2020 was nothing if not a hellish year that tested us in ways we hadn’t even thought possible back in 2019. But now, with the year finally ending and a new one about to begin, I thought it would be nice to look back and find some things that brought us in the Tolkien community just a little bit of joy and normality amidst all the chaos and confusion. Whether it was casting announcements for the upcoming Amazon series, or familiar faces reuniting for a good cause, Tolkien fans found a respite from the year’s awfulness in small, simple, pleasures that gave us each a smile and a laugh, and/or kept us at least partially sane throughout 2020.
I’ve tried to be comprehensive, but it’s been a long year, and I have forgotten much that I thought I knew. So if I’ve missed something important, be sure to tell me and I’ll happily correct my error! As I am just one Tolkien fan in a very big and very diverse fandom, these are merely my personal experiences. With that out of the way, let’s revisit some of the year’s few joyous Tolkienesque highlights.
As soon as lockdown orders went into place around the world, many of us immediately took the opportunity to crack open our old copies of J.R.R. Tolkien’s books, with the intention of returning to Middle-earth for some much-needed comfort. But actor and director Andy Serkis went further than the rest of us would or even could, reading the entirety of The Hobbit aloud in a hyped-up livestream event with the full permission of HarperCollins (for whom he then recorded a new audiobook of The Hobbit). The 12-hour long livestream was hugely successful – raising more than £283,000 for charity – and hugely satisfying for Tolkien fans, as Serkis was able to trot out his iconic Gollum voice during the character’s single, memorable sequence in the book. I myself have read The Hobbit, The Lord Of The Rings, The Silmarillion, and assorted bits of Unfinished Tales aloud to family members even prior to this quarantine, and can confirm that, while taxing on the vocal cords, it’s a truly delightful experience to partake in (I personally like to do different voices and accents for all the characters, not just the ones I’m especially good at, but, well, I’m not claiming to be a better reader-alouder than Andy Serkis…or am I?)
The rest of us social distancing stay-at-homes, unable to monetize our reading experience in quite the same way, took to social media to share the joys of Middle-earth for free with people we don’t know and who probably don’t want to have their timelines continually clogged by abnormally long Twitter threads documenting our reactions to literally every single thing in each of the books and movies. Some of us did monetize our experiences, and were forced to distort Howard Shore’s beautiful score to avoid copyright infringement. There were too many of these to count, but a few I particularly enjoyed included a first-time viewer’s twelve-part reaction to The Lord Of The Rings trilogy, artist and animator Noelle Stevenson live-tweeting the movies while enjoying a lembas bread snack, and a live-tweet of Ralph Bakshi’s cult classic The Lord Of The Rings adaptation that is perfect viewing once you hit that stage of quarantine where days are blurring together and nothing makes sense anymore, least of all reality, so you might as well just roll with the fact that, yes, Aragorn is rocking that mini-skirt.
Not wanting to let Andy Serkis have all the fun, almost the entire main cast of Peter Jackson’s The Lord Of The Rings reunited for a livestreamed event hosted by actor and comedian Josh Gad, and attended by Jackson himself as well as the trilogy’s lead screenwriter, Philippa Boyens. It was, as they say in The Shire, a party of special magnificence: gathering on their individual computer screens, the Fellowship and more teamed up for trivia, re-enactments of famous scenes, and fond reminiscences. It was all too brief, but by that point we were growing used to brief and fleeting joys, and it felt refreshingly fun. Hearing Sean Astin recite his empowering speech from the end of The Two Towers also provided us with an excuse for a good old-fashioned ugly cry, which was sweet of him.
But even as the old cast was re-assembling, a new cast was coming together in New Zealand – the one corner of the world that was, for the most part, unaffected by COVID-19. Two huge casting announcements for the upcoming Amazon Prime adaptation of J.R.R. Tolkien’s work bookended this strange year; the first in January, prior to the pandemic, and the second earlier this very month. We welcomed a number of diverse and exciting actors to Middle-earth, such as Nazanin Boniadi, Sophia Nomvete, Morfydd Clark, Peter Mullan, and Lenny Henry, and we debated endlessly about who they could be playing, here on this very blog and on fan-forums everywhere (speaking of which, the homepage of TheOneRing.com is active again as of this month, after several years). Almost a year into production on the first season, and we still don’t actually know! We’re not even sure if this is the full cast yet, or if more are still to come.
But with production on the season’s two-part pilot apparently complete and director J.A. Bayona having just departed New Zealand, it does appear that production is now underway on the rest of the season after a number of delays due to COVID that forced the entire series to halt filming throughout the spring and summer. Amazon Prime has been keeping this whole project unusually secretive, so much so that we still don’t even have an official title (which, let me tell you, is getting on my nerves). We know it takes place in the Second Age, we know a little bit about the behind-the-scenes crew, and…that’s it, mostly. In the absence of concrete information, rumors have spread like wildfire and driven some pretty controversial fandom discourse (though it gave me a chance to share my knowledge of The Mariner’s Wife with the world, so I’m not entirely unhappy about that). Thankfully, a new YouTube channel named Fellowship Of Fans has been keeping us up to date with consistently reliable news from the set, and I highly recommend you subscribe now so you don’t miss a thing.
