Concerns of the Tolkien literati: ‘Lord of the Rings’ 20 years later • The Duquesne Duke

]

by Simon Jaronski | staff columnist

Jan. 20, 2022

The titanic imagination of J.R.R. Tolkien looms large over the contemporary landscape of culture and entertainment. With the 20th anniversary theatre debut of Peter Jackson’s film adaptation of ‘The Fellowship of the Ring” recently having passed in December, and the upcoming “The Lord of the Rings: The Rings of Power” Amazon Prime series in 2022 being highly anticipated, a recent debate has once again emerged from the shadows: How can one transform a highly venerated work of literature into film or TV tastefully? Alternatively, should it be attempted at all, or is it simply apostasy?

There will always be those who question Peter Jackson’s directorial interpretation of Tolkien’s legendarium. And, quite frankly, I refuse to dismiss them as ivory tower barons, if not solely for the debt owed them by all who love the works of Tolkein: their advocacy for the relevance of LoTR cannot be understated in its importance, and has helped to reinvigorate the timeless epic.

Some of his more unfortunate elisions appear particularly irksome to those scholars who demand an undeviating interpretation of the Professor’s works, with regard to theological, ecological or philological considerations that seem unimportant to the action packed world of cinema. The role of Tom Bombadil, the Scouring of the Shire and epic songs and poetry all come to mind.

But perhaps the democratization of Middle-earth and it’s lessons make the natural dilution of Tolkien’s prose quality — insofar as translation to the big screen naturally exacts that toll — well worth it. And far from merely detracting, these films decisively augment in many ways.

Howard Shore’s masterful score, which has consistently been ranked among the greatest and most recognizable of all time by BBC, adds considerable weight and gravitas to the Third Age. The rustic beauty of the Shire, the soul crushing Evil of Mordor and the soaring triumph of free civilization in the War of the Ring: Does not the ineffable quality of music lend itself to cinema and story in ways that can elevate beyond the page, and color experience of even familiar characters in wholly new ways?

This is but one example of how new life can be breathed into a world staunchly defended by those who would wish to see it unchanged. Regardless I sympathize and agree with them.

The promotion of gratuitous violence, the wanton exploitation of our less refined proclivities and increasingly desensitized capacities for wholesome entertainment — all of these are met too eagerly by commercial interests who stand ready to provide us with utterly non-stimulating and banal content.

Tolkien and Jackson, both possessors of keen minds, and both uncompromisingly principled (perhaps I shall address the shortcomings of The Hobbit trilogy elsewhere), have something to offer to a deprived and depraved public through their respective skillsets.

Although George R. R. Martin has grappled with Tolkien problematically in the past (perhaps he can properly spar with his idol if and when he sees fit to complete his fantasy opus), his work — ‘A Song of Ice and Fire’ — deserves plaudits for conveying a vision of moral complexity, one made even more impressive through its scope and realism. However, there is an object lesson in his joint venture with HBO, and the converse of its result is visible in Jackson’s product.

His iconic penchant for grisly violence aside, Martin’s techniques are not undue: they further a genuine artistic goal, one that was at times derailed through a personal struggle to finish his own work, and the necessities of business that came from being inextricably bound to an HBO series that halted for no man. Therein lies the danger, which was obviously no issue for Tolkien, since he died nearly 30 years before Fellowship debuted. The issue is evergreen nonetheless.

Tolkien’s work, however, serves as the ideal bulwark against the dark forces of moral and cultural turpitude that have seemed to overwhelm modern society. His vision is fundamentally one of hope. Although Mankind is corruptible (as we know well from the story of the Ring), there is Good, Truth and Beauty yet among us.

While there may be a way to do so, a discussion of Tolkien’s political views is unwarranted here. Perhaps they can be discerned through context (if at all), or with knowledge of the author’s unshakeable Roman Catholic faith. No matter. Whether liberal or conservative, religious or secular, American, British or otherwise, we all like to believe in the ability of the small and simplistic to persevere in the face of great opposition; in the natural equilibrium of the universe — that Justice might ultimately be done, and Evil be the source of its own undoing; that different cultures and peoples might attain harmony, balance and friendship.

