main kinds of features you can expect: Interviews : All told, there's a little over two hours of interview footage here. Each major setting in each film has an "overview," where various production designers discuss the particular challenges of creating and/or shooting in that location, and there are also several vintage interviews with other members of the cast and crew. These are all technically presented in 1080p, but some of the material is clearly from standard definition sources. Not that it matters much.

: All told, there's a little over two hours of interview footage here. Each major setting in each film has an "overview," where various production designers discuss the particular challenges of creating and/or shooting in that location, and there are also several vintage interviews with other members of the cast and crew. These are all technically presented in 1080p, but some of the material is clearly from standard definition sources. Not that it matters much. Deleted/Extended Scenes : In total, there's about an hour and a half of deleted footage, almost all of it new. Worth noting is that the deleted scenes previously included on the DVDs is not included here, so you might want to hang on to those if you're a completist. It's clear that instead of trying to be comprehensive, the focus in compiling this material was to bring as much new footage to the table as possible. And there's some great, previously unseen footage here. For the prequels it's mostly in the form of rough animatics and generally unfinished sequences, but the original trilogy includes several alternate cuts and excised scenes that we be of real interest to fans, including Luke's trip to Tosche Station. (No, we don't see any power converters.) Additionally, all the film footage has been scanned in 1080p.

: In total, there's about an hour and a half of deleted footage, almost all of it new. Worth noting is that the deleted scenes previously included on the DVDs is included here, so you might want to hang on to those if you're a completist. It's clear that instead of trying to be comprehensive, the focus in compiling this material was to bring as much new footage to the table as possible. And there's some great, previously unseen footage here. For the prequels it's mostly in the form of rough animatics and generally unfinished sequences, but the original trilogy includes several alternate cuts and excised scenes that we be of real interest to fans, including Luke's trip to Tosche Station. (No, we don't see any power converters.) Additionally, all the film footage has been scanned in 1080p. The Collection : In "The Collection" you'll find scores of props, CGI models, prototype maquettes, costumes, matte paintings, and more. Click on any item and you'll be taken to a view of it that can be rotated 360 degrees. You'll also be able view close-up details and a brief informative text for each piece. Better yet, most of these items are the subject of mini video featurettes that include interviews with model designers, costumers, animators, artists, and others. Between the first and second discs, this amounts to almost two hours and forty five minutes of footage.

: In "The Collection" you'll find scores of props, CGI models, prototype maquettes, costumes, matte paintings, and more. Click on any item and you'll be taken to a view of it that can be rotated 360 degrees. You'll also be able view close-up details and a brief informative text for each piece. Better yet, most of these items are the subject of mini video featurettes that include interviews with model designers, costumers, animators, artists, and others. Between the first and second discs, this amounts to almost two hours and forty five minutes of footage. Concept Art Gallery : Here you'll find hundreds of pieces of preliminary artwork, covering character design, locations, vehicles, props, and more. You can view these individually or choose "play all" and watch them as a self-playing gallery, which lasts thirty minutes on each disc.

: Here you'll find of pieces of preliminary artwork, covering character design, locations, vehicles, props, and more. You can view these individually or choose "play all" and watch them as a self-playing gallery, which lasts thirty minutes on each disc. Archive Fly-Through : On discs one and two you'll find an item labeled "Archive Fly-Through," which is exactly what it sounds like, a visual tour through the LucasFilm archives, a warehouse where every conceivable prop, model, and costume is stored. I really hope this stuff ends up in a permanent Star Wars museum someday. Each clip is about three and a half minutes long, in 1080p.

: On discs one and two you'll find an item labeled "Archive Fly-Through," which is exactly what it sounds like, a visual tour through the LucasFilm archives, a warehouse where every conceivable prop, model, and costume is stored. I really hope this stuff ends up in a permanent museum someday. Each clip is about three and a half minutes long, in 1080p. Easter Eggs: It's rumored that there are several in the set, but I haven't found any yet. Let me know if you make any discoveries and we'll add instructions here on how to find them. Now, onto the full breakdown of everything that's included:



Bonus Disc 1: Prequel Features



Episode I - Naboo Interviews

Naboo Overview (4:52): Design Director Doug Chiang and others discuss the the look/style of Naboo and the CGI battle.



Liam Neeson Interview (2:21): Neeson talks about the message of the film.

Deleted/Extended Scenes

Trash-Talking Droids (00:36)



The Battle Is Over (00:29): Look out for The Wire's Dominic West!