One can hope, however, that we’ll learn more official details sooner rather than later – especially with the Tolkien Estate having announced earlier this year that a new collection of previously unpublished writings by J.R.R. Tolkien is coming in 2021, which will provide new insight into a wide variety of subjects, including the Second Age of Middle-earth, something they wryly note will be “Of particular note, given the impending Amazon series”. How much of what’s in this book, titled The Nature Of Middle-earth, will actually be new is up for debate, but I’m extremely excited for it nonetheless.
But the greatest Tolkien-related joy of 2020 (and the one in which I participated the most eagerly) has to have been the Tolkientober event: a month-long art challenge organized by Noelle Stevenson’s wife, artist and animator Molly Knox Ostertag – who, incidentally, was also recently awarded a Forbes 30 Under 30 honor. Tolkientober brought us together through the inclusive power of art, and allowed us a sneak peek of some of the next generation’s great Tolkien artists. I don’t claim to be one of those, but I did have a lot of fun sharing my works with the Tolkien community on Twitter, and it helped me rediscover my passion for drawing and sketching: something I had put aside pre-pandemic to focus on writing. Tolkientober, a casual, judgement-free, noncompetitive event aimed at spreading good vibes around the internet, taught me how to balance my talents better and renewed my confidence in my art, and for that I will always be thankful.
But enough about me. What I want to know is what your favorite moments were: so if my list is any way incomplete, share your own thoughts in the comments below and tell me about your experience as a Tolkien fan in 2020 – see you all in the new year!
Even apart from official confirmation that Orphan Black star Tatiana Maslany will indeed be the Marvel Cinematic Universe’s Jennifer Walters (a.k.a. She-Hulk) in the upcoming Disney+ She-Hulk series – despite her insistent, and very convincing, claims to the contrary over the past few months – there were several other reveals about the series that have me even more excited to see Maslany transform into the lovable, seven-foot tall, bright green bodybuilder: and prove once and for all that she is not simply a gender-swapped version of the Hulk, as some like to claim, but a unique and fascinating character in her own right, with an abundance of new stories to tell.
For one thing, the series will not gloss over Walters’ day job as a lawyer and activist for both societal reform on a widespread level, and individual superheroes. Marvel president Kevin Feige strongly implied that a couple of familiar MCU characters – both heroes and villains – might wind up in court before Walters, and that she might be placed in increasingly more tricky (and potentially dangerous) predicaments depending on who she’s either representing or trying to place behind bars. Heroes who might show up include Falcon, Winter Soldier, Hawkeye, and Kate Bishop, most of whom are already fugitives from the law. But they likely won’t end up in prison, or if they do, it won’t be for long. Villains, on the other hand…that’s where this gets interesting.
The MCU has long had a habit of discarding potentially interesting villains after a single film appearance, without ever actually killing them off – which was just lazy storytelling during Phases 1 through 3, but turns out to be a blessing-in-disguise heading into Phase 4: because now, with the Infinity Saga finally completed, we have time to go back and address all the unresolved storylines of these various antagonists. And there’s long been speculation that, as in the comics, a multitude of these long-forgotten villains will assemble their own version of the Avengers called the Thunderbolts, under the leadership of General Thaddeus “Thunderbolt” Ross, an anti-superhero watchdog (who, ironically, is secretly able to transform into the Red Hulk). With no specific Thunderbolts series or movie announced during the Disney Investors Meeting on Thursday, I believe She-Hulk will act as the Phase 4 set-up to an eventual Thunderbolts series or movie during Phase 5.
Think about it for a moment. Currently, the MCU has dozens of villains whose fates are still unknown, and a few who have yet to show up but probably won’t be killed in the near future: and all of these villains have committed more than enough heinous crimes to deserve high-profile court trials. Let’s go over a few. Justin Hammer, Tony Stark’s wannabe copycat in Iron Man 2, quietly dropped off the grid after unleashing a small army of heavily-armed robots on New York City; Ghost, the quantum-phasing antagonist of Ant-Man And The Wasp, never received the healing particles she was supposed to get from Scott Lang, and has likely regressed back into self-loathing and hyper-aggression; Yelena Belova, who is set to appear in both Hawkeye and The Falcon And The Winter Soldier, probably won’t stop being a violent super-assassin anytime soon; Baron Zemo, the big bad of The Falcon And The Winter Soldier, is far too ingenious to stay locked up for long (he’s already escaped one high-security prison); and Madame Masque, whom Vera Farmiga will likely play in the Hawkeye series, is just a really cool character. There are a bunch of others who could fill out the team roster, but the one that we need to focus on is Abomination.
