What does your heart tell you? - Part 2
Errr..I may have inadvertantly ballsed up the previous version of this thread so we've decided to lock it and replaced it with this spangly new version. I've copied in KB's last post so please let the discussions continue. We apologise for the inconvenience :?
Errr..I may have inadvertantly ballsed up the previous version of this thread so we've decided to lock it and replaced it with this spangly new version. I've copied in KB's last post so please let the discussions continue. We apologise for the inconvenience :?
I think its because The Two Towers needed a climax, in order to help it work as a film in the middle of a trilogy. Helm's Deep is the natural choice for that climax, and it is by far the best realised battle of the trilogy. I don't really remember the Battle of Isenguard being given too bad a treatment, although I'm also not sure which bits weren't in the theatrical cut. Certainly I think the march of the Ents is an emtionally powerful moment, coupled with the ending to Helms Deep and the arrival of the Rohirrim. Whilst Fellowship is my favourite film, I can't understand anyone saying the second two are lacking in emotion. I can name several occasions that bring tears to my eyes in Two Towers; Theoden burying his son and the afore-mentioned march of the Ents for starters. Return of the King is just a sob-fest for me, but bearing in mind that most people aren't as hopelessly emotionally involved as me, I still think there are a few moments that are beautifully poignant. Pippin's song as Faramir rides to Osgiliath is the stand-out choice, and I personally always lose what remaining self-control I have and sob when Pippin finds Merry on the battlefield... "Are you going to leave me?" "No, I'm going to look after you" On top of that you have this exchange... Sam: Do you remember the Shire, Mr. Frodo? It'll be spring soon, and the orchards will be in blossom. And the birds will be nesting in the hazel thicket. And they'll be sowing the summer barley in the lower fields. Eating the first of the strawberries with cream. Do you remember the taste of strawberries? Frodo: No, Sam. I can't recall the taste of food, nor the sound of water, nor the touch of grass. Instead I'm... naked in the dark. There's nothing. No veil between me and the wheel of fire! I can see him... with my waking eyes! Sam: Then let us be rid of it! Once and for all! Come on, Mr. Frodo. I can't carry it for you... but I can carry you! Come on! And then there's Theoden's speech before the Battle of Pelennor fields and Aragorn's speech before the Battle at the Black Gate, culminating in "for Frodo". If anything the one thing that really really annoys me about Return of the King (and actually the only thing that really annoys me in the whole trilogy) is that they tried to force extra emotion by having Frodo send Sam home. There was nothing wrong with the way the Shelob scene played out in the book, it was still tense and frightening, and I think that the decision to send Sam home undermines what is meant to be the strongest constant thing in the story; the friendship and love between Sam and Frodo. I just don't see the justification for doing that.
:D
and this guy:
Sorry, as you were guys...!
I'm going to give each film its own little review, then review the overall trilogy. The pros and cons listed for each film are not always relevant to that film alone (some obviously are) but are at their most distinctive in that particular film.
The Lord Of The Rings : The Fellowship Of The Ring (2001)
Pros
As good as he was in the latter instalments, Ian McKellen was at his best in this film. I don't think he's ever been better, and his performance here is one of my all-time favourites. Cantankerous, caring, wise, loving and often scared, he's utterly convincing, He also has the most expressive eyes, you can tell everything of what he thinks by just the sligh-*test*-('") change.
The films are filled with magical beasts, but none are as impressive as the Balrog. A stunning creation, shadow and flame are brought to life spectacularly. As a creature of evil, he's strangely beautiful, there's an alluring quality to the way he's portrayed. His first appearance in Moria should also be mentioned; just an orange glow in the distance and a low growl, the sense of dread is palpable
The sequence in Moria deserves special praise. My favourite scene from any film, a spectacular and thrilling combination of music, acting, design, writing, action and effects that begins with a sense of eerie foreboding, continues into a land of wonder before culminating in the most intense of action scenes, finally leaving the viewer emotionally shattered. Those 20 minutes when the Fellowship gaze in awe at the vastness of Dwarrowdelf, battle hordes of orcs, flee across a collapsing stairwell before finally mourning Gandalf after his standoff with the Balrog, I've never seen anything that so captures my imagination.
