Ok, I told myself I wouldn't do this. Why should I review movies when others are getting paid to do the exact same thing, only better ? And after movies, what next -- politics, "current emotional state" icons, and the exact recounting of what I ate for breakfast ? So, I was going to stay away from movies -- but my desire to scorn the bad ones grew and grew. Jason's review of Return of the King acted as the proverbial straw that broke the camel's back. Welcome to the new "Movies" category. Welcome to the bottom.
On second thought, this may be a good thing. There's no end to the crappy movies I can review -- Equilibrium, Kill Bill, any Disney movie they made without leeching talent from Pixar... And besides, I can always reuse the "Movies" category for something that's actually interesting -- full-length anime movies. So, here is my short review of the uber-hyped Lord of the Rings trilogy; sorry, there won't be any screenshots for this one, seeing as, you know, this is an actual theatrical movie and all.
Actually, technically I can't claim to be reviewing the whole trilogy, because I've only seen the first and the last movies; I haven't seen The Two Towers. Oh well. Oh, and I should probably mention that this review contains some spoilers, but come on... if you're reading this at all, then you've at least seen the movie, right ?
First, the good things. The cinematography in the movies is simply amazing. Every single scene in the movie feels like a dream; every single rock, tree, and hill are more vibrant and alive than real life could ever be. The rolling green fields of the Shire, the verdant forests beyound, the harsh and hostile snow of the mountain peaks, and of course Lothlörien... Each setting would be worthy of a movie in and of itself, and each leaf and branch fits perfectly into the mood of the scene. In many ways, the environment of Lord of the Rings is the main character of the movie. If it weren't so beautiful, the scenery would make me intensely jealous: I could live in New Zealand all my life, and never shoot anything nearly as expressive.
But Peter Jackson doesn't just stop there. He manages (at least initially -- more on this in a minute) to perfectly blend the CGI (or whatever they are) props into the scenery. Every single weathered ruin, hobbit mound and curved Elven bridge feel completely organic and natural -- as though it has actually stood there for hundreds of years, since the early days of Nûmenor. That scene where the Fellowship leaves Lothlörien in elegant Elven vessels, floating down the river past the stone statues of ancient Elven kings cut into the living rock itself... well, you just have to see it. I can't claim that Tolkien imagined something like this while he was writing the books, but I'd like to believe that he did. The camera work is superb as well, all gliding motions and sweeping panoramas... That scene where Gandalf and Saruman are chanting in counter-unison, as the camera flies through ice and blizzard toward the jagged peaks of Orthank -- it's pure power overwhelming.
Sadly, this is where we begin the transition from the good, to mediocre, to downright bad. Apparently, Peter Jackson became too enamoured with his massive renderfarm -- because, as the movie progresses, the special effects become more and more over-the-top. You see, one of the big themes of the original book was the issue of will. There is no overt magic anywhere in the book; even Gandalf's tricks with smoke rings and fieworks are just that: tricks. That dark cloud over Gondor is not some kind of a strategic area-effect level 10 spell; it is Sauron's pure hatred, manifested. The Elves are able to resist the Enemy's sway not because they have CoP:Black cast on them, but because they are ancient creatures whose will is nearly as strong as his. The Ring does not get physically heavier as it gets closer and closer to Mordor; but it has a dark will of its own which grows night by night, hammering its bearer into submission. Incidentally, this is why the Hobbits could achieve what even the Elves could not: their hold on life, and thus their inner strength, is simply too much for even Sauron to conquer. In case you couldn't tell, yes, I really liked the masterful subtlety with which Tolkien wove the theme of will throughout the books.