First introduced in The Incredible Hulk in 2008, Emil Blonsky (better known as the horribly mutated, grotesque titan Abomination) has only been referenced in-universe once or twice since his debut: back in 2013, Agents Of S.H.I.E.L.D. revealed that he was being held in S.H.I.E.L.D. custody, in a cryo-cell in Alaska. Since then, S.H.I.E.L.D. has been infiltrated by HYDRA and been almost entirely disassembled from the inside, but there’s been no mention of Abomination since. Until now. She-Hulk will officially feature the return of the old villain, with Tim Roth reprising the role after over a decade – and hopefully getting a new and improved, comics-accurate, design. The fact that Roth’s involvement has already been announced suggests that Abomination plays a key role in She-Hulk…and what do you know, he also has connections to Thaddeus Ross, and thus to the Thunderbolts team.
So what’s my theory? I believe, based on everything we know so far, that Jennifer Walters’ work as a prosecutor will place her directly in Thaddeus Ross’ line of fire, as he tries to secretly unite various villains and keep them out of prison, even while Walters fights to incarcerate them. In the MCU, it may be agents working for Ross who give Walters the gunshot wounds that almost kill her, leading to Bruce Banner having to save her life with an emergency blood transfusion – which in turn leads to her becoming the She-Hulk, and gaining the extra brawn she’ll need to take the fight straight to Ross. And when she comes face to face with him (probably in the season finale, after figuring out how deeply the corruption goes), that’s when Ross will reveal his own alter ego, the Red Hulk, and engage her in an epic duel. Sounds pretty good to me.
As an additional bonus, Tim Roth’s MCU return means we could see other characters from The Incredible Hulk pop up in She-Hulk: including Liv Tyler as Betty Ross (herself a Hulk variant in the comics, the fearsome antiheroine Red She-Hulk). Tyler’s return is something that’s been rumored, and that fans have especially been hoping to see – and of course, I’m always up for a Lord Of The Rings star coming into the MCU, even though, in Tyler’s case, she’s been there for a while; just not getting the recognition and screentime she deserves.
So what do you think? What are you looking forward to from She-Hulk, and how do you want Tim Roth’s Abomination to feature in the series? Share your own thoughts, theories, and opinions, in the comments below!
Canadian actress Tatiana Maslany has become the second member of Marvel’s growing Hulk family, as she has – according to Deadline – signed on to play Jennifer Walters (a.k.a. She-Hulk) in a highly-anticipated Disney+ series which will follow the fan favorite character on her journey to becoming the indomitable, bright green superheroine. Maslany, whose career highlights include prominent roles on BBC’s Orphan Black and HBO’s Perry Mason, is an unexpected but refreshing choice to play the character, whose casting has been a topic of debate in the Marvel fandom for months.
Jennifer Walters, the heroine at the heart of the upcoming She-Hulk series, is a character with a lot of heart and humor, and the fancasts for her have primarily been actresses with a background in comedy, such as Alison Brie (who was rumored to be the type of actress Marvel was looking for), Aubrey Plaza and Stephanie Beatriz. My personal favorite fancast was always Aladdin’s Naomi Scott, but clearly that was just me. Anyway, the casting of Maslany might indicate that Marvel has something a little different in mind: Maslany isn’t a stranger to comedy, but her talents are definitely best showcased in her wide range of dramatic performances, from her role(s) on Orphan Black as Sarah Manning and over a dozen clones, to her recent appearance as Sister Alice McKeegan (based on the real life evangelist Aimee McPherson) on Perry Mason. Taking all that into consideration, I’m willing to make a guess that Marvel’s She-Hulk will be just as much a dramatic character as a comedic one, something that I’m relishing the chance to see. Jennifer Walters’ story lends itself to a dramatic telling.
For those unaware of She-Hulk’s origins (and those who mistakenly still think she’s just a Hulk rip-off without her own personality or backstory), here’s a little refresher on where she comes from: in the comics, she starts out as ordinary Jennifer Walters, the cousin of Bruce Banner (who, by then, is already the Hulk). After her father angers a homicidal crime lord, she gets caught in the crossfire and has to be rushed to the hospital, where Bruce Banner gives her an emergency blood transfusion to save her life. The gamma radiation in his blood transmits to her and gives her nearly identical powers, but with a few interesting differences: firstly, when she transforms into her She-Hulk persona, she retains her human intellect and emotions, allowing her greater control over her actions and ensuring she never turns quite as destructive as her cousin; secondly, she doesn’t become a monster…instead, she just turns big, muscular and green, with (typically) an iconic purple and white costume and a mane of 80’s curls that has her at the top of my list of best superhero hairdos. When she’s not fighting crime with her fists, she’s fighting it in the courtroom as a lawyer who represents both civilians (particularly minorities and members of marginalized communities) and superheroes. I have a feeling her backstory will be slightly updated to have her first take legal action against the crime lords, who will then later retaliate and intentionally try to kill her, prompting her into a bit of a crisis as she has to try and figure out whether to go after them as a superpowered vigilante or as a prosecutor backed by the justice system. There’s a lot of potential for drama there.