Dominic West!

Anakin's Return (00:26)

The Collection: Includes sections for Jar Jar Maquette, Trade Federation Battleship Model, Republic Cruiser Model, Queen Amidala Throne Room Costume, Full-Sized Battle Droid, Naboo Starfighter Model, Sando Aqua Monster Maquette, Darth Maul Costume, and Palpatine's Shuttle Model.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode I - Tatooine Interviews

Tatooine Overview (3:41): A look at the franchise's return to Tatooine.



Rick McCallum Interview - Podracers (1:04)



Rick McCallum Interview - Filming in Tunisia (2:32)

Deleted/Extended Scenes

Battle on the Boarding Ramp (00:28)



Extended Podrace Wager (1:35)

The Collection: Includes sections for Queens Royal Starship Model, Eopie with Anakin Maquette, Watto Maquette, Sebulba Maquette, Dud Bolt Puppet, Anakin's Podracer Model, and the Sith Speeder Model.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode I - Coruscant Interviews

Coruscant Overview (4:35): An intro to the design of the home planet of the Republic.



George Lucas on Preparing to Write Episode I - 1994 (3:05): Lucas talks about the technological advances that allows him to portray new things on screen.

Deleted/Extended Scene

Bail Organa of Alderaan (00:28)

The Collection: Includes sections for Coruscant Air Taxi Model, Queen Amidala Senate Costume, Pre-Senate Address Costume, and Senate Guard Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode II - Coruscant Interviews

Coruscant Overview (3:56): A look at the process of going down to "street level" on Coruscant.



Ewan McGregor Interview (1:12): Ewan talks about how Episode IV was the first film he saw in the cinema.

Deleted/Extended Scenes

Extended Speeder Chase (1:10)



The Lost Twenty (1:05): An interesting scene where the librarian on Coruscant tells Obi-Wan why Count Dooku left the Jedi council.

The Collection: Includes sections for Dexter Jettster Maquette, Zam Wesell Speeder Model, Youngling Outfit, and Zam Wesell Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode II - Naboo Naboo Overview (3:09): A look at the evolution of the planet since the previous film.

Deleted/Extended Scenes

Anakin's Nightmares (1:07): Anakin dreams about his mother in danger.



Anakin and Ruwee (00:54): Anakin talks with Padme's father.

The Collection: Includes Sections for Shaak Maquette, Anakin Peasant Costume (with and without cloak), and Padme Peasant Costume (with and without cloak).

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode II - Tatooine Tatooine Overview (3:55): A discussion about the design philosophy for Tatooine.

The Collection: Includes sections for C-3PO Costume, Tusken Raider Woman Costume, and Tusken Raider Child Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode II - Geonosis Interviews

Geonosis Overview (3:35): Here we learn how termite dwellings were the basis for the architecture of the Geonosians.



Hayden Christensen Interview (1:29): Christensen talks about fight choreography.



Blue Screen Acting (3:38): Christopher Lee and Hayden Christensen explain the process of acting in front of blue screen.

Deleted/Extended Scene

Raid on the Droid Control Ship and Extended Arena Fight

The Collection: Includes sections for Geonosian Maquette, Acklay Maquette, Nexu Maquette, Reek Maquette, Padme Trip to Geonosis Costume, Jango Fett Costume, Super Battle Droid Maquette, Geonosis Arena, Republic Gunship Model, and Clone Trooper Model.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode III - Coruscant Interviews

Coruscant Overview (5:19): A discussion of the space battle above Coruscant and the cameos that the supervisors and producers make in the opera box next to the Emperor's.



Samuel L. Jackson Interview (2:34): Samuel L. talks about how George Lucas let him have a purple lightsaber.

Deleted/Extended Scenes

Elevator Antics (1:39): Banter between Anakin and Obi-Wan.



Escape Through the Hangar (2:39)



Changes to the Constitution (2:04)

The Collection: Includes sections for Separatist Cruiser Model, ARC-170 Model, Jedi Starfighter Model, Count Dooku Lightsaber, Palpatine Trade Federation Costume, and Anakin Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode III - Utapau Utapau Overview (4:52): Visual Effects Supervisor John Knoll discusses some of the particular challenges of the Utapau location, include model work and CGI backgrounds.

Deleted/Extended Scene

Utapau Chase Animatic (8:34): This much longer version of the Utapau chase was actually supervised by Steven Spielberg, who wanted to get firsthand experience with the animatic process.