Fellowship Of The Rings is perhaps the most beautiful of the three films, if not the most visually astounding, and a large part of this is due to the changes of locations in the second and third films. In FOTR, we are treated to the luscious green fields of Hobbiton, the autumnal colours of Rivendell, and the soft ethereal glow of Lothlorien. Of the three, it's the eleven cities that impress the most, not just in terms of their design, but the way in which they are shot. The screen is filled with imagery, the use of colour added in the editing room help lend these worlds an otherworldly feel. Almost any image from these locales could be a work of art and Andrew Lesnie's talents as a cinematographer are most apparent in this first instalment.
Alongside McKellen, it's Sean Bean who is perhaps the most memorable in this film. With just a few minutes of screen time in The Two Towers, and seconds in Return Of The King, it's in this film alone that he's given the chance to make an impression, and he does so with ease. As Boromir, honourable soldier of Gondor yet crippled with suspicion, he brings a depth to his performance that he has never matched. Loyal and traitorous, it's a fascinating performance of a fascinating character, and his redemption, demise and farewell are heartbreaking.
I'm not the grea-*test*-('") fan of songs being used over the end credits. They usually detract greatly from the film (witness Take That's "Rule The World” for Stardust or that terrible Lyra from The Golden Compass”. Here though, May It Be does suit the film remarkable well. The lyrics do follow the tone of the film, and Enya's vocals seem to come straight out of the lands of Lothlorien.
Cons
In the Fellowship we only briefly see Gollum, and unlike his appearance in the latter films, he is kept mainly in the shadows. Unfortunately, it's still possible to see that his design is quite different that later on. Not a huge problem, but one of the few instances when "doing a Lucas” might have been a good idea.
For whatever reason, the one scene that bugs me more than any from the trilogy comes near the start of this film. As Gandalf rides into the beautifully realised Hobbiton, swarms of Hobbit tykes shout out his name. "Gandalf, Gandalf, firework Gandalf”. Why it bothers me so I have no idea, but it does. Still, the fireworks were impressive.
The council of Elrond must have been a rather tricky scene to both write; as it introduces major new characters and sets the remainder of the plot in motion, and shoot; what with all the sideways glances and suspicious looks that had to match and be reciprocated. My problem with this scene is the fact that there are a good half dozen characters involved who say and do nothing; they just sit there, practically as statues until the uproar at the end of the scene. A mix of Elves, Dwarves and Men, just to make up the numbers. Jackson and co could at least have given a few of them a line or two.
Overall
Of the three films this is the most accomplished. Without the fractured narrative, Jackson can focus on one main plot strand and give it his full attention, and it shows. It's often praised for being the most unmanipulative of the three when it comes to emotions, and I can certainly understand this point of view. It's also the most beautiful of the three films to look at, helped in no large part because three it of it's chief locations – Hobbiton, Rivendell and Lothlorien. It's s fantastic opener, it thrusts you into the story, setting up the plot and characters with ease.
The Lord Of The Rings : The Two Towers (2002)
Pros
It's in this film that Gollum make his first proper appearance, and it's in this film I gained a newfound respect for CGI. This mangy creature is nothing short of phenomenal the effects boffins surpassed themselves here and credit, of course, has to go to Andy Serkis. Providing both the motion and the voice for Gollum, you can truly see his performance behind the pixels and between himself, Weta and the writers, we have a believable, fascinating character, capable of expressing himself emotionally in way that many actors can't even achieve. The scene in which Gollum does battle with Smeagol is as great a scene as you will ever see.
Of the all the new locales seen in this film, Rohan is the most spectacular. It's also probably the one that can be most closely identified within our own world. For me though, Rohan encompasses something far beyond the scenery, it's everything that is associated with this land created for the film; Howard Shore's wonderful violin theme, the superbly crafted detail in the weaponry, armour and sets, the stupendous battle of Helms Deep, and of course, Bernard Hill as King Theoden.
