If I type “Romantic Realism” into the box which is labelled “Topics” I find only several of my own posts and this one. I am no judge of painting, however I would say that the above qualifies for such a label.

Regarding the following, I felt I put enough into this comment to repost it here:

RE:  Star Wars: Episode III – Revenge of the Sith |.

This young man posts the following:

D-Man:

Wow, I never knew that when Vader’s helmet lowers onto his head in Empire, he was in his “breathing room”, in a “vulnerable state”. I always assumed he was in his office. The officer was the one in the vulnerable position for bothering Vader. Didn’t think he was lower to the floor either, thought it was just the angle of the camera. Craziness! I also thought the Death Star in Return was the same one from the first movie >.> what can you do. Great review and very entertaining!

I give the following (unnecessarily long) answer:

Citizen Cane:

As regards the “pod” scene. Truly, my young apprentice, that is why the reviewer points it out to the audience. We are pointedly aware of the trepidation felt by the officer informing Vader of the current situation re the Falcon. We are shown over and over in the original films that to the Empire individuals matter not. One wrong move as an officer and you are history! There is another officer probably not any more incompetent than you that may assume your post, and perhaps with your failure and subsequent death fresh in his mind he will perform better or more diligently.

We are so aware of and focused upon this aspect, that we don’t even see the weakness and vulnerability we are shown. But this is the first time we see Vader in the flesh, if only briefly, all scarred and disfigured. We understand subliminally–without even realising it–that Vader may remove his suit in this controlled environment. That this is a limitation forced upon him by whatever fate had befallen him in the past (we suspect, from the films only, that it may have been a fight with Obiwan perhaps, but we have no way of knowing this, from the films alone.) In any case, this is why our dear Mr. Plinkett uses his “You may not have noticed it, but your brain did.” meme. There is in fact nothing wrong with your perception, as all of us–unless we have some skill at film./story analysis–are meant to see the obvious, but on some level, infer the subliminal, or more subtly articulated message.

This is why the scene is so brilliant, and why those who worked on the first films, including the young Lucas himself created such a memorable experience for us all. In later years, it is as though Lucas has forgotten the language of cinema. Even in Return of the Jedi, wherein he introduced the “Ewoks” he was able to use the visual to convey emotion, as in the final battle to take over the generating station. Happy at first, when the surprise attack is working and the rebels are winning. Tragic later, when the Imperial forces are beginning to overwhelm the rebels and their primitive allies, whose clever means of combat are losing their effectiveness. There is, once again as it pointed out in these reviews, no dialogue to convey this. It is all done visually.

Somewhere along the line, George Lucas lost his edge. Sometimes success can do that. Perhaps it is because, to some degree, Lucas is no longer a lean tall healthy young man. It takes work and dedication when one is wealthy, to avoid the caviare and pate de foie gras when necessary, and stay in shape well into ones advancing years. Believe me; I know!! (although sadly not about the wealthy part of it!) And it is difficult to run all over a set when one is in the state of health in which Lucas more recently found himself.

I use the handle “Citizen Cane” because I happen to know that the best versions of “Jerry Atric” are generally taken.

Why not? Why indeed? Most kind of you to post your unfinished work. Many fear to do such a thing. I love, myself, reading unedited or even self-edited work, There is a feel to it, which one grows to love; and, once loved, free’s one of the allure of professionally published work; which, afterall, is merely the same work gone over by a professional eye in view of publication. But to see the work before this has been done. Is to see, as it were “the real thing.”