In 2022, we find ourselves in an execrable desert and a veritable wasteland of culture. Our most popular music glorifies violence and the routine degradation of women; the assembly lines of Hollywood manufacture items of prosaic and unintelligent nature; we revere models and makers of TikToks instead of authors, doctors and creators. How might we liberate ourselves from mental drudgery and self-imposed exile in the Dead Marshes of Digital Age ennui? There are yet stories of uplift and hope among us, that recall the kinder side of humankind.

PJ’s films are a reminder of Tolkien’s legacy, and a compromise with it and those folk who keep it alive through their unceasing interest in its finer details, and through their work in cultivating a sense of community among lovers of lore. And for many, those films will be a bridge into the written world of Middle-earth, where so much more lies to be discovered for the curious and imaginative reader on their own journey. Both men have done essential work, and their contributions to literature, cinema and the human spirit cannot be passed over in the course of this debate.

To invoke Tolkien himself in regard to this desolation: ‘To the Hobbits. May they outlast the Sarumans and see spring again in the trees.’

The Lord of the Rings/Hobbit Movies Ranked Best to Worst

]

Peter Jackson’s beloved Lord of the Rings movies is incredible enough upon realizing just how well their special effects have aged. However, the movies become even more impressive once you realize Jackson and company had the difficult job of condensing 1,171 pages to the screen. Given that J.R.R Tolkien was a heavily expositional writer who sometimes did his world-building at the expense of his narrative, it’s no easy task.

As for The Hobbit trilogy? Well, that’s another story. Indeed, the movies were well-cast, but Jackson was burnt out by this point in the game. Certainly, if you’re a fan of Middle-Earth, you’ll enjoy the way he depicts the universe regardless. And Martin Freeman as Bilbo Baggins is a joy to watch – as is Ian McKellen as Gandalf the Grey.

That being said – how to rank the Lord of the Rings/Hobbit movies overall? Well, let’s see…

6. The Hobbit: Battle of the Five Armies (2014)

If there’s one thing the Hobbit relies on too much, it’s CGI. As a result, you often feel like you’re watching a video game. While the titular battle is epic, no tension is felt during the movie. We know Legolas survives to see LOTR – but it only makes things worse when he effortlessly defies the laws of gravity and is unfettered by any adversary he comes across. As usual, Martin Freeman’s performance remains the best part of the film, and when a particular character does bite the bullet, you can’t help but feel a little sadness. By no means is Battle of the Five Armies a bad movie – in fact, none of the films on this list are terrible, per se. However, its preference for epic fantasy warfare over actual storytelling makes it the weakest of Peter Jackson’s Middle-Earth movies. While there’s room for both in a Middle-Earth film, they succeed only when both of these are executed in equal measure.

5. The Hobbit: An Unexpected Journey (2012)

While it may be An Unexpected Journey, it is somewhat expected padding. After all, we knew at the time Jackson was doing three Hobbit movies based on a 310-page children’s book. Therefore, he needed to add his own embellishments to justify three films and get our money. To his credit, Jackson adds Galadriel to the plot to espouse exposition and further emphasizes Elrond’s importance to the story. And, look, Martin Freeman is inarguably perfect casting for naïve, charming Bilbo Baggins. However, we care little for the personality-less dwarves, and the video game-like fight scenes are so devoid of tension they feel more annoying than welcome. That said, the movie has those gorgeous New Zealand panoramas – and seeing Andy Serkis play Gollum is always a pleasure.

4. The Hobbit: The Desolation of Smaug (2013)

The Hobbit movies are middling at best, so it’s hard to choose the best contender. That said, after some thinking, it’s evident Desolation of Smaug takes the top spot. The set-pieces are fantastic – from the spiders of Mirkwood to the Elves and, of course, Smaug himself. Also, as Bilbo and company tread closer to Smaug, there are far more stakes felt than in the previous film. And as Gandalf investigates further into the necromancer and Bilbo realizes the ring’s alluring power, we can’t help but feel chills of foreshadowing regarding LOTR. It’s not Peter Jackson’s best Middle-Earth effort. But it is the best of the three Hobbit movies, and you’ll have tons of fun here. And if you like the theatrical cut, maybe give the Extended Edition a go – you won’t regret it.