As I said: willpower is a subtle force. Unfortunately, as the movie trilogy progresses, the special effects become anything but subtle. Sure, Galadriel looks all cool, what with all the swirling black vortexes and the excessive reverberating echoes -- but she is much more frightening in the book, where her transformation from a gentle Elven queen into a power of pure darkness happens entirely in Frodo's mind. It is more frightening precisely because Frodo is the only one who can sense it, and we are forced to doubt our own sanity as his will is slipping. And yes, the glowing-green translucent hordes of the Dead are very pretty and CPU-intensive -- but, once again, they are much more impressive in the book, where they cannot be seen at all, but only felt, as moving clots of pure mortal fear. Every horror movie director worth his salt knows that the most frightening scenes are the ones that are not shown; no amount of sleek camerawork can compare to the human subconscious. This is why The Shining was so nerve-shatteringly effective, while the original Evil Dead was just sad. Unfortunately, Lord of the Rings degenerates into the same comically sad state down the line, as the special effects are piled one on top of another as fast as the software can churn them out. I couldn't help but laugh out loud (ok, I managed to just chuckle quietly) when I saw Peter Jackson's rendition of Minas Morgul: it looked just like the Undead Necropolis ! I had this nagging itch to hit "Ctrl-1, 1 A LMB" all throughout Return of the King. In other words, the perfect blending of nature and artifice that Jackson managed to set up in the beginning was completely destroyed, leaving us with nothing but hordes of rendered orcs. Even Gollum's inner dialogue, which won him the CGI Oscar (and justly so) becomes cartoonish in the later scenes.
Hmm, now that I think of it, nearly all the "evil" scenes suffer from this problem (Mordor, the Dead, orcs), and none of the "good" ones do (Shire, Rivendell, Gondor). Perhaps this was not an accidental bug, but an intentional design flaw ? I don't know, but it's sad either way.
Moving on to more sadness, let's talk about acting. Actually, I can't say anything about acting, because we don't get to see any. Peter Jackson apparently comes from the "Harry Potter on crack" school of editing: no scene is allowed to last more than 20 seconds (ok, so I didn't time it, but that's what it feels like). It's quite possible that the actors could do a great job with this movie, but we'll never know, because they're never given enough time to act. This movie is like a hummingbird hopped up on Espresso: it flickers from scene to scene faster than you can blink.
The mis-casting doesn't help, either. At least half the actors in the movie are cast in exactly the wrong role -- with the notable exception of Ian McKellen, whose "Is it secret ?! IS IT SAFE ?!!!" scene still has me shaking with a mixture of fear and admiration. As for the others... Well, Hugo Weaving would have been perfect for the role of Denethor (if his role wasn't tragically screwed up, as I'll describe below) -- he is exactly the kind of guy whom you can picture saying "we meet again, Missssster Andersssson" as he bores into the happles halfling with his megawatt-range glare. As Elrond, though, he's just mildly confusing. Cate Blanchett would have been perfect for the role of Arwen -- whereas the stronger, more intense Liv Tyler would have much better fit the role of Galadriel. And of course, the bishounen Viggo Mortensen makes no sense in his role of Aragorn -- the weathered, iron-willed Nûmenorean ranger who happens to be 300 years old.
But all these shortcomings would be excusable if it weren't for the movie trilogy's plot, and its attitude toward the viewer. The main reason I didn't like the movies is that they made everyone just so damn stupid.
You see, the power players in the book do not succeed merely because they are on the side of goodness. They succeed because they make smart choices. And some characters are, in fact, too smart for their own good; their wisdom blinds them to reality. Yes, hubris is another theme that runs strongly through the books.
For example, consider Saruman the White. In the book, Saruman is the wisest of the entire Council of the Wise; he is the person to whom Gandalf goes for help when he can't figure something out. Saruman finds out about the imminent rise of Sauron before everyone else, even Elrond himself. He then makes the strategic decision to take control of the One Ring, use its power to wipe out Sauron's forces, and remake the world as he sees fit. He designs this plan not because he desires any kind of personal power, but because, being smarter than everyone around him, he honestly believes that he is the only one qualified to make decisions. He knows what's best for everyone, and that's that. Unfortunately for Saruman, his hubris blinds him to the truth: his will is not as strong as Sauron's. When Saruman tries to use he Palanthir to spy on the Enemy, Sauron easily slips into his mind, and imposes his own will upon Saruman's mind. Gandalf, incidentally, knows better than to brute-force Sauron -- even when he becomes Gandlaf The White -- which is why he makes it a point to always keep the Palanthir covered.
