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The “Lord of the Rings” trilogy finally comes into sharp focus as the entire plot is finally discernible. More than its component pieces, I adore it as a whole. The second movie lacked resolution and became disoriented in the middle of spectacle. However, “Return of the King” sends its characters off to their fates with a regal and lyrical assurance. The “Ring” trilogy is officially the best of the three, making up for the earlier meandering and establishing it as a work of audacious ambition during a period of timid filmmaking.
It may be unavoidable that it falls short of greatness. The plot is a little bit too ridiculous to support the emotional impact of a masterwork. It is a sad reality that while visionaries of the past, like Coppola with “Apocalypse Now,” tried frank to create movies of great significance, a similarly ambitious director like Peter Jackson is more focused on commercial success. Real-world contemporary issues have given way to epic fantasy, and audiences are much more interested in Middle Earth than in the location they call home.
Jackson’s accomplishment, however, cannot be disputed. Even if viewers haven’t seen the first two movies, “Return of the King” is such a pinnacle accomplishment, such a visionary use of all the special effects tools, and such a pure spectacle. During the first 200 minutes of the movie, they will be lost, but that’s to be expected; Tolkien’s story is so expansive and Jackson includes so much of it that only devoted students of the Ring can be certain they understand every character, relationship, and plot point.
The third movie brings together all the plot threads and directs them toward the epic battle at Minas Tirith, where “the fate of our age will be decided before these walls,” according to the movie. A spectacular feat of special effects, the city is depicted as a fortress and Emerald City perched atop a mountain with a buttress jutting out over the plain where the fight will take place. It’s impressive how Jackson is able to seamlessly incorporate computer-generated shots with real full-scale shots so that they all seem of a piece in a scene where Gandalf rides his horse across the drawbridge and up the ramped streets of the city.
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My complaint was that humans, magicians, elves, and orcs seemed to dominate “The Two Towers,” pushing the hobbits to the background. As the brave young Frodo (Elijah Wood) and his devoted companion Sam (Sean Astin) set out on a perilous journey to return the Ring to Mount Doom, where, if he can cast it into the volcano’s lava, Middle Earth will be saved and the power of the enemy will be extinguished, the hobbits are back in a big way this time. They are joined on their journey by the incredibly unsettling, fish-fleshed, bug-eyed creature Gollum, voiced and modeled by Andy Serkis in collaboration with CGI artists, who originally existed as a hobbit named Smeagol. He is introduced this time around with a brilliant device to illustrate his dual nature: He converses with his pool mirror, and the reflection responds. The strange ability of the Ring to enthrall its possessors (first seen through its impact on Bilbo Baggins in “The Fellowship of the Ring”) is what makes it so difficult to get rid of, even though Gollum loves Frodo but loves the Ring more.
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The Lord Of The Rings The Return Of The King Quiz
The two most iconic special-effects creations are Gollum, who seems as real as anyone else on screen, and a monstrous spider named Shelob, despite the fact that the film includes epic action scenes of mind-blowing scale (including the massing of troops for the final battle). As Frodo travels through a maze-like passageway on his quest, this spider captures him, defeats him, and wraps him in webbing to keep him alive until dinner. Sam almost fails to save the day because Gollum has been untrustworthy, but as he fights the spider, we are reminded of all the other men versus giant insects fights in movies, and we admit that this time they did it right.
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The decisive fight is pretty amazing. The visionary silent period films by Lang (“Metropolis”) and Murnau (“Faust”) came to mind because of their desire to portray fantastic events of unfathomable size and power as well as their own cheery dependence on visual trickery. They would have been ecstatic if they had been able to see this spectacle. Orcs, flying dragons, and enormous lumbering elephantine creatures that act as moving platforms for war engines are all engaged in combat, along with men and even an army of the deceased. We experience the size, weight, and compelling shudder of impacts that can only be imagined as a flaming battering ram assaults the city gates. Massive beastly Trolls pull back the catapult springs and launch boulders against Minas Tirith’s walls and towers, causing cascades of debris to descend. (only to seem miraculously restored in time for a final celebration).
There is even time for a smaller-scale family tragedy: the city’s steward, Denethor (John Noble), laments the passing of his elder, preferred son, while his younger son, Faramir (David Wenham), riding out to meet his father’s certain demise. The result is a tragic sequence in which the deranged Denethor tries to cremate Faramir on a funeral pyre, even though he is not quite dead.
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Spectacle replaces feelings
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The female figures in the series have never been given clear direction. Although half-elf Arwen (Liv Tyler) here makes a crucial decision to give up her elfin immortality in order to marry Aragorn (Viggo Mortensen), there is none of the weight or significance in her decision that we feel, for example, when an angel decides to become human in “Wings of Desire.” This is likely because J.R.R. Tolkien was not particularly interested in them, at least not psychologically.
Actually, the movies don’t have nearly enough psychological substance anywhere and are mostly surface, gesture, archetype, and spectacle. While we applaud the achievement, the trilogy is more a work for adolescents (of all ages) than for those yearning for truthful emotion thoughtfully paid for. They do that magnificently well, but one feels at the end that nothing actual and human has been at stake; cartoon characters in a fantasy world have been brought along about as far as it is possible for them to come. With the deaths of Faramir and Gollum, I experienced such feeling only twice out of all the heroes and villains in the trilogy, as well as all the thousands or hundreds of thousands of deaths. They acted as they did as a result of their natures and free will, which were known to them and described to us. Yes, I did feel something for Frodo, who has matured and grown on his long journey, though it is uncertain whether he will recall what he has learned given when we last see him. In times of calm, life in Middle Earth is very pleasant.
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