Which brings me to my next point. Bernard hill gives the standout performance of this film. As the King who has fallen foul of Saurman and believes he has led his people and lands astray, he gives a remarkable and complex performance; sympathetic, weary, untrusting, bitter
Of the new scenes added for The Two Towers, it is the onscreen pairing of Faramir and Boromir, Brothers of Gondor, which is the best. Bean once again is excellent, and David Wenham, who excels though the film, matches him. This is a hugely important scene for two reasons, Firstly; it gives us just that little bit more information regarding Boromir's action in the first film. We know now just why he attacked Frodo, just why he was so intent on using the Ring. More importantly though, it shows the genuine love and affection that Boromir and Faramir had for one another, and I think this is quite refreshing a change. Oftentimes in such a situation, when one son if loved so much more, it would lead to bitterness, anger and resentment. Not here though, and I think it's quite lovely so see it, not just hear about it.
Cons
I personally don't find this to be a con at all, but I can understand why people think it is. Of the three separate storylines in this film, it's Merry and Pippins stand that is the slowest, some might say boring. On the face of it, there is little to wonder at in a forest of slow moving tress. Perhaps. But the last March of The Ents brings a tear to my eye every time, a beautiful moment.
The battle of Helm's Deep is remarkable. A small band of soldiers against of overwhelming number of evil Uruk-hai, the wall is breached, the gate is broken, our heroes face certain doom and then salvation arrives with Gandalf and Eomer. It's almost all spectacular, save for one tiny strand, the number of kills for Legolas and Gimli. It detracts from the action. It also makes little sense. Within seconds Legolas offs 17 Uruk-Hai. Come the end of the nigh, he's only killed 43. Surely any Elf worth his ears would have been in the middle hundreds by that point?
It's in the Two Towers that the main faults begin to show with regards to Gimli and Legolas. The animosity they shared in the first film has lessened, but outside of that their characters seem to have changed, When not in battle, Legolas has very little to do except, well, state the obvious and rattle off slightly redundant phrases.”They run as if the very whips of their masters were behind them” Similar problems lie with Gimli, who is mainly used for light relief. Of all the Fellowship members, it is these two that suffer most. Perhaps understandable, as within the context of the story they have the least to do, but still grating.
Overall
As the central instalment, this film has neither real beginning nor an end. It really is just the link between the start and end of the journey, and the straightforward way of the first film has now been split into three, rapidly diverging strands. Yet none of this actually becomes a problem. Enough time is given to each of our heroes missions that we fully understand the reasons behind them, and while the cutting back and forth might seem abrupt, we can soon forget that we're not watching g thee parts of one story, rather one story itself. With a host of new characters, locations, creatures and musical cues, the film builds upon everything we see in The Fellowship to become its own beast, yet still very much in synch with its predecessor. It's also packed to the brim with breathtaking moments - The fight between Gandalf and the Balrog, Gollum Vs Smeagol, Vandal's arrival at Helms Deep, the last march of the Ents, Theodred's funeral, the exorcism of Theoden etc. Individually they are remarkable; together they make sure that the film is never less than the sum of its parts.
The Lord OF The Rings : The Return OF The King (2003)
Pros
A lot of people don't like his portrayal, but I thought John Noble was great in the role of Denethor. It's true we never realise why he acted so rashly or of his hated for Faramir (see below) but he's never less than believable as a man who has squandered his lands, his rule, his people. It's made all the more poignant because, as Boromir says in FOTR "My father is a noble man”. We never doubt his word, but we never see this side of Denethor.
Minas Tirith is the new location in this film that outdoes the rest, Glimpsed briefly in The Fellowship when bathed in sunlight, and at a distance in Towers, we finally see the White City in all its glory, and it's a majestic sight to behold, echoing Boromir's heartbreaking words from he first film, and reinforcing his position that it was a place worth saving.
The standout scene has to be The Ride Of The Rohirrim. It's absolutely perfect. It thrills and inspires and upsets in equal measure. The military style music that accompanies the scene matches the onscreen swarm of solders that thunder toward Pelennor. Theoden's delivery of his speech echoes the feelings and sentiment of the audience at this point, and the cry of "Death” as the onslaught begins sends a shiver down the spine.
The lighting of the Beacons. This is perhaps the grea-*test*-('") example that I can think of in which the music truly does make the scene. In truth, this scene should not work. It's quite simply a succession of fires being lit on hills and mountaintops. Yet it does work. Firstly, it's a neat visual way of conveying the urgency and necessity of the situation, it hastens the story, but more importantly it's Howard Shore's score that really gives this remarkable sequence that extra boost.