In other words, Tolkien's Saruman is a tragic hero. His hubris is the fatal weakness that casts him down from his tower, and shatters his strength, to the point where even the halflings don't respect him anymore. Saruman remains defiant to the end -- he never once admits to himself that his thoughts and actions may have been wrong. Of course, Peter Jackson's Saruman is just Sauron's flunkie: he says clichéd things such as "Command me my master !" without even batting a bushy eyebrow. Hmm... run-of-the-mill flunkie or tragic hero... which one is more interesting ?
Another character who falls to hubris is the Regent of Gondor, Denethor. A brilliant strategist, he can calculate everyone's actions a dozen steps ahead. There's this great scene in the book, where Gandalf reluctantly takes Pippin to see the Regent, with a strong admonition to stay quiet. Pippin, Gandalf and Denethor have a pleasant chat (if you consider probing questions and awkward pauses pleasant). When it's over, Pippin lets out the breath he was holding, and says something to the extent of "that wasn't so bad". To which Gandalf says (paraphrased), "Oh you think so ? Well, Denethor is as smart as I am, and here's what I'd be able to figure out from your conversation" -- and then he gives a point-by-point analysis of how Denethor was able to ferret out all of Pippin's secrets by asking seemingly innocent questions. You probably don't remember this scene from the movie, because Peter Jackson replaced it with just "Mmm ! Chicken." This is why Denethor's madness makes no sense in the movie, whereas in the book it is a clear result of the Regent's hubris. Having a Palanthir of his own, he is able to scan half the world (though he is not so conceited as to engage the Dark Lord in a direct contest of wills, Saruman-style), and he simply cannot calculate a winning strategy. The resulting despair prevents him from having any faith or hope; the death of Boromir (due to the dangers of his mission escorting some useless halflings) finally pushes him over the edge. Again: brilliant strategist or chicken-guzzling fatman: which is more interesting ?
And of course, there's Peter Jackson's Aragorn, who apparently thinks to himself, "Hmm, there's a dark foreboding hole. What to do, what to do... I know ! I'll jump into it, and see what I can flush out !" In the book, Aragorn actually plans to use the Halls of the Dead; he carries with him the King's standard (the White Tree of Gondor on a black field) all the way from Rivendell, just for this purpose. He doesn't need a magic teleporting Elrond to tell him what to do; he knows what to do. 300 years of experience will do that to you.
I could probably keep going on and on, about how the character chemistry between Gimli and Legolas was replaced by Nickelodeon-grade comic relief and marketing tie-ins, or how the introspective and wise Sam Gamgee (who is actually one of the main characters in the book -- think about it !) is cast as Country Bumpkin #256 TM... But I am feeling sick already, so I'll stop.
Just in case I didn't make this clear: I don't have a problem with Peter Jackson changing the story. For example, Tom Bombadil was kind of intriguing, but ultimately pointless, and he deserved to be cut. No, what I have the problem with is how he changed the story: by removing everything that made the characters interesting, by replacing plot with hordes of CGI hobgoblins, and by making nearly every character either a mindless zombie or a happy-go-lucky clichéd hero. Instead of making up the completely pointless Aragorn-Arwen love story, wouldn't it be better to include the chapter where the broken and beaten Saruman exacts his revenge by taking over the Shire ? Even if the political commentary goes over the viewers' heads, it would be hard to miss the clear demonstration of how the timid hobbits (who have endured untold suffering and emerged alive) have transformed into mighty warriors in their own right (how do you intimidate someone who has went to Mordor and came back ?). The sad thing is that I know that Jackson has it in him to tell a great story. For example, the recurring scene with Gandalf and the moth (which he originally uses to send for the Eagle Gwahir's help -- in the book, Gwahir just happens to show up) is right on target. For some reason, however (gee, I wonder if that reason is "marketing"), Jackson chooses to forego exercising his creativity in favor of merchandizing tie-ins.