But, as in the comics, there’s also plenty of room for humor. I kind of doubt that the Marvel Cinematic Universe version of She-Hulk will ever directly break the fourth wall as she does in the comics, but that doesn’t mean she still can’t be every bit as funny and sassy as her comics counterpart. A lot of it will depend on surrounding her with a great supporting cast who can act as foils to her: there’s plenty of evidence to suggest that Mark Ruffalo’s Bruce Banner will appear (I mean, he probably has to for her origin story to work), most likely in his newest form as the cool, self-confident Professor Hulk, unless the series takes place prior to the events of Avengers: Endgame. There’s also rumors that a number of other Hulk and Hulk-related characters could show up, including Red Hulk, and maybe even Hulk’s former love interest, Betty Ross (hopefully, as rumored, with Liv Tyler reprising the role).
Kat Coiro, who will direct the She-Hulk pilot and several more episodes in the show, and Jessica Gao, who is the head writer of the series, both also come from the comedy genre and will likely keep things light-hearted (I mean, as much as possible when you’re dealing with a character whose powers literally derive from a nearly fatal shooting).
Since the question will eventually come up…no, I really don’t expect the 5′ 4″ Maslany to play She-Hulk in her actual Hulk form: in other words, while she’ll still do the voice and presumably motion-capture, I presume the She-Hulk persona will be realized through CGI. This is a little bit disappointing, especially since no one wants to see special-effects budget limitations possibly hinder how often She-Hulk will be onscreen, but it can’t be helped: Hulk was a fully CGI character too, and no one complained (up until Avengers: Endgame, and then everyone complained). And the Disney+ shows have big enough budgets that She-Hulk’s design should look pretty good, no matter what.
On the other hand, if Tatiana Maslany wants to try and convince me that she’s a towering green woman with the physique of a professional bodybuilder through sheer force of acting, I think I’d buy it. She’s that good an actress.
What do you think of the casting? Are you excited to see She-Hulk make her MCU debut on Disney+? Share your own thoughts, theories and opinions in the comments below!
Happy Hobbit Day to all of my readers! Today, we celebrate the shared birthdays of hobbit heroes Frodo and Bilbo Baggins, chief protagonists of the fictional world of Middle-earth (you know, unless you’re counting the heroes of TheSilmarillion, like Beren, Tuor, Húrin and Túrin, Lúthien Tinúviel, Eärendil, and so on). And because this is a movie blog, and not a book blog, I will be discussing The Lord Of The Rings movies rather than The Lord of the Rings novels in this post. Typically, I would only consider writing an extensively long post about a movie I disliked, but I have so much to say about these films, and so much of it is good (actually, almost all of it is good).
The Lord Of The Rings: The Return Of The King, the third film in the classic trilogy, is currently available to stream on Netflix: here’s my review. I’m not going to be doing my usual hardcore fan-frenzy, where everything I write about the trilogy is unintelligible screaming, sobbing and wailing. Instead, I am going to write about the movie in a clear, concise way – with only a minimal amount of sobbing.
That’s going to be an increasingly difficult feat, I’m sure.
So we come to it, the final installment of Peter Jackson’s massive three-part cinematic masterpiece. Return Of The King is most beloved by the industry, which looks at its 11 Oscar wins and billion-dollar box-office intake, and most harshly critiqued by the fandom, who point out some of Jackson’s most egregious changes to the canon yet. As with all the Middle-earth films (except The Hobbit: The Battle Of The Five Armies), I cherish this one unconditionally, but I will admit that…well, it has some of the best moments in the trilogy, and some of the worst. It’s probably got the worst pacing in the trilogy, though that’s very much due to the fact that Jackson was trying to wrestle a non-linear story with about a dozen subplots and converging story threads into a cohesive whole that also had to have a clear three-act structure despite the fact that…well, it doesn’t have one – to an outside viewer, unfamiliar with the world of Middle-earth, the film probably looks like a mess. And it is messy in parts, but the messiness is only an obstacle: Jackson works through it in the second act and delivers a crowd-pleasing, rousing finale…and then a second one…and then a third one, and this one is really good…and then one last one, emotional, intense, pulled bravely from the page to the screen with few alterations. See what I mean when I refer to messiness? To us fans, each of those endings are necessary parts of the story: to the film’s (admittedly few) detractors, they were overly long and drawn out, and also too weird for general audiences – why was the hero leaving on some boat? Where was he going? Was he dead?
