Lord of the Rings: The Fellowship of the Ring


 

The Lord of the Rings; Fellowship of the Ring

Now there’s an idea for the Kentucky Derby – arm the jockeys with swords.

(2001) Fantasy (New Line) Elijah Wood, Sean Astin, Ian McKellen, Viggo Mortensen, Dominic Monaghan, Billy Boyd, Sean Bean, John Rhys-Davies, Orlando Bloom, Cate Blanchett, Liv Tyler, Hugo Weaving, Christopher Lee, Ian Holm, Marton Csokas, Andy Serkis, Sarah McLeod, Peter McKenzie, Harry Sinclair, Sala Baker. Directed by Peter Jackson

 

There was much concern when it was announced that the classic Lord of the Rings trilogy was going to be made into movies that it be done right. Anything less than a classic movie would be heartbreaking to the millions of readers who love Tolkein’s work, let alone the smaller but very vocal crowd of the Middle Earth-obsessed.

Middle Earth is threatened by a grave power. A prologue shows us how, thousands of years prior to this story, a wizard king named Sauron (Baker) crafted a ring to dominate all the races of the land – human, elf and dwarf – and give Sauron ultimate power over Middle Earth. The bravery of Isildur (Sinclair), a human king, defeats Sauron’s plans; Isildur’s greed, however, causes the ring to escape destruction and allow Sauron to eventually return. The ring ultimately falls into the hands of an adventuresome hobbit named Bilbo Baggins (Holm) who brings it home to Bag End, in the village of Hobbiton, where it remained dormant.

Now, it is many years later and Bilbo is readying for a massive party to celebrate his 111th birthday. His old friend Gandalf the Grey (McKellen), a powerful wizard, arrives to celebrate with a wagon chock full of wonderful fireworks, and is greeted by Bilbo’s nephew, the bookish Frodo (Wood). Bilbo is worn out, although he looks much younger than his years would indicate. He wants to see the Misty Mountain again, and dwell among the elves in peace so he might finish the book he is writing of his adventures, “There and Back Again.”

At the party, Frodo’s friends Merry (Monaghan) and Pippin (Boyd), get into mischief involving Gandalf’s fireworks, setting the tone for their roles in the tale. Bilbo makes a sudden and startling departure at the party’s conclusion, using the ring to become invisible. The wizard immediately realizes that there is much more to Bilbo’s ring than even he had realized. He confronts Bilbo and convinces his old friend to leave the ring to Frodo. Gandalf warns Frodo, “Keep it secret; keep it safe,” then rides off to find out the truth of this ring.

When Gandalf returns to Bag End it to urge Frodo to flee. Nine ghastly riders, the nazghul, have been dispatched to retrieve the ring, which by Gandalf has determined to be THE ring. Frodo’s friend, gardener Sam Gamgee (Astin) overhears some of the discussion and is confronted by Gandalf, who asks what he heard. “N-nothing important. That is, I heard a good deal about a ring, and a dark lord, and something about the end of the world, but please, Mr. Gandalf, sir, don’t hurt me. Don’t turn me into anything… unnatural.”

Sam is sent to accompany Frodo. The hobbits run into Merry and Pippin, who are pilfering vegetables from a farmer. The reunion, however, is brief; the hobbits are nearly discovered by one of the terrifying and mysterious riders nazghul.

In the human town of Bree, they meet the ranger Aragorn (Mortensen), who saves them from a disturbing attack from the nazghul, and sets out to lead them for the elven settlement of Rivendell. However, the nazghul catch up to them at Weathertop, an ancient fortress, where Frodo is stabbed with a poisoned blade. Aragorn drives off their foes and steps up the pace to go to Rivendell, desperate to save Frodo. They are met along the way by Arwen (Tyler), an elven princess and daughter of Elrond, who puts Frodo on her horse and rides a thrilling race against the murderous nazghul. Gandalf, in the meantime, has been imprisoned by Saruman (Lee), head of his order, whom he had gone to consult. Saruman, believing that Mordor cannot be defeated this time, has decided to ally himself with Sauron. Gandalf finally manages to escape, using a giant eagle to fly from Isengard, the wizard’s tower which is Saruman’s base, but not before learning that Saruman is breeding an army of Uruk’hai, a crossbreed of orc and goblin that have none of the weaknesses of either race and many of the strengths.

Elrond calls a council to determine the fate of the ring, and after some deliberation, decides to send a small party to Mordor, to Mount Doom itself, to destroy the ring. This despite the objections of Boromir (Bean), son of the Steward of Gondor, the ruler of that land in the stead of a king who is lost – a king who turns out to be Aragorn, who doesn’t want the job.

There is much arguing and distrust among the races as to who will bear the ring, but finally Frodo speaks up and declares that he will carry the ring to Mordor, though he doesn’t know the way. Gandalf pledges to assist him, as does Aragorn and Boromir, as well as an elven prince named Legolas (Bloom) and a warrior dwarf named Gimli (Rhys-Davies). Sam, Merry and Pippin also proclaim that they are going wherever Frodo goes. Thus is formed the Fellowship of the Ring (cue dramatic orchestral music).