The Collection: Includes sections for Boga with Obi-Wan Maquette, Utapau Sinkhole Maquette, Landing Platform Maquette, General Grievous Maquette, and Tion Medon Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode III - Mustafar Interviews

Mustafar Overview (4:29): Concept design supervisor Ryan Church talks about the process of designing the lava world.



Natalie Portman Interview (2:11): Portman discusses her character.

Deleted/Extended Scenes

Mustafar Duel Animatic (3:37)



Mustafar Duel/Lava River Animatic (3:49)

The Collection: Includes sections for Obi-Wan Lightsaber, Anakin Lightsaber, Mustafar Landscape Maquette, and Burnt Anakin Head.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode III - Kashyyyk and Order 66 Kashyyyk and Order 66 Overview (5:43): Ryan Church discusses how his team was actually directly inspired by the Star Wars Christmas Special for the design of Kashyyyk.

for the design of Kashyyyk. Deleted/Extended Scenes

Kashyyyk Attack and Order 66 Animatic (6:47): A long animatic that explores the fates of some of the additional Jedi.



Anakin Kills Shaak Ti (00:37): Here, Anakin stabs master Shaak Ti with his lightsaber at the Jedi Temple.

master Shaak Ti with his lightsaber at the Jedi Temple.

Jedi Imposters at the Temple (00:47)



Senate Duel Animatic (5:34): An altered version of the duel between Yoda and the Emperor.



Yoda Communes with Qui-Gon (1:00): Qui-Gon teaches Yoda to merge with the Force.

The Collection: Includes sections for Wookie Tree Maquette, Felucia Maquettes, Chewbacca Costume, Darth Vader Costume, and Imperial Officer Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Bonus Disc 2: Original Trilogy Features



Episode IV - Tatooine Interviews

Tatooine Overview (3:49): Production illustrator Ralph McQuarrie talks about some of his initial paintings/drawings for George Lucas, 2nd Cameraman Dennis Muren discusses the Tunisian shoot, and sound effect artist Ben Burtt describes how he came up with the Jawa language.



Mark Hamill Interview (2:15): Hamill briefly discusses working with Lucas, meeting Alec Guiness, and having fun on set.



Anthony Daniels Interview (1:21): Daniels talks about the odd couple relationship between C-3PO and R2.

Deleted/Extended Scenes

Tosche Station (5:21): Awesome. Ever wonder what Tosche Station is? Turns out it's the local hangout for Luke and his buddies. There's a great scene here where Biggs reveals to Luke his plan to join the rebellion. You can see why this was cut--it would definitely slow down the film-- but it's a great piece of previously unseen Star Wars history.

history.

Old Woman on Tatooine (00:24): An elderly woman tells Luke to drive safely.



Aunt Beru's Blue Milk (00:31): A shot of Beru filling up her pitcher with that gross-looking gray/blue liquid they drink at the dinner table.



The Search for R2-D2 (00:42): Lucas cut this scene because he thought the rear projection visual effects weren't up to snuff.



Cantina Rough Cut (7:18): A preliminary version of the Cantina sequence. Look out for Han-Solo hanging out with a local lady friend!



Stormtrooper Search (00:54): Some of this unused footage found its way into the Star Wars Holiday Special .

. The Collection: Includes sections for Landspeeder Prototype Model, Millenium Falcon Prototype Model, R2-D2, Tatooine From Orbit Matte Painting, Jawa Costume, Tusken Raider Mask, and Ketwol Mask.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode IV - Aboard the Death Star Interviews

Aboard the Death Star Overview (5:47): Sound effects designer Ben Burtt talks about how he had a "field day" making sounds for the Death Star.



Carrie Fisher Interview (1:45): Fischer discusses the audition process and her reaction to her theme in the score.

Deleted/Extended Scene

Darth Vader Widens the Search (00:36): Additional footage that made its way into the holiday special.

The Collection: Includes sections for Death Star Prototype Model, Holo-Chess Set, Bridge Power Trench Matte Painting, and Luke's Stormtrooper Torso.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode IV - The Battle of Yavin Battle of Yavin Overview (4:22): Dennis Muren discusses the process of filming the Death Star trench run sequence.

Deleted/Extended Scene

Alternate Biggs and Luke Reunion (00:36): An extended version of the scene, including a reference to Anakin.