But, in true Tolkienesque style, it was The Return Of The King, defying all odds, which swept into awards season like a juggernaut with one of the most determined Oscar campaigns ever run: winning (among others) three Golden Globes; one Screen Actors Guild Award for an outstanding ensemble cast; five BAFTA awards; the MTV award for Best Movie; a Hugo Award and a Nebula Award; a Directors Guild of America Award; a Producers Guild of America award; the New York Film Critics Circle Award; the Saturn Award for Best Director; and sweeping the Oscars clean, winning in every category it was nominated, including Best Director, and, of course, Best Picture. It was the first time a fantasy film had ever won that highest honor in Hollywood: it was a landmark moment in the history of genre filmmaking – and yet, we tend to overlook how important it was for filmmaking in general. Lots of attention is lavished on King‘s importance for fantasy, for its influence on the growing number of fantasy adaptations these days, for its effect on popular culture. In so doing, we often overlook the fact that it is, in fact, a great movie on its own, even separate from the genre that birthed it (or that it birthed). Yes, it has magic rings and monsters, but it also has a compelling and thought-provoking story, powerful themes, incredible acting, brilliant directing, cinematography and production design, and all the hallmarks of an instant classic. And yes, it did indeed kick-start 21st Century fantasy, but it’s the film that launched a thousand careers: Weta Digital is one of the world’s leading digital effects companies because of their recognition at the Academy Awards; Cate Blanchett is a two-time Academy Award-winner today partly because of the global recognition she gained from Lord Of The Rings, and Viggo Mortensen is a three-time nominee; Andy Serkis is the world’s pre-eminent expert on motion capture CGI because he was Gollum (and still gets plenty of work just by parodying his own performance); Middle-earth was New Line’s biggest and most successful franchise for years, and still is one of Warner Brothers’ most treasured; and in one case of the movie basically finishing a career, Peter Jackson is now wealthy enough and respected enough to be able to pull a George Lucas and disappear from the film scene almost entirely.
So let’s talk about the movie now, shall we? I could lecture about its impact on the world, on our culture, on society, for hours and hours, but I really can’t wait another moment to talk about the movie’s brilliance.
Any discussion of Return Of The King, in my opinion, has to begin with discussion of the only aspect that was criminally overlooked by the Oscars: the amazing contributions of the actors in front of the camera. And none more so than Elijah Wood, the “hero” of the piece: gifted with porcelain features and ice-blue eyes, the young actor has always been demeaned for his appearance, with critics saying he looked too inexperienced and immature for the role of Frodo Baggins, the rosy-cheeked hobbit who, in J.R.R. Tolkien’s original novels, is 33 when he stops aging. In response, the film’s defenders come up with hugely detailed essays on the exact science of hobbit aging, which we won’t get into here. Suffice it to say that, even if Wood isn’t the “right” age to play Tolkien’s Frodo, he’s the perfect age to play Jackson’s – and honestly, he resembles an archetype that Tolkien himself was familiar with: the fair young boy who appears in Germanic legend to bring prosperity, peace, and justice to the land, before returning into a divine abode. Wood may not have known about that, but he plays it beautifully: he is almost too pure for this world, and I mean that literally – an innocent hobbit, frozen on the threshold of adulthood, breaking under the strain of dark forces too great for him to control. The toll of the One Ring on him is the mysterious, incurable wound that heroes often suffer in myth and lore: a wound from which, as Frodo himself says, “there is no going back”.
But even though Frodo eventually fails to destroy the One Ring, and instead tries (unsuccessfully) to claim it for his own, he still achieves a great victory on Mount Doom, one which Peter Jackson has invented, but which is nonetheless a beautiful, touching moment. Just as Boromir (Sean Bean) overcame the temptation of the Ring and valiantly sacrificed himself for his friends in The Fellowship Of The Ring, Frodo here is faced with a choice: after the wicked Gollum (Andy Serkis) bites off his finger and takes the Ring for his own, Frodo leaps at him in a blind rage, pushing himself and the giddily-dancing Gollum off the edge of the cliff. While Gollum is too dizzy with glee to notice that he is falling, Frodo has wits enough to grab hold of the rock before he can tumble into the fires of the Mountain. We watch as Gollum sinks, blissfully, into the heart of the volcano, but the Ring stays afloat on the red-hot lava: the Ring itself has no power over its own fate anymore – it will perish, it knows that – but it still has power over the last ringbearer: in the trilogy’s most terrifying moment, Frodo stares down into the flames, and we can read in Elijah’s eyes the hard choice that he must make: all he has to do is let go of the cliff, fall into the fire, clasp the Ring one last time, feel that golden drug again, die in the embrace of Mount Doom, safe with his Precious. He seems deaf to the pleas of his friend Samwise Gamgee (Sean Astin), who begs him to take his hand, to come back. And Frodo chooses: he raises his gaze to Sam’s face, reaches out his hand, and climbs back up the cliff, redeeming himself and breaking the power of the Ring: all while the Ring is still alive. That is what is truly crucial to the whole scene – Frodo could have leaped, abandoning this cruel world and its torments, but he does not. As he struggles back up onto the solid ground, the Ring finally melts away into oblivion. And it is Elijah Wood who sells that scene: eyes reflecting the gold of the Mountain’s flames, maimed hand bleeding, hope ebbing from his fragile body; and an unquenchable hobbit spirit that rises up in that final moment, vanquishing the darkness within him. The man is an incredible actor, and the fact that he has barely gotten any work since the trilogy is heartbreaking.
And, for what feels like the first time, I have to give praise to Sean Astin as well, who transforms into an absolute powerhouse in the film’s third act: throughout the first part of the film, he’s at an all-time low, and Samwise is an almost unbearably annoying character, but Astin lets himself go wild toward the end of the movie, as Sam’s heart hardens against the obstacles that Mordor throws at them, as he survives through the sheer power of his love for Frodo and his desperate hope to see the Shire again. His speech to Frodo on the slopes of the Mountain, as they climb, exhausted, toward the fiery chasm, is inspirational and heart-warming: I can even excuse Astin’s line delivery on “Let us be rid of it!”, just barely, because of how passionate he is in that scene. But I do still have to disagree with those who claimed that Astin deserved to be nominated for the Academy Award for Best Supporting Actor: you simply can’t nominate him, and not Elijah Wood, who gives a consistently excellent performance.
