The Flipcritic

The first time I went to IMDB.COM to check out findings on THE LORD OF THE RINGS: THE RETURN OF THE KING, one piece of information struck me.

Runtime: 201 min.

Any film that is almost 3 & 1/2 hours long will require patience from even the sturdiest of movie fans. But thanks to Peter Jackson’s direction, which can be described as no less than heroic, he has earned the unqualified trust of Tolkien’s almost fanatic following.

Indeed, probably the most amazing thing about any episode of the LOTR series is not its spectacular special effects, the meticulous costume and production design, or the fluid integrity of its images. Neither is it the heavy injection of purpose or resolute acting flourishes. What amazes me the most is its ability to maintain a high level of involvement from its audience from start to finish, despite its length.

And oh does it involve us. Not so much so through empathy, but through imagery. There are sights and sounds here that are absolutely astonishing, as if a Dungeons and Dragons art cover had come alive. Every corner of the screen is dripping with rich detail (That’s the kind of bonus material movie lovers live for). Every place seems boundless as is our anticipation of navigating through it. Who can forget the Witch King’s army leaving Minas Morgul? The lighting of torches from Minas Tirith to Edoras? Frodo’s entrance into Mount Doom?

THE RETURN OF THE KING narrows down the three story lines of THE TWO TOWERS down to two. After being entrusted to the care of the Ent Treebeard (voiced by John Rhys Davies who also plays Gimli), the two hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd) are reunited with Aragorn (Viggo Mortensen) and his band. Through a vision, their fortunes lead them to Minas Tirith, the city of kings in the Land of Gondor. Sauron’s forces go to meet them there in a LOTR battle sequence to end all LOTR battle sequences. In the meantime, the two Doom-bound hobbits Frodo (Elijah Wood) and Sam (Sean Austin) continue to be guided by Gollum (Andy Serkis) through the mountainous terrain of Mordor, who we can all expect to make his move for the ring of power.

Gollum’s original personification is the film’s introduction. Early on we see how he, as a young hobbit named Smeagol, comes to possess the ring under deadly circumstances. It is here we understand how far he is willing to go to attain the ring once more, and pity this creature who we found so easy to despise and ridicule in the earlier installments (We also get to see what Andy Serkis finally looks and sounds like).

We can all probably agree that Gollum is the most convincing CGi-created character to interact with human counterparts in CGI’s short history. But he’s not the only special effect in this film that seems all too frighteningly real. Shelob, a giant spider that lives in the mountains of Mordor, looks like the godfather of spiders in EIGHT-LEGGED FREAKS. This bug, which is truly big as a Buick, comes off as a great thrilling bonus, especially when Sam tries to fend him off from his best buddy… barely.

Of all the battles put on the big screen involving vast armies storming a stronghold, RETURN OF THE KING takes the cake. You will never see a fortress siege as majestic, rippling with magnificent verve and urgency. THE TWO TOWERS featured the epic scale storming of Helm’s Deep by the Uruk Hai. Yet every aspect of the siege at Minas Tirith battle dwarfs it significantly.

Here’s a good way of getting a good picture of this confrontation. Helm’s Deep was a castle imbedded in the side of a mountain. Minas Tirith, a gloriously pristine citadel, practically is the mountain. The Deep’s assaulters were hordes of Orcs. Minas Tirith’s foes consist of legions of Orcs, mercenaries, a flock of dragons, a herd of oliphants, trolls, a colossal flaming battering ram, enormous catapults, and others. What the good guys have I will not say. Only that it is every bit as deadly as what the bad guys have.

It may look like that I have given much away, but no description of mine can do justice to Peter Jackson’s depiction. The battle will astound and its impact will resound. Its vast scope is just too grand to deny. It is bound to draw comparisons to the attack of Imperial Walkers against the rebellion in THE EMPIRE STRIKES BACK, which is most likely its inspiration (the similarity of Legolas on the oliphant and Luke Skywalker under the Imperial Walker is just too obvious). If you remember seeing those scenes for the first time, then you will understand what impression that Minas Tirith siege will leave.