The Collection: Includes sections for X-Wing Fighter Prototype and Final Models, Y-Wing Prototype and Final Models, TIE Fighter Prototype and Final Models, Darth Vader's TIE Fighter Model, X-Wing Pilot Costume, Death Star Laster Tower Model, and Yavin 4 Matte Painting.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode V - Hoth Interviews

Hoth Overview (3:31): Dennis Muren explains how he tried to do as many of the effects in-camera to avoid having to do complicated composite work. There's some great footage here of the filming of some stop-motion sequences.



George Lucas on Editing The Empire Strikes Back , 1979 (3:25): A vintage interview with George, who compares editing to constructing a house.

, 1979 (3:25): A vintage interview with George, who compares editing to constructing a house.

Irvin Kershner Interview (3:02): Kershner gives his thoughts on Mark Hamill, Harrison Ford, and Carrie Fisher.

Deleted/Extended Scenes

Han and Leia: Extended Echo Base Argument (1:43): Nice. In this long version of their arguement, Han tells Leia, "You're as cold as this planet."



Luke's Recovery (1:16): Additional footage of Luke in the medical tank.



Luke and Leia: Medical Center (2:15): Luke and Leia very nearly end up making out, only to be interrupted by R2.



Deleted Wampa Scenes (2:43): In the script, the Wampa was supposed to rampage through the Hoth base, but Lucas was unimpressed with the effects work--it's not hard to see why, the Wampa looks like a guy wearing a shag carpet--and the subplot was cut.



The Fate of General Veers (00:31): Here, General Veers suffers a kamikaze attack from a snowspeeder.

The Collection: Includes sections for AT-AT Walker Fallen Model, Snowspeeder Model, Tauntaun Maquette, Rebel Transport Model, Hoth Landscape Matte Painting, Leia Hoth Costume, and Han Solo Interior Hoth Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode V - Dagobah Interviews

Dagobah Overview (4:29): A behind-the-scenes look at the Dagobah set, which presented some unique challenges to shooting. Frank Oz also discusses Yoda's speech syntax.



George Lucas on the Force, 2010 (5:20): Lucas talks about the philosophy of the Force in what looks to be a writer's room.

Deleted/Extended Scene

Yoda's Test (1:21): The special effects were never completed on this sequence, which has Yoda levitating a silver bar and having Luke try to slice it in half.

The Collection: Includes sections for Yoda Model, Luke's Severed Head, Dagobah Bog Matte Painting, Dagobah Matte Painting, and Luke's Tan Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode V - Pursued by the Imperial Fleet Pursued by the Imperial Fleet Overview (3:25): Muren talks about the execution of the astroid chase sequence.

Deleted/Extended Scenes

Hiding in the Astroid (1:06): Here we see Harrison Ford and Carrie Fisher reacting to "explosions," which were really just the cameraman shaking the camera.



Alternate Han and Leia Kiss (1:59): A longer version of the Han/Leia kiss, with C-3PO ruining the moment.

The Collection: Includes sections for Star Destroyer Model, Millennium Falcon Model, Space Slug, Darth Vader's Star Destroyer Model, Star Destroyer Hull Model, Executor Bridge Matte Painting, Boba Fett Prototype Costume, Imperial Officer Costume, and Rebel Cruiser Model.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode V - Cloud City Cloud City Overview (2:54): Production designer Norman Reynolds talks about the influence of the Bauhaus school of architecture on Cloud City.

Deleted/Extended Scenes

Lobot's Capture (00:57): Here, Lando's aide, Lobot, is captured for his role in the rebel escape.



Leia Tends to Luke (1:03): Leia works on Luke's arm and talks about how Han was taken by Boba Fett.

The Collection: Includes sections for Twin-Pod Cloud Car Model, Cloud City Models, Cloud City Matte Painting, Cloud City Landing Platform Matte Painting, Cloud City Core Vane Matte Painting, Core Vane Platform Matte Painting, Lando Bespin Costume, and Slave I Matte Painting.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode VI - Tatooine Tatooine Overview: A look at the production design for Jabba's palace.

Deleted/Extended Scenes

Vader's Arrival and Reaching Out to Luke (2:50): A nearly complete sequence that almost made it into the final cut, with Vader contacting Luke via the Force while Luke builds his new lightsaber.



Tatooine Sandstorm (2:15): An impressive sandstorm sequence that never made it into the film. With big goggles and a scarf blowing in the wind, Han Solo looks like a badass here.