If anybody from King deserved a Supporting Actor nomination, it really should have been Billy Boyd. His performance as Pippin Took is one of the most exciting revelations in the entire film: in Fellowship, he was comic relief; in Two Towers, he was barely passable as a character with actual agency; but here, separated at last from his better half, Merry, Boyd proves definitively that he is the better half. While Merry Brandybuck (Dominic Monaghan) sinks into obscurity for much of the movie’s run-time, Boyd’s Pippin vociferously devours every scene he’s in, even stealing the spotlight from Ian McKellen on numerous occasions (no easy feat). Frightened and alone in the city of Minas Tirith, Pippin acts out at first, rebelling against Gandalf’s orders by swearing fealty to Gondor: but he soon learns that his position is not merely ceremonial, as he is expected to aid in the last, hopeless defense of the kingdom’s supposedly unbreachable walls. Faced with the overwhelming prospect of certain death, and the agony that grief and depression can cause, Pippin refuses to be bowed down, even as circumstances grow more and more evil: when he sees the Steward of the City about to burn his son alive (long story), he moves on instinct, racing to save his friend, screaming and struggling as he is dragged away from the pyre. “He’s not dead! He’s not dead!” His screams reverberate in your ears, and you can’t help but feel his raw horror at what is unfolding before him, so alien to his hobbit eyes. His conversation with Gandalf (Ian McKellen) shortly afterwards, about death and what waits in the afterlife, is heartbreaking: Pippin, whom J.R.R. Tolkien himself called the most cowardly of the hobbits, is no longer afraid of death – instead, he welcomes the thought of leaving the world behind, of flying far away to that far green country under a swift sunrise.
Boyd also displays some incredible physical acting in a scene early in the film’s run-time, when he looks into the magical seeing orb, or palantír, of Isengard, and becomes enraptured by the fiery Eye of Sauron: Jackson makes a mistake filming portions of the scene in slow-motion, because Boyd’s frantic writhing and contortions are much more terrifying in real time. Never one to miss out on the fun, Viggo Mortensen’s Aragorn also grabs the crystal ball for a moment and gets to show off some of his own skill at falling and going limp, in an uncharacteristic moment for the composed son of kings.
Speaking of which, Viggo’s acting throughout the film is what saves Aragorn, whose character’s backstory becomes more convoluted by the minute, from becoming a total enigma to the audience. In the first two movies, his whole story seems pretty simple: he’s the heir to the throne of Gondor. But I can only imagine how confused general audiences must be when Return Of The King rolls around, and the movie throws in a whole bunch of new elements, without explaining any of them in adequate detail: the Stewards of Gondor, the mysterious White Tree, the idea that Aragorn actually doesn’t come from Gondor, but from a different lineage, one which Denethor (John Noble) scornfully calls “a house long bereft of lordship”, not to mention the whole story of Isildur and the Paths of the Dead – to add to the confusion, Isildur is mistakenly referred to as the last king of Gondor by Legolas (Orlando Bloom), everybody’s favorite master of misdirection. Nevertheless, Viggo is still a joy to watch, and his performance is captivating: he never quite surpasses his work on Fellowship, but some of his finest moments here come close – particularly his crowd-pleasing speech at the Black Gate, rallying the Men of the West to stand: “This day we fight!”
Not everyone has the privilege of being Viggo Mortensen though (imagine if we all could be: what a world that would be). The first act of the movie is rich in detail, extremely complex, and all very good: but it ultimately sets up more story threads than can logically be explored and tied together in the theatrical editions: the palantír is a good example of this – first introduced in Fellowship, the sphere has little purpose there except as a telecommunications device for Saruman (Christopher Lee) and Sauron. But in the first few scenes of Return Of The King it takes on much greater significance: it catches Pippin’s eye immediately amongst all the wreckage of Isengard, and Gandalf takes it and hoards it away, allowing the mystery even more time to simmer. When Pippin steals it from Gandalf in Edoras and looks into it, an entirely new subplot is set up that goes nowhere: Pippin and Sauron seem to develop some sort of connection, and Merry tells Pippin bluntly that Sauron now thinks he has the One Ring, and will come for him. And yet, by the time Gandalf and Pippin have reached Minas Tirith, everybody has forgotten this fact, and the palantír is never mentioned or seen again…unless you watch the Extended Editions, where Aragorn uses it to contact Sauron and draw his eye away from Mordor before the Battle of the Black Gate in a crucial scene that should never have been left on the cutting room floor. As another example, there’s the Corsairs of Umbar: they’re referenced by Gandalf in some sort of weird, offhand prophecy, and Elrond (Hugo Weaving) tells Aragorn to go to the River Anduin and stop them before they reach Gondor. To do that, Aragorn has to take the Paths of the Dead, which is a hugely important part of the movie and takes up a good deal of screentime: but then cuts away just before the Dead swear allegiance to Aragorn. And when we finally see Aragorn again, what feels like an eternity later, he’s already defeated the Corsairs, and the army of the Dead (or, the army of CGI green soap-bubbles, as I’ve heard them referred to) is fighting for him. Incidentally, this is almost exactly how Tolkien himself handled the storyline in his novel (minus the soap-bubble ghosts), but even he knew that it wasn’t the best option at his disposal, and contemplated rewriting it many times. And again, this is something Jackson did better in the Extended Editions.