On the eve of their departing, Arwen presents Aragorn with a token of her love; Aragorn begs her not to give it to him, knowing she would give up her immortality for his love, but she gives it to him nonetheless. The fellowship then departs for Mordor.

The way is hard. In a snowy mountain pass, Saruman attacks them magically, forcing them to go the one way Gandalf didn’t want to travel; underground, through the mines of Moria, where Gimli’s cousin rules.

After surviving the attack of a hideous kraken at the gates of the mines, the Fellowship travels into Moria, and it becomes obvious that the entire colony of dwarves has been massacred. They are attacked just then by orcs, goblins and a massive cave troll and when it appears they will be surrounded, something frightens the thousands of orcs and goblins off; it turns out to be a balrog, a fire demon from the depths of the earth. Gandalf fights off the balrog, but then is yanked off a precipice, and is lost to the Fellowship.

Disheartened, the survivors of the fellowship make their way into Lothlorien, stronghold of the high elves, where they are greeted by King Celeborn (Csokas) and the ethereal Queen Galadriel (Blanchett), who allow the weary travelers rest. After receiving gifts of elven cloaks, waybread and other items, the Fellowship resumes its journey, now by river.

At camp they are ambushed by the Uruk’hai, Boromir is confronted by his own weakness, and the Fellowship is broken, with one member giving his life in battle.

The Lord of the Ring: The Fellowship of the Ring is a captivating, compelling movie that is only the first step in a journey that will take us to the eventual fate of the ring, of those who bear it and of those who seek it as well. Given the performances here, it is easy to care very much about who gets there and in what shape they are in when they arrive. It is a journey we can all take together.

The visuals are stunning, jaw-dropping at the time this was released. The elven communities of Rivendell and Lothlorien are beautiful in an alien way, blending naturally with their forest environments. Hobbiton in the Shire, where Bilbo and Frodo live, looks exactly as I imagined it, calm, peaceful and rustic but with a hint of the English countryside implicit in every nook and cranny. The ruins of ancient kingdoms, statues of forgotten kings and warriors dot the journey’s landscape, giving the world an old and lived-in appearance. The attention to detail in establishing each individual place in the movie, each with its own specific character and feel, is nothing short of astounding.

Jackson has an epic palette to paint his picture, and he uses every color imaginable. The bright colors of the Shire contrast with the dark, stormy terrain of Mordor; the Elven territories are in a perpetual autumn, as their race prepares to leave Middle Earth, lending a further poignancy to the tale. Jackson obviously holds the source material in high regard, and stays as true to Tolkein’s words as is possible.

Wisely, the various characters are developed slowly, becoming who they are during the course of the movie. There is not a disappointing performance throughout; Mortensen carries a quiet intensity as Aragorn, McKellen a grandfatherly presence as Gandalf. The extras are well-cast, helping set the background tone in each location; folksy and a bit comic in Hobbiton, suspicious and tense in Bree, graceful yet sad in Lorien.

What makes this so successful a movie is what I would call a sense of place throughout; the architecture, scenery and characters all contribute to the overall mood. Middle Earth becomes a living, breathing place because of it, and the rich textures of Tolkein’s world come to life before our very eyes.

Overall, this can only be called a labor of love, and that love can clearly be seen on the screen in every frame. Jaw-dropping special effects and eye-popping scenery from the wilds of New Zealand dazzle at every turn. Howard Shore’s haunting score serves to enhance the film, and having Enya contribute a pair of vocalizations to the movie is a wise move; her ethereal voice is perfect for it. When this was released back in 2001, it not only met the high expectations of those anticipating (myself included) but exceeded them. It has, with its successors, become a true classic, a movie that I happily watch over and over again and enjoy almost as much as the first time I saw it.

WHY RENT THIS: An amazing spectacle, faithful to the book and exciting and heartwarming all at once. A modern classic that still bears repeated watching.

WHY RENT SOMETHING ELSE: If you’re not into fantasy, you’ll surely hate this.

FAMILY MATTERS: There are some scary images and an epic battle sequence that depicts plenty of hacking and chopping.

TRIVIAL PURSUITS: Most major films have from time to time more than one unit shooting simultaneously, generally just two or three. There were occasions when this production had as many as ten units shooting at once.

NOTABLE HOME VIDEO FEATURES: There have been several different releases of varying size of the film and there are so many different and fascinating features that listing them all for each edition would take up far too much space here.  Suffice to say that you will essentially have a choice of two different versions of the film; the two hour-plus theatrical release and the nearly four hour extended director’s cut. The latter only last month arrived as part of a box set to take advantage of the renewed Middle Earth fervor generated by the Hobbit trilogy, the first film of which arrives at Christmas this year. Even the bare bones DVD editions have plenty of wonderful features so that no matter which version you choose you’ll have plenty of things to occupy many hours of viewing time but the extended edition Blu-Ray has enough special features (some brand new) to make even the hardiest of Frodo fans faint.