The Collection: Includes sections for Rancor Maquette, EV-9D9, Salacious B. Crumb, C-3PO's Head, Jabba's Palace Matte Painting, Sarlacc Pit Matte Painting, Leia's Boushh Costume, Leia's Slave Costume, Lando Skiff Guard Costume, and Jabba's Radio Controlled Eyes.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode VI - Endor Interviews

Endor Overview (4:52): Dennis Muren explains how he initially planed out the speeder-bike chase using G.I. Joe models, and how he simulated 100mph speeds by shooting one frame per second.



Harrison Ford Interview (1:34): Ford talks about Lucas' vision and process.

Deleted/Extended Scene

Rebel Raid on the Bunker (2:22): In this extended sequence, the rebels encounter more resistance as they storm the bunker.

The Collection: Includes sections for AT-ST Walker Model, Speeder Bike, Imperial Shuttle Model, Ewok Hang Glider Maquette, Imperial Shuttle Landing Matte Painting, Endor Landing Platform Matte Painting, Ewok Costume, and Biker Scout Costume.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Episode VI - Death Star II Space Battle Death Star II Space Battle Overview (4:04): Model maker Bill George discusses the added complexities of shooting this attack on the second Death Star.

Deleted/Extended Scenes

Jerjerrod's Conflict (2:28): Minor character Commander Jerjerrod was featured in a few additional shots that were ultimately cut from the film. Here, we see his reluctance to carry out the attack on the Endor moon.



Battle of Endor: The Lost Rebels (9:40): Nine minutes of footage of rebel pilots who never made it into the film, including two female pilots and an Admiral Ackbar-type creature who, at one point, yells out, "Fried calamari tonight!"

The Collection: Includes sections for B-Wing Fighter Model, TIE Interceptor Fighter Model, Death Star Under Construction Model, Imperial Shuttle Bay Matte Painting, Admiral Ackbar Costume, Death Star Docking Bay Matte Painting, and Millennium Falcon in Hangar Matte Painting.

360 Degree Turnarounds



Video Commentaries

Concept Art Gallery Bonus Disc 3: The Star Wars Documentaries The Making of Star Wars (1977, SD, 49:01): A retro making-of documentary and promo piece that came out shortly after the first film's release. Includes interviews with George Lucas and appearances by Mark Hamill, Harrison Ford, and Carrie Fisher.

A retro making-of documentary and promo piece that came out shortly after the first film's release. Includes interviews with George Lucas and appearances by Mark Hamill, Harrison Ford, and Carrie Fisher. The Empire Strikes Back: SPFX (1980, SD, 48:05): Similarly, a making-of doc for Empire , which looks specifically at the then- innovative visual effects.

Similarly, a making-of doc for , which looks specifically at the then- innovative visual effects. Classic Creatures: The Return of the Jedi (1983, SD, 48:07): An exploration of the menagerie of Star Wars creatures, compared to and contrasted against the grand tradition of movie monsters. Hosted by Carrie Fisher and Billy Dee Williams.

An exploration of the menagerie of creatures, compared to and contrasted against the grand tradition of movie monsters. Hosted by Carrie Fisher and Billy Dee Williams. Anatomy of a Dewback (1997, SD, 26:17): A look at the process of turning the rubber puppet dewbacks of the original trilogy into moving CGI creatures for the special edition release of A New Hope .

A look at the process of turning the rubber puppet dewbacks of the original trilogy into moving CGI creatures for the special edition release of . Star Warriors (2007, SD, 1:24:00): A tribute to the 501st Legion, an international group of Star Wars cos-play enthusiasts who hold "armor parties" and do volunteer work. The cruel part of me wants to ask some of these people, "Aren't you a little fat for a stormtrooper?" This is the first time this doc has been included on a Star Wars home video release.

A tribute to the 501st Legion, an international group of cos-play enthusiasts who hold "armor parties" and do volunteer work. The cruel part of me wants to ask some of these people, "Aren't you a little fat for a stormtrooper?" This is the first time this doc has been included on a home video release. Star Wars Tech (2007, 1080p, 45:36): Another first-time-on-video doc, this one exploring the plausibility of the science in Star Wars , including interviews with "leading scientists in the fields of physics, prosthetics, lasers, engineering, and astronomy." Pretty cool.

Another first-time-on-video doc, this one exploring the plausibility of the science in , including interviews with "leading scientists in the fields of physics, prosthetics, lasers, engineering, and astronomy." Pretty cool. A Conversation with the Masters: The Empire Strikes Back 30 Years Later (2010, 1080i, 25:11): This new retrospective will probably be of most interest to fans, as it features George Lucas, the late Irvin Kershner, Lawrence Kasdan, and John Williams looking back on Empire .