Annie Lennox's Song, Into The West. Appearing as it does come the end of the film, it's deeply reflective of everything that has come before. It fits perfectly with the melancholic yet uplifting end of the saga, and is guaranteed to gets the waterworks going. It's also interesting to not that aspects of the song have been incorporated into the music for the third films. On the subject of songs in the third film Arwen's Song, as sung by Liv Tyler, deserves a mention. Melodic, beautiful and ethereal, it acts as a blessing to the events seen on screen.
Cons
In the theatrical edition, the fates of Saruman and Grim were excised completely. In the extended cuts, the two evildoers are back, but it's only partially successful. It's strange that in a series of films so filled with fantasy, I find fault with the way the protagonists communicate in this scene. Just how can Saruman, hundreds of feet in the air, hear what's being said to him from way down below? No one appears to be shouting. It's just odd. The way in which the villains are dispatched is also unnerving. We know Grima feels sorry for the events he's helped set in motion, but him stabbing Saruman seems almost as uncharacteristic as Legolas shooting him, or Theoden being willing to forgive him. It seems rushed, as if Jackson knew he had to get this scene over before the story could continue.
As I have mentioned, I think John Noble plays Denethor wonderfully. However, it is a shame that we never understand why he acts like he does, driven almost mad by what he had viewed in a palintir. An extra line from Gandalf to Pippin could have explained all this, and made the events of the film flow just that little bit more.
Many people say that ROTK has too many ending (Kiss Kiss Bang Bang mentions this, so did Billy Crystal at the 2004 Oscars) For me though my problem with the ending is that I wanted to see more. It's ostensibly the story of the Hobbits, but I want to know what happened to Aragon Legolas, Gimli and others. Not everything, just a bit. I'm longing for the edition in which we see a cutaway at Sams' wedding that shows Gimli and Legolas smiling away, or a mention of how Rohan and Gondor became closer thanks to Faramir and Eowyn being together. Silly I know, but having spent so long with these characters it seems a shame to never really know what becomes of them
Overall
Of the three, this film is the most problematic. In an attempt to finish off the main story as well as give over 20 principal character their time in the sun, it can be seen as a little rushed, and the huge scale of what we see does lead to a great deal of CGI. It's often cited that the film favours spectacle over the emotions of the first film. The endings are often cause for concern, due to the supposed countless ending (there is only one, that's when the credits roll) and the soft light, slow mo techniques Jackson uses to gain a response. I can see credence to all of this, and yet to dwell on such would be to do a huge disservice to everything that is right with the film. In terms of spectacle, it has not equals. For thrills and excitement there it little that can match it, and as far as inspiration and emotion go, this film has more than most directors could achieve in a lifetime. The marriage of epic scope and intimate drama is as close to perfect as possible. As a heartwarming conclusion to an epic tale, it's hard to think how it could be bettered.
The trilogy as a whole
Here I'll mention aspects that are continually good, or bad throughout the trilogy. I should also mention that, by and large, I do view the trilogy as one long, 10 and a half hour epic. I know of no other films series that requires a second film after the first, a third after the second. To watch just one part is a waste of time, and any differences in quality between the three are so slight, they are practically negligible.
Pros of the trilogy
All three films have superb opening scenes, each one designed to capture the imagination and the attention. Fellowship shows us the history of The One Ring, Towers give us the aftermath of Gandalfs fall in Moria, and King shows us the transformation of Smeagol in Gollum. All marvellous.
The plot of he films, the storyline that's runs through all three is perfect. It's epic and intimate, the ultimate adventure story, the height of fantasy, the most beguiling story put to screen. I can't think of a better overall tale in the world of film.
When watching films it's very rare that the themes the film may have on offer make much of an impact on me. Sure, I'll pick on them sometimes and they may help to benefit the film, but all to often I find people look for such themes when they don't really exist, Like everything else with films, it's all down to the individual and what they believe. As such, I'll never deliberately watch films and try to pick up on themes. With LOTR though, they really do strike a chord with me. Sometimes subtle, sometimes obvious, the themes of honour, courage, loyalty, love, friendship and sacrifice are all present, all helping to nourish the characters and the films themselves. The films are also the ultimate example of one of the very oldest of stories of story, good vs. evil.