BOX OFFICE PERFORMANCE: $871.5M on a $93M production budget. The movie was a gigantic blockbuster.

COMPARISON SHOPPING: Avatar

FINAL RATING: 10/10

NEXT: Straw Dogs (2011)

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The Dead Girl


The Dead Girl

The late Brittany Murphy is about to become The Dead Girl.

(2006) Mystery (First Look) Josh Brolin, Rose Byrne, Toni Collette, Bruce Davison, James Franco, Marcia Gay Harden, Mary Beth Hurt, Piper Laurie, Brittany Murphy, Giovanni Ribisi, Nick Searcy, Mary Steenburgen, Kerry Washington. Directed by Karen Moncrieff

Every so often we experience something profound; it changes our point of view and might well change our lives completely. Not all of these experiences are pleasant. Some, in fact can be grisly and ugly. That is simply the nature of life; not all of it is pretty.

Arden (Collette) discovers a badly beaten and mutilated body of a young woman while out jogging. She calls the police and becomes a bit of a local celebrity which gets the notice of Rudy (Ribisi), a bagboy at her local grocery who asks her out. Arden lives with her mom (Laurie) who is a bit of a sadistic monster, forcing her daughter to wait on her hand and foot and generally degrading and belittling her.

Leah (Byrne), a graduate forensics student, finds out about the body on the news and thinks it might be her long-missing sister. Her mother (Steenburgen) urges Leah to let go and move on but Leah is convinced it’s the missing girl. However, after a close medical examination it turns out that Leah is mistaken.

In the meantime Ruth (Hurt), a devout Christian, suspects that her husband Carl (Searcy) is sleeping with another woman. She sets about finding proof of his infidelity and discovers instead evidence that her husband might be a serial rapist and murderer. She is torn between her loyalty to her husband and telling the police what she’s found.

The dead girl is identified as Krista Kutcher (Murphy) and her devastated mom (Harden), from whom Krista had run away from years back, tries to pick up the pieces, visiting her roommate (Washington) to find out more about the daughter she never knew – and to meet the granddaughter she never knew she had.

Finally, we see the last day of Krista, her relationship with her pimp boyfriend (Brolin) and the love she has for her daughter and the determination that she doesn’t repeat her past mistakes. We also discover what led her to the fateful encounter with the man who would leave her in that field for Arden to discover.

The story is told in a series of five vignettes, each concerned with a specific woman and how she is affected by the discovery of the dead body, even indirectly (as with Ruth). Moncrieff who attracted some critic love with her feature debut Blue Car resists the temptation to interweave the vignettes and instead tells them consecutively, back to back to back to back to back, letting each story play out to its conclusion and leaving us to wonder about the dead girl until the final tale.

She cast some very strong actresses here starting with the late Murphy, who would die tragically young only three years after making this. She makes Krista a strong woman but one who has allowed her emotions to override her sense time after time. She’s a little unstable and that has led to her girl being raised by others. Although we know in advance what fate is to befall her, she is not portrayed so much as a victim here as much as someone who refuses to be one any longer.

Harden also gets kudos as the mom who alienated her daughter to the point where she ran away, now realizing too late she can never make things right between them. It’s a powerful portrayal and while there is much pathos to it, Harden is never manipulative in the role, preferring to make her character try to understand her daughter rather than grieve nonstop over her.

Some of the vignettes work better than others (the first two are less effective than the last three) but all of them work as a whole. There is a certain squalor here – this isn’t a pretty picture as mentioned earlier – and a dark undertone that is relentless throughout. This isn’t a happy tale, although there are moments where characters experience some kind of enlightenment.

This isn’t always an easy movie to watch. It hits hard on an emotional level, aided and abetted by strong performances throughout (including the ones highlighted). It is definitely a woman’s movie, about how women are affected by the death of a sister, a daughter, a stranger. It also illustrates how vulnerable women are in a world where men will absolutely take what they want regardless of consequence, both to themselves and to the woman involved.

WHY RENT THIS: Very well-acted and the stories resolve together nicely. 

WHY RENT SOMETHING ELSE: Like all of these sorts of anthology films, not every vignette works.

FAMILY VALUES: There’s plenty of bad language, some nudity and sexuality and some images that are a bit grisly and disturbing.

TRIVIAL PURSUIT: In the film, the Dead Girl’s last name is Kutcher. Actress Brittany Murphy dated Ashton Kutcher for a time after both starred in the movie Just Married.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $905,291 on an unreported production budget; it wouldn’t surprise me to discover that the movie lost money during its brief theatrical run.

FINAL RATING: 7/10

TOMORROW: Hatchet II