So why aren’t I reviewing those, you ask? Well, several reasons: firstly, because they’re intended specifically for hardcore Tolkien fans, and aren’t as accessible to general audiences who don’t know anything about Beren and Lúthien, or the huorns of Fangorn, or what the evening-star signifies in Tolkien’s mythos, etc, as the theatrical editions are; secondly, they have multiple pacing issues of their own, with King‘s Extended Edition alone adding a whopping 51 minutes to the film’s three-hour runtime, most of which is additional backstory, exposition, and scenes from the novel that wouldn’t have fit in the movie; thirdly, they aren’t the original movies that opened in theaters, won over critics and fans alike, and swept through the Oscars like a hot knife through butter – they’re cool add-ons to satisfy a few more purists; and finally, they are, as already noted, much longer, and a much bigger commitment for both me and you. Maybe next year.
One area in which the Extended Editions are a great help, however, is with Denethor and Faramir (David Wenham), who are weak links in this great story: viewers who have only seen The Two Towers and not the subsequently added footage will still find it hard to relate to Faramir, whom they last saw as a villain, trying to waylay Frodo’s quest. At least until they finally get to see his father, Denethor, the Steward of Gondor; a delusional, despotic sociopath, hanging onto his rule by a thread, barely concealing his disgust at the thought of a King ever returning to Gondor – though, as I said, it’s never actually explained why Aragorn was in exile to begin with, and how this sad excuse for a man ever got in power. Denethor is utterly dehumanized, feasting on meats and blood-red fruit while his men perish in a massacre he staged to prove a point, and is seen trying to prevent Rohan from helping Gondor and then blaming them for not coming anyway (at which point Gandalf goes behind his back and lights the beacons calling for aid), trying to inspire cowardice and panic in his loyal soldiers (at which point Gandalf knocks him out), and trying to burn his own son alive (at which point Gandalf pushes him into the flames). Denethor dies as pathetically as he lived, a screaming fireball leaping from the parapets of Minas Tirith while Gandalf watches passively. And yes, every book fan knows that Gandalf and Denethor despised each other, but it’s a bad look for the White Wizard to have him basically murder the Steward of Gondor (though, in his defense, it was to save Pippin). John Noble’s portrayal of the Steward is, however, so slimy and distasteful that it’s hard not to applaud Gandalf’s choice: at least until you remember that Denethor in the books is a well fleshed-out character with deep psychological motivations and a cool, calculating mind.
This leads perfectly into a thorny subject: Jackson’s occasional decisions made in poor taste. The death of Denethor, robbed of its power, changed to be more “cool” onscreen, is only one example of this: another would be Jackson’s affinity for momentarily dramatic scenarios in which we find heroes doubting whether they should help their friends out of an incredibly dangerous situation for literally no reason – usually, only for about 0.1 seconds, which makes the “drama” even more grating and unnecessary. For instance, Théoden (Bernard Hill) claiming that Rohan shouldn’t ride to the aid of Gondor because Gondor didn’t send reinforcements to Helm’s Deep: I’d like to point out again that it would have been impossible for Gondor’s armies to get there in time, even if they had wanted to, but either way, it’s no excuse not to save the world. Or how about the King of the Dead laughing at Aragorn’s claim that he is the true heir to the throne of Gondor? The King of the Dead is eternally bound to Isildur and his bloodline: he would know better than anyone if Aragorn is telling the truth. Or, most insignificant of all, Gimli (John Rhys-Davies) having the audacity to claim, after the Battle of the Pelennor Fields, that they should end the war, and leave Sauron to rot in Mordor, despite all the evidence that this is a phenomenally bad idea (a claim made somehow worse by Gimli being seated disrespectfully in the Steward’s seat while saying these words).
Any or all of these would be tolerable – if the same didn’t also happen to Frodo and Sam, in the most worthless, idiotic scene in the trilogy. Apparently convinced by Gollum (Gollum, of all people!) that Sam is stealing food (food that Frodo wasn’t eating anyway), Frodo freaks out at his best friend: and Sam makes the situation infinitely worse by telling Frodo that he’d be happy to carry the Ring for Frodo, if it would help. No, you ninnyhammer, it would not help! And just to make the scene worse, Jackson employs an extreme close-up shot of Sam’s lips saying “I can share the load” in slow-motion – and echoing! The whole effect is bizarre and almost unintentionally hilarious, as Frodo promptly screams at Sam to go away and return to the Shire. “Go home!” Seriously, does he actually think that’s possible at this point? And after breaking down in tears, Sam gets up – and starts going home. Even though he knows that his best friend is caught in Gollum’s grip, and is now entirely alone and helpless, the loyal Samwise turns tail and starts heading back down the stairs of Cirith Ungol, only to make up his mind at the last moment that, you know, maybe this isn’t such a great idea after all.