3. The Two Towers (2002)

The Two Towers is a fantastic entry. Certainly, it’s better than any of the three Hobbit films that followed. However, it suffers from being the middle-entry of the trilogy. Therefore, it doesn’t benefit from Fellowship’s engrossing set-up, nor does it have Return of the King‘s epic conclusion. That said, its introduction to Andy Serkis’s Smeagol/Gollum, the Riders of Rohan and Treebeard, and the Ents help expand Middle-Earth in a charismatic way. And then, of course, there’s the iconic Battle of Helms Deep, which is a strong reminder that there’s still room for live-action medieval fighting in cinema without overly relying upon CGI. Without a doubt, The Two Towers has some of the best battles in the Lord of the Rings movies.

2. The Fellowship of the Ring (2001)

Fellowship is a milestone in cinema. Blockbuster movies revolving around magic swords, ancient prophecies, and elves and dwarves were hardly popular stuff in 2001. Yet, Jackson’s first journey into Middle-Earth engrossed us into a movie universe unlike anything depicted before. When we weren’t mesmerized by Hobbiton and Rivendell, we were swept up by Frodo’s pressurizing destiny and fell in love with the titular fellowship, character-to-character. Fellowship is also a glowing reminder of how using an even mix of real locations and CGI can do wonders. Remarkably, the 2 hour 58-minute runtime glides by, thanks to the movie’s excellent pacing and success in hooking you at every turn. By the end of this film, Frodo, Gandalf, Aragorn, and company will have you wrapped around their finger, like the One Ring itself.

1. Return of the King (2003)

Wow, wow, wow. This is how you craft a satisfying narrative conclusion. Return of the King neatly rounds off Peter Jackson’s trilogy by bringing in the big guns – from the Battle of Pelennor Fields to the large spider Shelob all the way to Mount Doom; Return of the King is action-packed. But what makes the action work is its culmination of several character arcs coming to a close. The film separates the comedic duo Merry and Pippin as they find responsibility on the battlefield and beyond. Frodo and Sam must deal not only with the mischievous Gollum but also the temptation of the ring as he furthers into Orc territory. And Aragorn finally seizes his destiny as the ruler of Gondor. It’s mired somewhat by an overlong ending, but overall, it’s the best LOTR film.

That said, this is just our take on what constitutes the best Lord of the Rings movies. Do you agree or disagree with our ranking? And are you pumped for the upcoming Lord of the Rings series on Amazon Prime?

Soothe your travel and movie itches with a trip to The Lord Of The Ring’s Hobbiton

]

Shooting at the Hobbiton Movie Set. (PHOTO: Tourism New Zealand)

“Life is always evolving and never standing still.”

That sounds like a quote straight out of J.R.R. Tolkien’s The Lord Of The Rings, but it’s actually the philosophy of Russell Alexander, the CEO of the Hobbiton Movie Set Tours. And it’s an apt one that summarises his experiences, having seen the set transform from a mythical place for the films, to a tourist attraction for Tolkien fans from all over the world, to having had to evolve with the pandemic and its challenges.

The Hobbiton Movie Set is where scenes taking place in the eponymous Hobbiton and the surrounding regions of the Shire were filmed in the The Lord Of The Rings and The Hobbit film series. The movies, which take place in a fantasy world where noble Elves, stoic Dwarves, homely Hobbits and diverse Men live, tell epic tales of good versus evil. Hobbits are the smallest race of creatures in the world, with adult Hobbits being barely larger than the size of a human child. The Hobbits were characterised as the most peaceful and domestic of the races, loving nothing more than comfort and good food to pass their days.

Miranda Otto as Éowyn at Mount Sunday in Canterbury. (PHOTO: Tourism New Zealand)

“All we have to decide is what to do with the time that is given to us.” - Gandalf the Grey

Situated in the North Island of New Zealand, the Hobbiton Movie Set is southwest of the town of Matamata in Waikato. The story of its conception is much like that of how great stars are found. The Hobbiton Movie Set has humble beginnings as the Alexander Farm (owned by Russell Alexander’s family). It was spotted in 1998 during an aerial search for the location scouting of The Lord Of The Rings trilogy. After negotiations with the Alexander family, work began on transforming the farm into a movie star in its own right in March of 1999. Viewers worldwide got to see it when The Lord Of The Rings: The Fellowship of the Ring hit cinemas in 2001.