The Lord of the Rings movies could have been truly superb if they were expanded into a miniseries, with enough time to achieve good pacing while telling a compelling story. Or, they could have become a wonderful artistic gallery, consisting of the beautiful vistas of Middle Earth (and nothing else). As it stands, though, the movies are neither. Well, maybe they can be useful to someone in lieu of the CliffsNotes, I don't know.
I really think you made this out to be more severe than it is. Except for the CGI part. That's pretty spot on.
As far as "20 seconds per person," I don't know that it's a very fair assessment. The pacing in Tolkien's books is pretty quick, and (like any good book) you switch scenes right when it gets good, and you keep reading so you can get the to next part of your "favorite" scene. Incidentally, this was the only reason I was able to slog through Dune: Machine Crusades: I just wanted to know how space-folding came about. Taking all of Tolkein's scene shifts (especially in RotK), I think that Jackson kept the pacing decent enough (pacing is probably the hardest part of directing, IMO). I agree that actors were short-changed, but I don't think it as severe as you do (though you might just be using hyperbole...I can never tell).
In terms of casting, I think it was done well. I liked Cate Blanchett as Galadriel, because she can carry herself in sucha majestic manner. While Liv Tyler is a stronger, more assertive actress, I think she was better suited to play Arwen. Galadriel holds a ring, true. But Arwen makes a gut-wrenching sacrifice, hardly flinching. And if it weren't for her, certain broken swords might have stayed broken. My only beef with Liv Tyler's role, was that she was too quiet and soft. Where Galadriel was Majesty and Power, Arwen represented Grace and Strength.
Allotted time is really the problem with everything (except the bad CGI in parts 2 & 3). I also think it would be better as a mini-series. But mini-series where? If you break it into several movies (>3), you run into the same problem as Rocky and Star Trek: people will lose interest. And that is under the assumption that you can maintain the high level of creativity, quality, quantity, and momentum through each installment. Putting it on TV would kill it. No network would carry it, no matter who is associated with it, and if it went to cable, well that's a death-sentence for anything that's not The Sopranos or Sex in the City.
Thusly, you end up with what my friend and I call "spider man's web shooters." You make a change in the interest of time, but in a way that preserves as much of the detail as possible. Peter Parker invents web-fluid and web-shooters for said fluid. Storytelling was enhanced by this: you see how smart Peter really is, that he can invent such things, and you can alter the pacing by having him run out of fluid/lose cartridges at certain moments. In the movie, though, you don't have that kind of time.
Same thing applies here. You don't have time to tell Sauruman's whole backstory. Nor Denethor's (though I thought it was made painfully obvious that he, too, possessed a Palanthir). So you are reduced to making concessions in the interest of time. Make sure certain things are emphasized. I thought Jackson did so nicely. Yes, Sam turned into "Country Bumpkin #256," but Jackson made sure to emphasize his loyalty, which was (IMO) his strongest trait (and one of a million themes running through Tolkein's books).
Posted by: Jason at 2004/02/24 22:27I think you were a little harsh, there. Except for the CGI part - I think you hit it well.
I liked a lot of the choices made. For example, I found Cate Blanchett suited for the role of Galadriel. She carries majesty in all of her roles. Galadriel required that kind of Majesty and Presence to be sure. Liv Tyler's strength and intensity (and I'll add grace here) are what made her perfect for the role of Arwen. This is somebody who gives up her own immortality on principle, convinces the elves to stay just long enough to help at Helm's Deep (when they had all but left), and is mostly responsible for Aragorn getting his act together. My only beef with Liv's performance (and I'm not sure who is responsible for it, her or Jackson) is that she was too quiet and soft. I always thought she conveyed a little more presence than she was given. Where Galadriel was the majesty and power of the Elves, Arwen could be thought of as representing strength, courage and grace.
