The Moons of Iego: The Padmé Amidala & Anakin Skywalker Website

MISCELLANEOUS : ECHOED MOMENTS : ANAKIN & PADMÉ

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Soothing Presence: In all three prequels, there are scenes of Padmé comforting Anakin in a time of deep emotional distress, often after a bad dream, and often about his mother. It's only in the third movie that this comforting effect seems to be losing its hold - this time because it's a dream of Padmé herself.

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Cruisin' together: The pair of images that inspired this section. In TPM and AOTC, there are moments - perhaps coincidentally both on desert planets - where our couple ride a beast of burden together (and look darn cute doing it).

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Anakin's Dark Deeds: In AOTC and ROTS, Padmé learns her beloved has committed horrific acts. The crucial difference, which shapes her own response, is how Anakin himself perceives them: in AOTC, he is ashamed and remorseful, and Padmé comforts him. In ROTS, however, he is exultant and displays absolutely no remorse, and Padmé is aghast.

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Is He/She All Right?: A pair of scenes that Lucas himself, on the ROTS DVD commentary, specifically cites as an example of scenes meant to echo each other. Briefly awakening from the trauma endured on Mustafar, Padmé's first concern is for Anakin's well-being. When Anakin first comes to after being rebuilt in the Vader suit, his first question is for Padmé's well-being. The news is tragic for both.

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Death and Birth: The finale of ROTS keenly illustrates the symbiotic, mirrored fates of Anakin and Padmé. Intercut are scenes of each of them struggling in intense - and perhaps shared - agony on an alien medical table surrounded by droids and harsh lighting. Padmé's death comes with the birth of Luke and Leia; Anakin's symbolic death brings about the birth of Darth Vader.

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Happy Reunions: Nothing said these echoed moments would be strictly film-only. ;) In both ROTS and TCW, Anakin greets his wife after a long absence by picking up and twirling her around as she embraces him fiercely.

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Declarations of Love: Two movies, two scenes where Padmé declares her love. One marks a new beginning. The other a tragic end.

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The Lady and her Champion: In TPM and AOTC, Padmé rewards a heroic deed of Anakin's with a spontaneous expression of deep affection.

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Wait For Me: In AOTC and ROTS, crucial turning points come when Anakin leaves Padmé on what he sees as a necessary mission, telling her to stay behind and he will return soon. In both cases, his return will see him changed forever, something which might have been averted if she'd gone with him - or never let him go at all.

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Take My Hand: In TPM, when Anakin takes Padmé by the hand, it's out of pushy eagnerness. In AOTC, it's done out of courtly reverence, leading her into or out of a waiting vehicle.

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Never Saw True Beauty 'Til This Night: A young boy enchanted by the girl before him, a young man enchanted by the woman before him. In TPM he speaks to her with confidence; in AOTC, he stumbles. Both times, she is left charmed by what she sees as nothing more than the childish affections of a younger boy.

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Politics: AOTC and ROTS both have moments showcasing the political differences between Anakin and Padmé. AOTC's is early in their courtship and Anakin smooths over the disagreement by pretending he was joking. In ROTS, this time the troubled Anakin takes the disagreement personally, and it's the first time we see him remotely express anger towards Padmé.

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In the Bedroom: One thing that sets the prequels apart from the original trilogy is their willingness to show their lead romantic couple in bed together, even if somewhat indirectly. In AOTC, Anakin charges onto Padmé's bed to save her from an assassination attempt, lightsaber lit - a teenager could easily spot the innuendo/symbolism. By the time of ROTS, Anakin and Padmé are married, and Anakin no longer has to resort to charging to the rescue to have a reason to share a bed with Padmé. ;)