Russell Alexander, CEO of Hobbiton. (PHOTO: Tourism New Zealand))

The unprecedented popularity of The Lord Of The Rings, with its Elves, Dwarves and Hobbits having captured the imagination of audiences globally, made opening a temporary movie set the next logical move. So in December 2002, the Hobbiton Movie Set opened for tours — albeit temporarily (at the time).

Story continues

But it was in 2010 that the Hobbiton Movie Set took the next step in its evolution. The Hobbit trilogy was greenlit for production and Hobbiton was going to hit the screens once more. So the set was rebuilt, this time in a more permanent fashion, for the films’ production in 2011.

And the rest, as they say, is history.

Russell Alexander, CEO of Hobbiton. (Sir Ian McKellen as Gandalf the Grey filmed against the backdrop of the Southern Alps. The One Ring at Jens Hansen Jeweller. (PHOTO: Tourism New Zealand)

“Not all those who wander are lost.” - Bilbo Baggins

Today, the Hobbiton Movie Set is home to a variety of different tours, each focusing on a different aspect of life in Hobbiton. Eagle-eyed (and mathematically-inclined) readers will have noticed that 2021 marked the 20 year anniversary of the first The Lord Of The Rings film. To celebrate that, a special 20 Year Anniversary Celebration tour was organised, complete with a movie screening, for fans young and old.

Highlights of the tours include a visit across the 12-acre set, with 44 Hobbit Holes (the homes of the hobbits), the Mill (the water-mill of Hobbiton) and the Green Dragon Inn. Visiting the Hobbiton Movie Set during different seasons yields very different experiences, shared Alexander.

“Spring is new life,” he said of the colourful flora and fauna of the season. “And the sun is very different in summer.” He also noted that the autumn leaves were a distinctive mark of that season, and winter provided a colder, unique look at the Hobbiton Movie Set. Because of its varied outdoor locations, flowers and colours look different in every part of the year.

Hobbiton in Autumn. (Tourism New Zealand)

But the highlight has to be the Green Dragon Inn, which is where the Hobbits would gather for drink and merrymaking.

“There’s a lot of infrastructure required to keep it looking really pristine and authentic,” shared Alexander, who likened the running of the location to having to oversee multiple cogs in a system. And what inn is complete without good drinks? Amber Ale and the Hobbiton Movie Set-exclusive Southfarthing ales are available for those who want to lead the life of a Hobbit — while they’re there, that is.

He opined that what visitors really want is an authentic experience when they came to the Hobbiton Movie Set. Visitors “want an authentic experience and real people, original to the movies. So it’s about training the staff to give an authentic experience, a real experience.”

For those who love picturesque scenery, nearby is the Putangirua Pinnacles. The Kaimai Ranges are also visible from the set.

Putangirua Pinnacles. (PHOTO: Tourism New Zealand))

“May it be a light to you in dark places, when all other lights go out.” — Galadriel

Like many other places, the pandemic has been challenging for the Hobbiton Movie Set. But Alexander looked at it positively. “Life is meant to test us,” he shared “and what doesn’t kill you makes you stronger.”

“The light at the end of the tunnel is not too far off.”

Shooting at the Hobbiton Movie Set. (PHOTO: Tourism New Zealand)

So has Alexander met any of the Hobbits? Sort of. His favourite Hobbit is Samwise Gamgee, the stoic companion to main character Frodo, played by Sean Astin. They had many conversations during the filming of the movies.

“He invited me to his caravan. He’s a warm, welcoming person — neat, warm, and hospitable. I enjoyed his character and his company.”

Much like how visitors enjoy the Hobbiton Movie Set, no doubt.

Alexander concluded by noting how “it’s just been a wonderful journey”, and how he hopes to share that journey with others.

And for those coming to the Hobbiton Movie Set, the journey is just beginning.

