|The masterly Sean Bean quoting one of my|
|favorite lines: It is a strange fate that we should|
|suffer so much fear and doubt over so small a thing.|
|Such a little thing.|
1. Extended scenes--The extended scenes do add a lot. However, the one editing choice I have never understood--in both the theatrical and extended versions--involves Moria. There's an extra scene in there (that's not in the book) with a collapsing bridge. It goes on for about five minutes, and it is completely unnecessary. Jackson left it in the release-to-theater version and cut out much of Lothlorien scenes.
I think this was a huge mistake. Most of the women I've talked to, both those who like Tolkien and those who got dragged to the theater, wish there had been more Lothlorien in the release-to-theater version. It would have been very easy for Jackson to cut the completely unnecessary bridge scene and add more Lothlorien.
Yes, I know the movie was probably aimed at young men, but studies show that most successful movies attract both sexes, and it would have been such an easy substitution to make.
2. Lighting--Jackson's lighting is the weirdest thing in the world. I actually like it; it has a staged/picture quality to it. But it is strange. One minute everything is dark with cool, glowing lights all over the place. The next minute everything is in full sunlight with everything glinting. The whole thing is like watching CSI episodes over and over and over. Cool. But startling.
3. Casting--I consider The Lord of the Rings movies the best cast trilogy of, oh, the last 100 years or so. Okay, that's an exaggeration, but there are few book-to-movie films I've seen that completely and totally and without misstep cast the characters exactly the way I picture them. Except for Elrond, and I like Hugo Weaving so much, I don't care.
Interesting note about Hugo Weaving. Pre-Jackson, Tolkien's elves are portrayed much the way the Vulcans used to be portrayed before Star Trek: Enterprise came along: good and pure and wise and wonderful. And then Hugo Weaving showed up, and suddenly the elves (like the Vulcans) got edgy and a little annoyed and somewhat sarcastic. Which is frankly more interesting.
|The glasses were added by a blogger!|
Sean Astin and Elijah Wood are perfect. I happen to think Elijah Wood's range of emotion was greater than Jackson pulled out of him. By the end of the first film, Frodo has been reduced to (1) scared and (2) more scared. If you watch the beginning of Fellowship, Wood displayed a much broader range. Frankly, I don't think Frodo interested Jackson much OR Frodo represented a type to Jackson. He gave all the ambiguity to Aragorn and Boromir.
I quite like Viggo Mortensen as Aragorn. The book makes clear that Aragorn is supposed to be scruffy and unattractive at first glance--a rangy Ranger with absolutely no appeal to civilized folk like Butterbur, the Prancing Pony owner. I think Mortenson pulled this off. He isn't as fine an actor as either McClellan (hard competition) or Sean Bean, but like Keanu Reeves, he knows how to act physically (which is pretty important!). The scene at the end of Fellowship where Mortensen walks down the hill towards the cast of thousands-De Mille crowd of orcs is frankly quite cool.
McClellan of course occupies his own class of perfection. And Sean Bean is so phenomenal that I hold him personally responsible for the cohesiveness of the latter half of the movie.
Which brings us to subplots.
5. Subplots--This is the third or fourth time I've seen the movie, the second time I've watched the extended version. The subplot with Aragorn is a lot clearer after that many viewings, but I don't think it was as clear as it could have been. The tension between him and Boromir, the (real) issue of Aragorn's allegiance, Boromir's (legitimate) concern for his people, and Aragorn's reluctance to test his rights to leadership are great themes and could have been emphasized. Not expanded because, okay, the movie is really long, but pointed to more clearly. There's lots and lots of implied dialog on these issues, delivered mostly by the masterly McClellan and Weaving, and the last scenes between Aragorn and Boromir are very effective, but the release-to-movie version really fell down here. (The extended version makes these themes much clearer. Even with the extended version, though, I think they could have been emphasized. I think Jackson, whom I like, is rather like Shyamalan, whom I also like: throw enough stuff at the screen, and you get a good movie. Which is sort of true. But sort of not.)
6. Speaking of the final scene--First of all, I never thought the Boromir being shot full of arrows scene funny. I can see why some people rolled their eyes, but I've got a C.S. Lewis-medieval knights-Beowulf fan inside me, and I've always thought it utterly chivalrous and honorable and gosh darn heroic! I also don't find it improbable. The human body can take an amazing amount of damage before it shuts down, as one realizes when one watches Civil War documentaries.
In fact, that whole last scene is my absolute favorite battle scene in the LOTR trilogy. It's exactly like a Civil War documentary, only with the added bonus of really old statues and much cooler armor.
And I love the chivalrous, heroic stuff. I don't think anyone but Sean Bean could have pulled off that last scene, but he is Sean Bean, and he did. His confession to Aragorn and his plea for his people, Aragorn's promise and his kiss on Boromir's forehead all hit a note of high medieval romance. It's better than King Arthur because stupid Launcelot isn't there to drip excuses all over the place.
Tangent-time: Questions have been posed (many by my brother) about why teenage girls get into stuff like yaoi and such--that is, why do many teenage girls and women get enthralled by male-to-male dedication/loyalty/devotion?
I think the reason is that these types of relationships don't imply subordination in the sense of weakness (Boromir is not weak for finally professing loyalty to Aragorn) and also because the relationship allows for objectivity. It isn't oh-now-I'm-in-love-I-must-immediately-lose-my-ability-to reason (and therefore get together with a guy who will beat me because I luuuuuv him so much). Both parties are allowed to retain their dignity.
I think this dignity is possible for female-male relationships, by the way; there simply isn't a whole class of classical literature out there that deals with it. (Dorothy Sayers and Jane Austen all by themselves do not constitute a class). George Eliot (Mary Ann Evans) wrote about the desire of women for this type of relationship with a male spouse/companion (and she had such a relationship herself), but she didn't succeed in creating one on paper: in Middlemarch, Dorothea marries a gasbag and then a self-promoting politician--a nice self-promoting politician but still--