The Halls of the Dead is tricky. Yes, they were felt more than actually seen, but you can't really convey that in film. So you have to make something visual. You also don't have time in the movie for Aragorn to go running back to get stuff he forgot. So you have "teleporting Elrond" (which I didn't really like, either), and you consolodate sword and banner into just a sword.
I think most of your other points are also an issue of time. Certainly, the trilogy would be better as a mini-series, with time to delve into every little facet. But this is why books are nearly always superior to movies. But how do you package such an exhaustive mini-series. TV Networks wouldn't take it, since it's such a large project. Putting it in cable is a sure death sentence, since it isn't "The Sopranos" or "Sex in the City" (which is thankfully over). Making it a multi-film venture is also very risky. Look at Rocky or Star Trek. Both of them clearly petered out (though Star Trek stayed quality longer than Rocky). Even assuming Jackson maintains creative, qualitative and quantitative momentum through each movie (which he wasn't entirely able to do in 3 movies), interest would be lost halfway down the line (at best).
In this situation, Jackson resorts to "the Spider Man solution" (as named by a friend and I): make a trade off. In Spider Man, having Peter create web-shooters served two purposes: it showed how freaking smart Peter was, and the use of something akin to ammunition created drama. If he runs out of web-fluid, he has to change cartridges mid-fight or (worse) mid-flight. Same thing here. Jackson had to retain the most important elements at the apparant expense of others. I say apparant, because some of the things you pointed out weren't as trashed as you make it out to be. The worst example was Sam. They did turn him into "Country Bumpkin #256," and I didn't like that, either. But Jackson made sure to maintain and spotlight his loyalty, one of Tolkein's main themes (along with will and pride). In the case of Saruman and Denethor, I don't think their roles were as trashed as you say. They didn't have time to tell the whole backstory of Saruman or Denthor. Saruman's fall was a little more subtle. You had to have a good eye to spot the reasoning behind his fall. But if you were paying attention, you knew that Saruman got in over his head. Denthor's madness was really more like insanity-via-despair. And it was pretty obvious how he came to it. Gandalf all buts names the Palanthir, and each of Denethor's lines show that he knew more than he let on. No, you didn't get Saruman's "tragic hero" or Denthor's "superior strategy skills." There just wasn't time, and those elements did not move the plot. They certainly enriched, explained and supported the themes presented in the written work, but they weren't moving or driving factors for the plot. The only necessary parts required were the fact that Saruman had defected (for lack of a better word), and Denethor gave up (in the worst way). And these were displayed.
A movie made from a book (or comic book) will only make you go back to the source material. The difference is in how it does so. Either "this sucks, I'm reading the book to redeem myself," or "wow, I remember when I read these books last time. I think I'll do it again." I felt Jackson conveyed the most important parts of the book well enough so I not only enjoyed the movies, but want to go back to the books. I'll have to steal my dad's hardcover set for that...
Posted by: Jason at 2004/02/24 23:16Yes yes, I realize that marketing a TV-style miniseries would never work. But I am not concerned with how much money Peter Jackson can make; I'm only concerned with watching movies that I like. LotR is not such a movie. And I also understand that intelligent, deep characters don't exactly sell the popcorn (not to mention Legolas miniatures) -- again, I am not concerned about that, I am concerned about good storytelling.
It sounds like we agree though: in LotR, good storytelling was de-emphasized in favor of pretty CGI and "Mmm. chicken !", because that's what sells. In the interest of saving time, characters were made into D&D stereotypes, and plot was replaced by hordes of megatexels. I understand that it's a very smart business decision, and I agree -- but that doesn't make LotR a good movie. It sure makes it profitable, though.
Posted by: Bugmaster at 2004/02/24 23:20The Halls of the Dead is tricky. Yes, they were felt more than actually seen, but you can't really convey that in film. That's the really sad part about this whole affair: a filmmaker not only can convey emotion, but should -- if he's an actually creative director, not a marketer. Stanley Kubrick did it in The Shining, for example. The ability to convey emotion is what separates any true writer/artist/composer/director/etc. from Brittney Spears. Unfortunately, you may be right by now: Hollywood just doesn't have it anymore.