The One Ring at Jens Hansen Jeweller. (PHOTO: Tourism New Zealand)

“The wide world is all about you: you can fence yourselves in, but you cannot forever fence it out.” — Gildor

So what can you do at the Hobbiton Movie Set? Here are some ideas:

Instagram yourself as a hobbit in a Hobbit Hole (using perspective trips)

Earn bragging rights for visiting the Mill

Have a Southfarthing ale at the Green Dragon Inn

Marvel at the view of the Kaimai Ranges from the Hobbiton Movie Set

Feast like a hobbit at the Green Dragon Inn

Travel along the wandering paths of The Shire at dusk

Watch a specially recorded video by Peter Jackson

Check out the Putangirua Pinnacles nearby

Had breakfast already? Have second breakfast at the Green Dragon Inn

Use a lantern to light the way in The Shire at night

Discover fascinating details about The Lord Of The Rings film trilogy

Relax in front of the crackling fire of the Green Dragon Inn

Buy the One Ring or Gandalf’s cloak (only replicas, but they’re still your precious!)

The Hobbiton Movie Set is open for tours in New Zealand.

Here’s why EA’s Lord of the Rings games start with The Two Towers and not Fellowship of the Ring

]

EA’s Lord of the Rings games from the early-2000s have become certified cult classics, but have you ever wondered why they start with The Two Towers and not Fellowship of the Ring, the first movie in the trilogy?

The answer was revealed in the latest issue of Retro Gamer, which is on sale now. As our sister publication learned from lead designer Jason Epps, EA’s first Lord of the Rings game was originally going to be based on Fellowship of the Ring, but due to timing constraints, it was changed to blend together the stories of the first two movies in the trilogy, released and marketed alongside The Two Towers in 2002.

Stormfront Studios actually began work on the Lord of the Rings games about a year before the film trilogy premiered with Fellowship of the Ring, but as development progressed, the developers realized they wouldn’t be able to finish the game before the first movie premiered, killing any cross-promotional marketing potential. “We realised early on, we couldn’t come out with the first movie,” Epps explained to Retro Gamer, “so we aimed for release with the second film in the series.”

Since a substantial amount of work had already been done using pre-release material from the first movie in the trilogy, Stormfront and EA decided to include the material based on Fellowship of the Ring but name the game The Two Towers to tie-in with the second movie as it premiered. “Clearly all the material we were going to receive during year one was going to be from the first film. It seemed obvious to take advantage of all that material, so the game became a blend of both,” Epps said.

As if the situation wasn’t confusing enough to folks who picked up The Two Towers game only to start their adventure all the way back at the first movie’s prologue, there was also a game from a completely different developer and publisher titled The Lord of the Rings: Fellowship of the Ring, which was based on J.R.R. Tolkien’s novel instead of the New Line films. Sheesh, imagine trying to untangle that web in the early days of the internet.

Mass review – impeccably acted school shooter reckoning

]

Mass is a wonderfully acted, if claustrophobic, ordeal of emotional pain. Perhaps against the odds, it achieves in its final moments a breakthrough of understanding and acceptance – and moves beyond its rather theatrically contrived confrontation, which may have been inspired by Yasmina Reza’s play God of Carnage, filmed by Roman Polanski in 2011. But it’s impossible not to be affected by the sincerity of this debut from actor-turned-director Fran Kranz, whose film shows that the subject of school shootings and their aftermath can be treated without the ironised horror of, say, Lionel Shriver’s We Need to Talk About Kevin.

The scene is a church in Idaho that has evidently offered its premises as the venue – a safe space, perhaps – for a healing encounter between the parents of a boy killed six years previously in a school shooting and the parents of the boy who killed him. (Franz allows us to register that there happens to be a slightly truculent young man volunteering at the church, who might resemble both of the boys.) Quite aside from the grief and despair, there is bad feeling about announcements made at the time through lawyers and the media, and now everyone needs closure.

Linda (Ann Dowd) and Richard (Reed Birney) are the shooter’s mum and dad: Linda is in agony, needing absolution from the other couple, or from her husband, or from God, or from the universe; Richard is more buttoned-up, angry, suspicious of the emotional loss of control required of him and incidentally also sceptical about the need for gun control. Jay (Jason Isaacs) and Gail (Martha Plimpton) are tensely resolved that this meeting is their only way forward, ready to listen and forgive, but clearly very wary of any suggestion that their son’s death is somehow equivalent to the death of his attacker.

Mass is performed with impeccable intelligence and sensitivity, although sometimes it feels like an exercise in award-winning acting. But I admit it: the final, unexpected dialogue scene, though arguably as stagey and showy as everything else, does deliver a punch.