This new retrospective will probably be of most interest to fans, as it features George Lucas, the late Irvin Kershner, Lawrence Kasdan, and John Williams looking back on . Star Wars Spoofs (2011, 1080i, 1:37:32): An hour and a half long collection of Star Wars parodies in pop culture, from a vintage Candid Camera clip from 1977 to the adorable "Young Vader" Volkswagon commercial that aired during the 2011 Super Bowl. Includes segments from SNL, Robot Chicken, That 70s Show, Fanboys, Chad Vader, and more. Do note that discs one and two include English SDH, Spanish, French, Dutch, and Portugeues subtitles, while the features on disc three include subs in those languages, plus Brazilian Portuguese, Finnish, Swedish, Norwegian, Danish, Czech, Hungarian, Polish, and Greek.

To start, a quick note on the packaging.is housed in case that's nearly identical, structurally, to last year'sreleasethe same height, width, depth, and material. (Only less glossy this time around.) The cardboard pages are thick and have embedded semi-circle slots for the discs, which are easy to slide out, but not so easy that you'd ever worry about them falling out on their own. Each page features painted artwork, and in the back you'll find a "Guide to the Galaxy" booklet that provides a break-down of what special features are included. I'm not incredibly fond of the cover art, but this is definitely a handsome Blu-ray set, one that will look great sitting next to theon your shelf.Now, on to the good stuff. I'll give a detailed listing below of everything that's included, but it will probably be beneficial to first give a breakdown of theof special features that are spread out across these nine discs.Along with the disc for each film, the set includes three bonus Blu-rays, where you'll find a substantial collection of old and new material. The third disc contains an assortment of documentaries, most of which we've seen before, while the first two contain film-specific supplements, arranged by the locations within each film. You'll see what I mean below. The layout for discs one and two is fairly easy to peruse, but if you enjoy watching special features in bulk you might want to hit "play all," as the transitions between each section can get repetitive. Here are the main kinds of features you can expect:Now, onto the full breakdown ofthat's included:Do note that discs one and two include English SDH, Spanish, French, Dutch, and Portugeues subtitles, while the features on disc three include subs in those languages, plus Brazilian Portuguese, Finnish, Swedish, Norwegian, Danish, Czech, Hungarian, Polish, and Greek.

Star Wars: The Complete Saga Blu-ray, Overall Score and Recommendation



No, the "untouched" original trilogy is not included. Yes, there are some goofy new additions, like Darth Vader yelling "NOOOOO" as he throws Emperor Palpatine over the railing. I don't think anyone expected this release of The Complete Saga to be free of controversy. But come on. It's Star Wars. On Blu-ray. This is a once-in-a-technological-generation event, and if your hatred of George Lucas' revisionist tinkerings keeps you from enjoying some of your favorite films in high definition, you're missing out. Believe me, I share your pain. Whenever I hear that stupid funk song inside Jabba's palace, I cringe like a man being forced to bite down on tin foil or chew sand. It's almost physically painful. But I'm done being bitter. I'm playing the long game. One of these days, Lucas will wise up and realize that the original trilogyin its original formis a culturally and historically important piece of pop art that belongs to its fans. But until that day, I'm going to enjoy this Blu-ray box set. The films have never looked or sounded better Episodes III-VI are particularly impressiveand they come with a fantastic collection of special features. Highly Recommended!



No, the "untouched" original trilogy is not included. Yes, there are some goofy new additions, like Darth Vader yelling "NOOOOO" as he throws Emperor Palpatine over the railing. I don't think anyone expected this release ofto be free of controversy. But come on. It's. On Blu-ray. This is a once-in-a-technological-generation event, and if your hatred of George Lucas' revisionist tinkerings keeps you from enjoying some of your favorite films in high definition, you're missing out. Believe me, I share your pain. Whenever I hear that stupid funk song inside Jabba's palace, I cringe like a man being forced to bite down on tin foil or chew sand. It's almost physically painful. But I'm done being bitter. I'm playing the long game. One of these days, Lucas will wise up and realize that the original trilogyin its original formis a culturally and historically important piece of pop art that belongs to its fans. But until that day, I'm going to enjoy this Blu-ray box set. The films have never looked or sounded betterare particularly impressiveand they come with a fantastic collection of special features.