You're right about Saruman and Denethor and Aragorn and other characters -- but only if the main object of the movie is to show as much action as possible (and I'm starting to believe that). If, however, the object is to tell a good story, then you can't do it with flat, boring characters, who do things for no other reason than being Evil (tm). And you certainly can't have a good plot if you've simplified away all the details. On the other hand, that leaves more room for majestic orc battles... It's a matter of objective, I guess.
A movie made from a book (or comic book) will only make you go back to the source material.
Oh, come on, you know that's not true. A movie always replaces the source material. LotR, Harry Potter, 2001 Space Odyssey, take pretty much any movie... Once it's out, the books are gone forever from the public's mind. Reading takes too much time, anyway.
Ahhh...sarcasm. Just a quick counter-example: I know of no person (who is literate) that likes the Harry Potter movies better than the books. "There just wasn't as much" (to quote a co-worker's 7-year-old). There's a little hope.
I also don't think that Jackson made his decisions for marketing. Among other things, the two largest (in the obvious, hit you with a frying pan kind of way) themes were "Good v. Evil (tm)" and Loyalty/Friendship. While I cannot delve into the mind of Peter Jackson (though it's probably not that deep anyway), I think you also have to look at how he was trying to convey the storyline. If you wanted GvE and Loyalty/Friendship, then there is no comprimise in casting "Country Bumpkin #256" (or whatever). Nor do you have to worry about things like willpower and hubris. Disappointing, yes, but the point was conveyed decently enough (remember, I only said the movies were "above average" as an adaptation).
I think if a person were to adapt the books to screenplay based on the more subtle (but more powerful) themes of pride and will, you'd have a different movie. But, like you said, that won't sell. The objective was "adapt to screenplay successfully." Mission Accomplished, I guess.
As for the Halls of the Dead, I totally agree that you should (or should I say must) convey strong emotions without CGI. But how do you display legions of the "felt dead" cutting a swath of death through the legions of Evil (tm)? I don't think you can. Thus we get Necro-CGI. And, as you gathered from my implication, Hollywood just doesn't have it anymore (although you might find a gem here and there).
The last problem for reviewing the movie is this: only about 50% of the viewers actually read the books before-hand. Of that 50%, I think it is reasonable to assume that about half of them gave up after book 1, and another tenth or so don't have the critical thinking skills to pick up on the details or thematic qualities. Whether or not Hollywood "has it in them," the viewing audience (for the most part) wouldn't be able to tell the difference anyway. We sit in that last small tier that can actually think about things. In the case of LotR, I don't know that it was Peter Jackson trying to make money as much as the fact that the audience wouldn't know what to do with anything other than what he delivered: major plot points, action and pretty CGI. Ok, scratch "pretty." Most of them wouldn't know good CGI, either.
Oh, and sorry about the double post. When I made the first one, I clicked preview and it disappeared. I refreshed repeatedly to see if it posted or something, but it never came up. Hence the slightly altered second. Bah.
Posted by: Jason at 2004/02/25 08:21I also don't think that Jackson made his decisions for marketing. Sorry, I guess I misinterpreted your comment, where you talked about how a TV miniseries wouldn't work, the networks won't take it, etc. But you seem to agree with me anyway: "But, like you said, that won't sell. The objective was "adapt to screenplay successfully." Mission Accomplished, I guess."
You're right about 50% of people not reading the books (except I think it's more like 90%), etc., but that shouldn't be neccessary. I don't care about 100% one-to-one correct adaptations, I just want to see a good movie. If the movie is dumbed down to appeal to all segments of the population, then IMO it's a bad movie period, regardless of whether it's original or a ripoff of someone's book.
Posted by: Bugmaster at 2004/02/26 00:59Roger sez:
Hey, listen to the Peter Jackson interview on KCRW.
link
This guy is a tool!