This scene is the lowest low in the trilogy, and it’s mercifully brief, but the damage is done. Perhaps worst of all, it renders Gollum weak: in Two Towers, he is cunning, crafty, and the war between his split personalities makes it impossible to figure out what he’s doing – but here, his plan to separate trusting Frodo from suspicious Samwise is laid bare to the audience in real-time, losing the element of suspense and surprise. And his plan is clumsy, anyway: instead of trying to frame Sam for eating too much lembas, Gollum could at least have staged some sort of scenario where Sam actually tried to take the Ring. As it is, his plan relies mostly on chance and incredibly good timing. And having Frodo abandon Sam halfway up the Stairs of Cirith Ungol also makes it unclear why Gollum even needs to bring Frodo into Shelob’s Lair – with Sam gone, why not just kill Frodo right then and there and be done with it? It’s one of Jackson’s worst offenses, and certainly his most unforgivable.
But enough of the bad! Let’s run over a few of Jackson’s most brilliant choices real quick: the battle sequences being the most obvious. I know that I, at least, have a hard time restraining myself from yelling the war-cry of the Rohirrim when the first light of dawn breaks over the Pelennor Fields, slowly illuminating rank upon rank of the Riders of Rohan (in a scene lifted almost verbatim from the book, minus the rooster). And I still feel a chill when Grond, the war-hammer of Mordor, comes rolling across the plain, accompanied by chanting orcs, while Gandalf’s eyes widen in horror (another nod to the book, as Gandalf recognizes the name of Grond as that of the weapon of Morgoth, the first Dark Lord of Middle-earth). The incredible height of Minas Tirith, and the camera-angles which Jackson uses to emphasize that height, and the height of the siege-towers and hulking Mûmakil are awe-inspiring – everything is big on the battlefield: the trebuchets tumbling from towers and ruined walls, the flying rocks and missiles in the air, the fell beasts sweeping low over the city’s streets and battlements like vast black fighter planes. And, of course, the small, intimate moments: the death of Théoden in the arms of his niece, Éowyn (Miranda Otto), herself fresh from a miraculous triumph against the Witch-King of Angmar – or the reunion of Merry and Pippin in the cold evening, while the “Shire Theme” whispers in the air, reminding us of what’s at stake.
Howard Shore’s score, as always, is one of the main reasons to watch the films in the first place: his stand-out compositions for King include “Gondor In Ascension”, which ripples majestically down the sun-washed walls of Minas Tirith as Gandalf and Pippin first look upon the city; “Shelob’s Theme”, terrifying and psychedelic, reflecting Frodo’s panic as he stumbles through web-choked tunnels and pits filled with corpses; “The Rohan Fanfare”, employing Shore’s beloved Hardanger fiddle; and, of course, “Into The West”, the emotional lament which accompanies Gandalf’s speech about death, and also plays over the film’s closing credits, beautifully performed by Annie Lennox: the song’s lyrics, written presumably from Sam’s point of view, speak of meeting Frodo again in a far away place beyond the sea, where all pain and grief are healed.
The Return Of The King is a story of that pain, which cannot be eased in this mortal life: it is about losing something, making the ultimate sacrifice, so that others may prosper; it is about the valiance and bravery of men and women who risk their lives to keep others safe, to protect something, something worth fighting for. It is about the choices we make in this life, to make sure that those who come after won’t have to make those same choices. It is about Théoden, an old man on the edge of death, dying to save a world he will never know. It is about Aragorn, entering the abode of the dead and righting the wrongs of his ancestors, for his love, and about Arwen giving up the gift of her immortality in exchange for a single life with hers. Éowyn’s sacrifice is for her uncle, and Merry’s for Éowyn; Faramir for his father, and Pippin for Faramir, as payment of a debt owed to Boromir, who lost his life defending Pippin and Merry; Sam for Frodo, and Frodo, ultimately, for the world.
Detractors talk about how not enough characters die in Middle-earth, and thus the stakes are too low. These people have (a) not read The Silmarillion, in which everybody dies, and (b) are also unable to understand that, in Tolkien’s world, death is not an evil. It is a gift to the human race – it is even envied by some of the immortal Elven-folk, who must waste away in a lonely earth for all eternity. Death is something we all need to embrace and accept (unless you want to go all Númenórean, in which case: good luck). It is, in fact, only a challenge to those who are alive: we have a short span of time in which to change the world, to begin something that can outlast and outlive us, to save the proverbial Shire – but not for ourselves. Tolkien and Jackson both say the same thing, and their message is clear: don’t waste what you have been given. Cherish your life, your earth, and your time, and use well the days, my friend.
And don’t worry – someday we’ll all be able to board the grey ships of the Elves, ride the singing waves out into the sunset, and take our own paths into the West.