The CGI is phenomenal. I'm a great lover of CGI, I will always defend the fact that CGI is a wonderful tool, and films that wish to show the fantastical and impossible have benefited hugely since its inception. Never before have such visions been possible, been brought to life so realistically. In LOTR, the CGI is nigh on perfect. With the exception of one key scene (the wargs) and a few occasional shots, it is rarely less than supremely believable. As mentioned, Gollum and the Balrog stand out, but there are a plethora of fantastical beasts, battles and vistas, which are spectacular. The films are often criticised for making too much use of CGI. Now I can't deny that there is plenty of it, yet I also wonder just how certain scene should have been filmed. Only on the rarest of occasions is the use of CGI extraneous, it is almost always there to help the story along. To say the films are CGI fest does them a great disservice (as I always say, it's the story that has the heart of the film). What's more, to accuse the visual splendour of the films to be the work of CGI alone forgets a huge array of techniques used. Which brings my to my next point.
I've never seen films that look so amazing, not in terms of cinematography but in their design. A fantastic combination of full size sets, miniature models, matte paintings, real locations CGI, costumes and weaponry work together to create this utterly believable world. All the locations are spectacularly realised, and each have their own very specific deign, The regal magnificent of the Argonaths, the shimmering tress of Lothlorien, the harsh obsidian features of Isengard, the cavernous city of Dwarrowdelf with its mighty angled pillars, the earthy, country look of Hobbiton, the dank looming buildings of Bree, the festering eerie Dead Marshes, the foreboding forest of Fangorn. Similarly, the costumes and weaponry all look well worn and well used, they blend seamlessly into the world and they also have a wonderful intricacy about them. The horse motifs of Rohan that be found adorning the buildings are also seen in the armour, the helmets, the banners, the hilts of the swords. The white tree of Gondor is emblazed across the breastplate, helmets, and flags, even the doorframes of Gondor. Even the Elven cloaks, at first glance a dull grey, are beautiful when seen up close. With all the main characters having some weapon of sorts, rather than flimsy things that look like they couldn't slice bread, these swords look as if they could do the job they were designed for, and the craftsmanship is beautiful. The fact that I can recognise the name of the swords just by looking at their hilts might say something about how prominent they are in the film. In short, everything just blends together to make the most fantastical of worlds a reality, and a great deal of this stems from the conceptual art of John Howe and Alan Lee, Tolkien enthisuasts who were sought out by Jackson to help bring Middle Earth today and together, they produced a wealth of lovely designs that have worked theire way onto screen. The transferring of the designs into actuality was down to the Weta Workshop and Weta Digital studios, headed by Richard Taylor. He and his staff helped bring Middle Earth to life gloriously. I'm certain I have a yet to see a film that is better designed.
Of all the things I love about the films, the music is what I loved first. Howard Shore has created a thing of beauty. I've said it many time before and I shall say it many times again, but I have never heard a film score that so perfectly compliments the scenes it plays over in the film yet remains unmissable away from the film. It's a phenomenal piece of work, crammed with leitmotifs. Every location, culture and many characters can be distinguished just by hearing a few notes of music, and the variations on these themes and the way they are interwoven is staggering, and they suit the film so well that just a snippet can take me back the certain scenes, the emotions flowing through me once again. The main three pieces of music - The Fellowship theme, Rohan and Gondor themes, not only capture the essence of the respective groups of people, but also manage to represent the films as a whole. The Fellowship theme, in all its forms, but particularly the rousing version performed by French horn, is my single favourite piece of music of all time.
One cannot talk about the music of the films without mentioning the vocal work to be heard. On the face of it, there are three songs that close the film. May It Be, Gollum's Song and Into The West. The eagle-eared may recall that some of the actors show off their sets of lungs (Billy Boyd's solo mournful rendition of The Edge Of Night, Viggo Mortensen's Elvish at Aragorn's coronation or the Song Of Luthien, Miranda Otto's farewell to her brother at Theodred's funeral. Beyond all this though, woven into the very texture of the films themselves is a wealth of choral work sung in the numerous languages of Middle-Earth – Elven, Black Speech, Dwarvish, and the tongue of Men. Gandalf's death, the death Of Boromir, the Balrog, Durin, Galadriel, the Evenstar, the Ents, eagles, Mount Doom. All these places, people and scenes, and many more, have beautiful choral work to accompany them. As with the score, they perfectly suit the films, they help to tell the story. All told, Shore's sublime score, the songs based on Tolkien's work and written by Phillipa Boyens, Fran Walsh and David Salo, all performed by respected artists such as Sir James Galway, Renee Fleming, The London Philharmonic, combine to create something bold, beautiful, epic and intimate. At roughly 11 hours long, it's by far and away my favourite film score.