He worked on his own pet film project on weekends for 4 years before he got
international recognition. I think that gives him a lot of credibility. I haven't listened to the interview yet, as my RealAlternative codec can't handle it for some reason, and I don't want to bother quarantining the virus that is RealOne. Does anyone have a wav or mp3 link ?
I listened to Peter Jackson's interview, I find it quite fascinating - to shoot 3 minutes per week over 4 years, with no plan or script at all, yet have it become a success? I have not seen this movie... but one I must see soon!
I do not believe that the LOTR's simplification of the characters of Denethor or Saruman were bad points in the film, to go into great depth in character's history and backgrounds would perhaps be more accurate to the books, and help explain things slightly better - but had little effect on the overall storyline and therefore needed to be simplified if only to stop a long film being longer.
I think a far greater mistake on the editing part was to cut out the whole Isengard scene, with the dropping of the palantir - I know it will be in the extended edition, but I believe not having the scene quite badly affected the cinema version. No explanation was given as to the background of this thing, unless people remember back to the previous film where Saruman looks into it. There is little explanation over why it is so dangerous for Pippin, and it seemed to be rather confusing - my brother who has not read the books did not really understand about it and kept wispering all through the movie!
I like the CGI effects, I think they were done brilliantly, having watched all of the making ofs on the 4-disc dvd sets, I am still in awe of exactly how much work, effort, money and time went into every detail of these films, on getting everything right down to details on belt buckles. I personally thought that overall they did a splendid job, it was well casted and well edited, and most of the criticisms we are making are only there because we are comparing to the books - I could make endless suggestions of things they shouldn't have changed, like bringing elves to helms deep, or having the rangers bring the kings standard and not teleporting elrond - but whats done is done and overall I am very impressed with the whole thing, and I eagerly await the Return of the King special edition!!
xxLiz
Posted by: Liz at 2004/03/17 11:27Yeah, I think I could handle the dumbed-down story, and maybe even the CGI hobgoblins, if it weren't for the bad editing. Well, I'm not sure... As it stands, the story in LotR was downright insulting. Yes, it's impressive how much money went into the films, but that's just brute force -- it's impressive, but not admirable. I mean, compare this with the Blair Witch Project or Pi; they were great movies with very small budgets. Sure, they didn't make nearly as much money, but I'd take them over LotR any day.
Posted by: Bugmaster at 2004/03/17 15:00Just a quick note--
I can (for the most part) agree with the comments about the CGI, but what can you expect from Hollywood? And I agree WHOLEHEARTEDLY with the blasting of Denethor's character-- to which I might add the theatrical disappointment of Faramir, although that is somewhat made up for in the extended edition material for TT.
What I really wanted to say, though, was about Liv Tyler's Arwen being "too quiet and soft" (Jason, 2/24). What?? No matter what we may think of her character in terms of modern sensibilities (ok, I'll just say it: political correctness), she is written and indended as a passive female heroine. Arwen, in her ancient majesty and Elvish frailty, is the counter or foil to the humanity and enduring strength of Eowyn. While we may secretly root for Eowyn (I know I did), it is ultimately Arwen whose love is more enduring, whose character is more fit for Aragorn's queen.
Don't get me wrong, though: I had no problems with Arwen's character taking over some more active roles of minor characters (Gildor-- was that his name?-- in FR), but to say that even with these activities she was overly meek and mild is to miss the point of her character. Perhaps Jason just meant that, given Jackson's directorial choice to change her, Liv Tyler was too quiet and soft for that on-screen version of her. I think I could concede that, maybe.
Anyway. My biggest disappointment was not the editing, not even the CGI (which, while over the top, is, you may remember, being applied to a FANTASY story), but rather the lack of "The Scourging of the Shire" -- a storyboard editing choice that was very unfortunate, although understandable due to length -- and the horrible characterization of Denethor (and Faramir and Boromir to a lesser extent). I would also add that Eowyn's and Faramir's recovery and subsequent falling in love is a tragic deletion, but I have a sneaking suspicion that it will show up in the extended ed. of RotK.
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