The Lord of the Rings: The Fellowship of the Ring Review
by Shannon Patrick Sullivan (shannon AT morgan DOT ucs DOT mun DOT ca)December 21st, 2001
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001) / ****
Directed by Peter Jackson. Screenplay by Fran Walsh, Philippa Boyens and Jackson, based on the novel by JRR Tolkien. Starring Elijah Wood, Ian McKellen, Viggo Mortensen. Running time: 177 minutes. Rated PG for frightening scenes by the MFCB. Reviewed on December 21st, 2001.
By SHANNON PATRICK SULLIVAN
Synopsis: In the realm of Middle-Earth live the diminutive Hobbits. Sixty years ago, one unusually adventurous Hobbit, Bilbo Baggins (Ian Holm) discovered a magical ring which he bequeathes to his nephew Frodo (Wood). But the wizard Gandalf the Grey (McKellen) discovers that Frodo's ring is actually the legendary One Ring, crafted by the Dark Lord Sauron millennia ago to dominate the world. Frodo must bring the Ring to the wasteland of Mordor to destroy it in the fires of the volcano where it was forged. To aid him in his quest, a reluctant Fellowship is formed: Gandalf, Frodo's faithful gardener Sam (Sean Astin), mischievous Hobbits Pippin (Billy Boyd) and Merry (Dominic Monaghan), the ranger Strider (Mortensen), human lord Boromir (Sean Bean), the Dwarf Gimli (John Rhys-Davies), and the Elf Legolas (Orlando Bloom). But as they cross the lands of Middle-Earth, the Fellowship is assailed on all sides by the forces of Sauron, including the spectral Ringwraiths, the monstrous Orks, and even Gandalf's mentor, the sorcerer Saruman (Christopher Lee).
Review: In a sense, I'm lucky when it comes to watching "The Fellowship Of The Ring", the first of a trio of films enacting JRR Tolkien's immortal "The Lord Of The Rings". I first read the book when I was eleven years old -- a decade and a half ago -- so although I'm familiar with the source material, the details are sketchy enough that watching it unfold onscreen still bore suspense for me. I'm sure I would have been entranced with "Fellowship" even had I read the text yesterday; this way, I truly became absorbed into one of the most breathtaking cinematic experiences ever.
Jackson faced many difficulties in translating the book to film. Most notably, Tolkien's novel is largely grounded in his development of the history and culture of Middle-Earth, impossible to directly portray in a movie. Add to this the sheer number of characters and plot points, and "Fellowship" could easily have become a horrendous mess, even with a three-hour running time. But Jackson has found the perfect middle ground: the changes he has made are reasonable and inoffensive, and enough of the spirit of Tolkien's work is preserved while nonetheless crafting something very much suited to the medium of film.
Even if this movie version barely scratches the surface of Tolkien's detailed world, it is still apparent in the details. And not just the stirring set pieces, such as the glimpse back in time to when the Ring was first lost, or the sequence where the Fellowship passes two mammoth statues of ancient kings standing on the banks of a river. Rather, the history of Middle-Earth is deliciously hinted at in Grant Major's stunning sets and Ngila Dickson and Richard Taylor's glorious costume design. Consider, for example, a scene late in the film when the Fellowship has camped in a woods; all around them are fallen statues, centuries old, silent testament to the existence of Middle-Earth long before the opening credits rolled.
Unlike the novel, it is the visuals which are the movie version's chief attraction. Jackson and cinematographer Andrew Lesnie have done a phenomenal job of transforming New Zealand into something fantastical and yet very real. More so than the two subsequent installments, "Fellowship" is very much a travelogue across the vastness of Middle-Earth, and the film reflects this. We experience the pastoral serenity of the Hobbits' Shire, the stark wintry majesty of the Misty Mountains, the dark and oppressive stillness of the Mines of Moria, each sight more riveting than the last. Jackson succeeds in demonstrating why "The Lord Of The Rings" is the quest to end all quests, why this novel was the progenitor not just of many imitators, but essentially of an entire genre.
Some Tolkien purists may be upset by some of the changes between book and movie; I am not amongst them. Most simply shape the story into something more suitable for a film: whereas the book takes place over months and unfurls at an almost leisurely pace, there is a real sense of urgency in the movie version, which seems to occupy a much smaller timeframe. Other changes are more debatable, but are justifiable. One criticism often levied at the novel, for instance, is its paucity of prominent females; Jackson redresses the balance somewhat by expanding the role of the Elf Arwen (Liv Tyler) -- significant only in a small portion of the third book -- using her in place of another minor character and thereby involving her in more of the action.
Some of Jackson's interpretations do not seem quite right to me: the Elven land of Lothlorien and its queen, Galadriel (Cate Blanchett), appeared far more alien and remote than I expected. But he also makes the threat of the Ring much more apparent by introducing a physical manifestation in Bilbo which is truly frightening. And Jackson makes far more use of (very appropriate) humour than did Tolkien. In a movie so lengthy, this is most welcome to provide some diversity.
Other Jackson triumphs include the terrifying manifestation of the Ringwraiths (who long haunted my nightmares when I first read the book) and the eerie portrayal of the Ring's magic. Wisely, Jackson does not overplay the special effects except when it is absolutely necessary; dizzying shots of huge armies of Men and Orks, for example, feel completely genuine.
The acting is fine across the board. Wood is excellent as the brave, timid, isolated Frodo. McKellen is superb as a man who is at once a genial old trickster and a frightening being of enormous power. Also noteworthy is Holm, who portrays Bilbo with just the right amount of eagerness, weariness and uncertainty.
"The Lord Of The Rings" is one of the greatest, most imaginative novels ever written. With its enormous scope and unparalleled attention to detail, few thought it could ever be successfully translated into film. Peter Jackson is one-third of the way to proving those critics wrong: one of history's best novels is now one of its best movies.
Copyright © 2001 Shannon Patrick Sullivan.
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