So far I've picked up on and praised a few of the actors. In truth though, all involved deserve praise. Of the 20 principal actors, not a one of them gives a poor performance. That isn't to say they all deserved Oscars, as they didn't (although just one nomination was laughable, each film could have has at least 3 folk up for an Oscar) but everyone is believable in their roles, even when hindered by the dialogue. An extraordinary array of talent is on display here – Sean Astin, Billy Boyd, Brad Dourif, Hugo Weaving, Liv Tyler, Cate Blanchett, Miranda Otto, Christopher Lee, Dominic Monaghan – faces old and new, and for many these films will be the best thing they do. Of particular note is Virgo Mortensen, who never once falters throughout all three films, and the way he invests Aragorn with of honour, despondency, hesitation, courage and loyalty is a pleasure to watch. To me, he is Aragorn and gives, I think, the performance of the trilogy.
More so than any other films I can think of, the trilogy is littered with memorable scene after memorable scene. For so many different reasons, a whole host of moments stay in my mind for so long after I watch the films, and this has occured since I very first saw the Fellowship. I'm prone to forget almost all about film within weeks, but these films have so many unforgettable sequences. I could list them all, but I'd be here all week. (Indeed, that's for a whole other thread, my 50 favourite LOTR moments)
There a few things I like more than a film that can play merry hell with my emotions. Some just make you giddy with excitement, some make you cry like a baby, some place you on the edge of your seat in sweaty palmed tension; some make your spirit soar. Some do all of this and more, and no films succeed on the same level as LOTR, they are by far the most emotionally involving films I know of, with countless scenes that really draw me in and make me genuinely feel for the characters on screen, or get my nerves tingling, even after watching them so may times. They are also, of course, the films that make me cry the most (which isn't itself a necessity for being a quality film, but if it can have such an affect on you, it must be doing something right). I always find it strange that this moist fantastical of lands filled with a myriad of strange wonders should be more emotionally fulfilling than any other real world based film and I think in some way that this might be the grea-*test*-('") achievement of the trilogy as a whole, that they allow me to invest so much of myself within them.
The script deserves great praise. Yes, it has its slip-ups and downfalls, but in adapting an epic tome into an 11 hour screenplay, giving upwards of 20 characters enough depth so that we care about them, allowing us to sympathise with each and every one. Come Return of the King, there is not one character whose words and actions doesn't elicit a tear. The script makes the all three films breathe with soul and emotion, it could not have been an easy task. The juiciest morsels of Tolkein's dialogue have found their way onto the screen, and then expanded upon by Peter Jackson, Fran Walsh and Phillipa Boyens, not Shakespeare perhaps but certainly never less than functional. Only once o twice does the dialogue sound out of place, and I think for a script of such length that's nothing short of miraculous.
Cons of the trilogy
This is less a fault of the films, but rather the marketing (perhaps its only flaw though, as he trailers and poster series all excel, and it comes as little surprise to learn that some of the poster for this trilogy are my favourites). I am so very eager to see the scenes that never made it into either version of the trilogy, yet have been glimpsed via onset photos, documentaries or trailers. I suppose the DVDs are at fault for not having deleted scenes. Notable moments include the fellowship being chased by Maria Orcs after they leave Moria (The trailer shows Legolas firing an arrow at the camera, and there are photos of Moria orcs out in the daylight), a meeting between Arwen and Galadriel, Aragorn putting on his kingly armour (in Return Of The King, the scene cuts from him dressed as a ranger to marching towards the Black Gate in resplendent clothes) and a scene that shows what the non Hobbit Fellowship members did after Aragorn's crowning. I'd love to see these, even if they were just rough cuts.
Elijah Wood's bitten nails. I have heard Peter Jacksons comment on this, saying he though it was quite brave of Elijah Wood not care about this, but PJ should have stepped in. They do look quite disgusting when plastered across a cinema screen 20 feet high. Ugh.
