Classic Review: The Lord of the Rings Trilogy

Summary:  A superb adaptation, the most suitable cinematic echo of Tolkien’s immutable trilogy, and one of the greatest epics ever put to film.

Review: In setting out to review Peter Jackson’s adaptation of Tolkien’s supreme fantasy epic, I’m forced to consider the three films in their entirety (i.e. the extended editions) and as one work, because unlike other famous trilogies such as, say, ‘Star Wars’, the studio didn’t wait to pursue a sequel after a successful first installment — it was a single gamble from the beginning, and divided only by marketing and logistical necessity, as with the source material.

But to tackle such a monumental work, something that is so inseparable from my personal development, a little biographical reflection is necessary.

Tolkien first captured my imagination when I was about 9 years old, as I read his playful ‘The Hobbit’, the witty, straightforward adventure that serves as the prelude to ‘The Lord of the Rings’.  As anticipation built for the upcoming film trilogy, I absorbed the giddy excitement of my friends through osmosis, and plunged into the thick prose of the greater work with gusto.  I came out the other side somewhat changed, in ways I of course can only now appreciate.  Being an imaginative boy, I had always loved fantasy, but Tolkien’s lengendarium was different — it had substance, having in fact less in common with strict fantasy than history.  What Middle-Earth lacked in physical reality in made up for in spiritual truth — both in the religious sense and the broader rational sense.  I would never touch The Shire, but it was nevertheless solid to me.

When ‘The Fellowship of the Ring’ hit theaters, I was simply too young to handle the emotional intensity of it, and so I had to rely on the secondhand experience of my older brother, my parents, and my friends.  To me, it was like hearing from people who had visited Middle-Earth, and could describe it as fresh observers.  I relived the book, again, from the perspective of a witness.

A habit of mine at the time was to stay up way too late and wait for the creative part of my brain, perhaps in want of the dream-state, to be released.  Then I would write, draw, and imagine with the freedom only a child can possess.  As if I needed any more motivation, ‘The Lord of the Rings’ in its two forms, literary and witnessed, inspired a new burst of creativity, as I intuitively sought to capture the emotions of reading the novels, the anticipation of revisiting the world in a new way, hearing about it from friends, and finally seeing it.  To the point, Jackson wasn’t just adapting the story I loved, he was adapting me — into a filmmaker.

My fate was sealed when ‘The Fellowship of the Ring’ was released on DVD.  The experience was everything I wanted, and more.  It was actually not as though the filmmakers had reached into my imagination and created my vision of Middle-Earth — the dissonance, in fact, made it more profound.  The emotional intensity was great, but my absorption into the world was complete, and I believed once again.  A great film is like a stage magic act — you know that somehow the artist has fabricated what you are seeing, but the method escapes your notice, and the thrill of magic, the mystery of it, appears.  The magician is at the top of his form when you most want to be like him.  The best thing a magician or a filmmaker can win is not applause, nor critical adulation, nor an apostle, but an apprentice.

The second most beautiful thing about ‘The Lord of the Rings’ films is that the filmmakers never compromise on the level of graphic detail that is present in the source material.  The plot is highly condensed, and with good reason; Tolkien’s dense, meandering prose is impossible to translate beat-for-beat to cinema.  What works for an invented history does not work for narrative film, even one that stretches 726 minutes.  The story itself survives.  Filmmakers should always understand story in the sense of a retelling, as if you had to explain everything that really mattered in a short amount of time.  Proper film craft stresses  economy and emotion.  When the key emotions are tied up in how real the world feels, it takes a special effort to achieve immersion.  Here Tolkien’s description and the filmmakers’ production design synchronize; the visuals suggest all the depth of history that Jackson never has a chance to share with us.

By far the best quality of the trilogy is the cast.  Their chemistry is fantastic.  Not a single actor is miscast.  It’s clear from the extensive behind-the-scenes material that they grew into a family.  There’s not a relationship, scene, or line that feels wrong.  If life did not so directly compliment the art, these films would not work.  There’s no such thing as a flawless film, only a film you can’t quit.  ‘The Lord of the Rings’ is highly addictive.  Like the original ‘Star Wars’ trilogy, the people give this production, which could have easily collapsed under its own weight, such soul that the story transcends standard cinematic storytelling.  In this way, its emotional detail alone equals the historical detail of the novels.  You couldn’t hope for a better adaptation.

Considering the films as a single experience, it becomes much more difficult to criticize the weaker sections of the narrative, in particular the ending.  In the theater, I did not begrudge Jackson’s decision to follow Tolkien to the Grey Havens.  Later on, as other viewers complained that it was too long and perhaps too sad, I flipped over.  Now I’ve flopped back.  I understand why the long ending is the right one.  After all the darkness and despair, to transform the final section of the film into a potion of joy through a veil of sadness  — well, I think it’s obvious that it’s poetry.  Heck, the ending is kind of short in the proper perspective.

‘The Lord of the Rings’ is the ‘Star Wars’ of my generation, because obviously the ill-conceived prequels were not.  All things considered, I’m pretty happy with that.  ‘The Lord of the Rings’ pushed filmmaking craft forward in all the right ways, with a timeless story at its core, and it is undoubtedly a classic, one epic to rule them all.

NR: The King of the Monsters

James here with Wednesday’s News Reflections.

There are a couple of film series that I watch purely for nonsensical gratuitous action-packed thrills.  One is the acclaimed ‘James Bond’ series, and the other is Toho Ltd.’s legendary slice of cheese, ‘Godzilla’.

After 50 years in which Toho produced 28 films, the series went into hibernation, awaiting a third reboot. Now, working with Legendary Pictures (responsible for reboots such as ‘Batman Begins’ and ‘Clash of the Titans’), Toho shall wake the king of all kaiju for a Hollywood film in 2012. The last time Toho left the series in American hands, it turned out as a drive-thru action picture, not a feast of monster mayhem. The folks at Legendary seem to understand the franchise’s essence and appeal, however, so I’m quite positive about the project.

Now, as Collider (among others) reports, Legendary has hired the reboot’s director: Gareth Edwards, a new kid on the block.  This guy just brought us an independent monster movie, appropriately titled ‘Monsters’, that I, unfortunately, missed in the preferable theater experience.  The critical reaction was mostly positive, citing it as intelligent, emotional, and effective, and Edwards’ reputation got a level up.  I wish I could say something of value about his skill set, ideas, etc., but so it goes.  There is reasonable doubt of whether Edwards is too green to handle a project the size of ‘Godzilla’.  It’s a lot on his shoulders, and I would understand if he played it safe, or went with the studio’s agenda without much resistance.  In question also is his ability to handle a larger-than-life action picture, having jumped from conservative filmmaking to a film devoted to colorful excess.  I can’t answer either question, of course, but it has me somewhat worried.

‘Godzilla’ is a B-movie icon because of the violence inherent in the premise. Still, the creature was born from legitimate fears.  It’s not only possible, it’s certainly preferable to tell the story about the apocalyptic paranoia at its heart.  This, hopefully, is why Legendary hired Gareth Edwards.  I hope that he can prove the monster’s transcendence.  He’ll also have to deliver on the fiery intensity, awesome visuals, and monster mashes the franchise is known for.  For what my wishes are worth, I wish the project luck.  Go for it, folks.  Earn my ten dollars.