For all of the glorious displays that ROTK contains, there is not much I can say of the film’s characters. They are all embodied with superb gusto and gravity, but to what effect? Practically every character is one-dimensional. Aragorn is noble, Gandalf is good and wise (Saruman is bad and wise), Gimli is boisterous and brave, and Legolas is… distant. Even the hobbits have their personalities sharply classified. Frodo is guileless, Sam is loyal, Merry is stubborn, while Pippin is brave.

Of all the characters that I’ve come to admire in the series, three are close to my heart. I loved King Theoden (Bernard Hill). Though most of the time he is headstrong, he has the most touching scene upon regret of his son’s death (dropping to his knees and sobbing in THE TWO TOWERS), and another sad one near the end of this film. Faramir (David Wenham) and his longing for his mad father’s approval is also painful to watch as we wish for his survival on a suicide mission that he will lead. Gollum has the heaviest burden of all. Despite his artificial appearance, his predicaments are never as false. Like all great tragic figures, his fate seems sealed with doom, despite his failed attempts at changing his nature.

Even though the series can never really make a deep emotional connection, it has that rare characteristic that separates it from its counterparts, which is its wow factor. Because of Peter Jackson’s tireless efforts to make his project as true to the Tolkien spirit as can be, he has produced a work that rivals THE STAR WARS TRILOGY as the best epic trilogy (some say he has supplanted it). Like an old craftsman, his love is evident as nothing taken for granted (though there are dashes of humor hear and there). There have been few things left out no doubt, and some items changed for cinematic effect. But a great book does not necessarily make a great movie. If you want a literal interpretation of a notable fantasy series, you can watch the Harry Potter movies. But it’s wondrous to see how Mr. Jackson interprets certain sections of Tolkien’s novels, which were once deemed “unfilmable”.

I haven’t read all of the LORD OF THE RINGS books, but it’s easy to understand why the book (and now the movie) is so well loved. On one level it is one of the best visual spectacles ever to come out of cinema. But on another, it echoes many metaphors of basic precepts we hold dear. The little guy can make the biggest difference; man’s distancing from nature and the divine; the rise of the industrial age; the evil of war; how camaraderie can help defeat selfishness; etc. I’ve gained an appreciation for Tolkien’s work due to Peter Jackson’s ambition. Like film critic James Berardinelli says, “The ring is golden.”

Note: Many critics call THE LORD OF THE RINGS TRILOGY the greatest of all time. I say that their memories are short. I don’t even think it’s better than THE STAR WARS TRILOGY (the two prequels don’t count). Remember that we knew LOTR would be a trilogy, so there were expectations that had to be met. Each of the STAR WARS films was a whole story unto itself, and all of them technical marvels with bold new visions (was there any film in its class that had come before it?). Nobody knew that they would come out in three successive parts.

Additionally THE STAR WARS TRILOGY isn’t even the most notable of film series. THE GODFATHER films make a strong case (though its last installment was clearly its weakest, its still an excellent film). THE APU TRILOGY from India is one of the most heartbreaking series of films detailing the life of a young man and his place in an impoverished society.

Then there is Sergio Leone’s highly entertaining Spaghetti Western Trilogy (A FISTFUL OF DOLLARS, A FEW DOLLARS MORE, & THE GOOD THE BAD AND THE UGLY); Kieslowski’s THREE COLORS TRILOGY (BLUE, WHITE, & RED) each representing the colors of France’s flag (liberty, equality, and fraternity); and even the UP DOCUMENTARIES, which chronicle the lives of several people every seven years since they were children (it comes in four parts).

Which one is the best? I can’t say. But if you’ve seen all of these, it’s not LOTR.

Posted by FLIPCRITIC at January 9, 2004 04:34 PM