It's sometime incredibly hard to picture in your mind the journey that our heroes take. Not so much the geography of the routes, but the timelines. For example, in Return Of The King, Faramir tells Frodo that he saw Frodo and Sam "Not two days past”, and Gandalf tells us that the journey he and Pippin take from Rohan to Minas Tirith will take three days. Now, if we are to presume that the battle of Helm's Deep takes place simultaneously to Frodo and Sam being taken to Osgiliath, then that means Gandalf goes from Helms Deep to Edoras, then on to Isengard, back to Edoras and then on a trek to Minas Tirith in all of two days. A wizard he may be, a time traveller he is not. Not a huge flaw, but such instance crop up now and then.
Overall
It cannot be denied that the films, taken as three separate films or one long epic, have their flaws, quite a few of them, they are not perfect. Yet I do believe that there has yet to be a film made that could not have improved in some way, have a few scenes tweaked here and there, would have been better had some scenes been added, removed or changed. A line of dialogue delivered differently. In short, I don't believe that the "perfect” film exists
However, the Lord Of The Rings trilogy is as close to perfect as I've seen. Never have all the component parts of a film linked together so well, the audience been so personally engaged to such a degree before. Everything works to create the most wholly complete, satisfying and fulfilling experience.
The plot makes them captivating, the action makes them intense, the effects makes them spectacular, the music makes them soar, the direction and cinematography makes them beautiful, the acting make them intimate, the script makes them heartfelt, the design make them authentic. They all mesh to create something so remarkable that the flaws become almost insignificant. They become so alive, so personally affecting to me that to concentrate on their faults, and allow this to alter my overall opinion, doing so would seem mechanical, almost inhuman
It's been 6 years and 2 weeks now since I first saw the Fellowship Of The Ring, 4 years since The Return Of The King. In that time I've seen them each close to 40 times, in both their theatrical and extended cuts. It's quote possible I overdosed at the beginning, and I am now quite content with one or two views per year. With each viewing I notice things I had never seen before, by it a slight mannerism, a subtle effect, a line that links in with later events that I perhaps overlooked. With each viewing I become far more emotionally involved with the films (Watching Return Of The King at the weekend, I have never cried at any film quite so much). With each viewing I become in awe of the extraordinary level of devotion to the film, from all aspect – the beautiful and intricate deigns of sets and costumes, the way that the so many music themes are linked, the subtle changes in acting as the characters evolved in the story. With each viewing I become so far entranced by the story and the characters. Just a snippet of the music used in a trailer or on TV, hearing a single line in everyday conversation, similar events in other films, any of these can transport me right back into Middle Earth and I feel the same gamut of emotions within me.
No other films have such a hold over me. It's hard to find a comparison in the film world. As entertainment, then yes, they entertain, but not to the degree of say, Indiana Jones Jones or Star Wars. If anything they like their sense of fun. In the emotional stakes, then It's A Wonderful Life or Schindler's List, 2 polar opposite of films, are just as worthy. As dramas, then there are people from Hitchcock to Welles to Spielberg have crafted films that are just as gripping and cinema history is littered with films that fill you with awe. There are undeniably films that have had a greater impact on film, and I daresay that many films exist with a better technique in their making. And yet, to me, The Lord Of The Rings trilogy is in a league above all these, a true league of their own. Not one of the 3000 films I've seen since December 16th 2001 can match them, not one of the countless I'd seen prior to that date. They are by far my favourite films. Even with their faults and for reasons explained, they are also the films I call the grea-*test*-('") I've ever seen and I've spent many a happy (and unhappy hour) trying to defend my thoughts and opinions on these boards, often ending with people telling me I'm wrong to think as I do. I honestly don't care, these films have enriched my life, they affect me like no others and my life is so much better for having experienced them, almost to the point where it's hard to pinpoint just why I like the films so much, I just do. I cannot honestly see anything ever surpassing them - 5/5, 10/10, 110%
I don't have the best way with words and it's hard to find what I want to say in any intelligent sort of way, especially for films that I feel so passionate about. As such, I fear the above might just seem like a trumped up slew of adjectives and ebullient praise by someone who has been carried away. If so, then I'm sorry, I'm sure a far worthier, equally passionate yet more concise review could be done by many.