A Last Goodbye To Tolkien Creatives We Lost In 2020

It’s done. Whether you’re a Tolkien fan or not, I think we can all breath a sigh of relief now that 2020 is finally over, bringing an end to 366 straight days of what felt like never-ending chaos. Sadly, the first dawn of 2021 won’t magically heal the pain and hardship we’ve all endured, nor will it bring back the many close friends, family members, and loved ones we’ve lost. But it can start us on a path towards a better future for all of us, and I hope and pray that, if 2020 was akin to the perilous wreck of Mount Doom, than 2021 will be at least a little closer to the Fields of Cormallen, when our war-hardened heroes “laughed and wept”, and a minstrel carried them through song and “sweet words” to “regions where pain and delight flow together and tears are the very wine of blessedness”.

Tolkien
denofgeek.com

Although I mostly just cover movies on this blog, I wanted to use this special day to give back to the incredible fan community centered around the works of J.R.R. Tolkien, by commemorating some of the Tolkien community’s greatest figures who passed on in the last year, and the incredible, unforgettable legacies they’ve left behind. This brief list is by no means complete or comprehensive, but know that if I have forgotten any greatly significant name, it is an error of my own ignorance that I will happily correct.

Orson Bean: July 22, 1928 – February 7, 2020

Tolkien actor Orson Bean
Orson Bean | nytimes.com

The Tolkien fandom was blessed to have Orson Bean lend his vocal talents not once, but twice, to the world of Middle-earth – first voicing Bilbo Baggins in the 1977 Rankin/Bass animated adaptation of The Hobbit, before later taking on the role of Bilbo’s nephew, Frodo Baggins, in the studio’s adaptation of The Return Of The King (a valiant, if ultimately unsuccessful, attempt to conclude the animated epic saga started in Ralph Bakshi’s The Lord Of The Rings, which only covered the first half of J.R.R. Tolkien’s novel). Bean began his long career in Hollywood as a television comedian, hosting the Basin Street musical radio program in the early 50’s. His ambitions only momentarily halted by an attempt to blacklist him for dating a Communist Party member, Bean continued to appear in films, TV, and theatre well into his 80’s, with guest spots on some of the past decade’s biggest sitcoms and reality TV programs.

Ian Holm: 12 September, 1931 – 19 June, 2020

Tolkien actor Ian Holm
Sir Ian Holm | theguardian.com

Similarly to Bean, the great Sir Ian Holm will be recognized fondly by Tolkien fans for both his vocal performance as Frodo Baggins in the beloved 1981 BBC Radio adaptation of The Lord Of The Rings, and for his iconic portrayal of Bilbo Baggins – a role he solidified in live-action throughout Peter Jackson’s The Lord Of The Rings trilogy and in two brief but memorable appearances bookending Jackson’s The Hobbit trilogy. His Bilbo is widely regarded as the definitive Bilbo: manic, wild-haired, and charmingly quirky (much of that quirkiness deriving from Holm’s talent for improvisation) – but with a warmth and quiet dignity that Holm made sure to put front and center at all times. Bilbo was Holm’s final role as well as one of his most legendary, but the Tony and BAFTA-Award winning actor received just as much praise for his performances in Alien, Brazil, The Fifth Element, and Chariots Of Fire (for which he received an Academy Award nomination), as well as for his three separate takes on Napoleon Bonaparte – the best by far being in the 1981 cult classic Time Bandits.

Andrew Jack: 28 January, 1942 – 31 March, 2020

Tolkien dialect coach Andrew Jack
Sir Christopher Lee with Andrew Jack | reddit.com

Behind every great movie, there is an entire army of great crewmembers putting painstaking effort into every little detail that has to be seen or conveyed somehow onscreen. Andrew Jack, the dialect coach for Peter Jackson’s The Lord Of The Rings trilogy, was one of those tireless soldiers, crafting the enchantingly unique accents of Middle-earth before passing on that talent (as well as an extensive knowledge of Elvish languages) to the actors themselves. That level of detail is part of what makes Jackson’s trilogy stand out, as one of the first fantasy adaptations to take the source material seriously and attempt to build something that was grounded in reality, rather than poking fun at itself and the entire genre. Jack continued working as a dialect coach, while also making a brief but notable onscreen appearance as the character of Caluan Ematt in The Force Awakens and The Last Jedi. He passed away due to COVID-19 while working on Matt Reeves’ The Batman.

Barbara Remington: 23 June, 1929 – 23 January, 2020

Tolkien artist Barbara Remington
Barbara Remington | accessnepa.com

Tolkien fandom has always had a strong artistic component – ever since J.R.R. himself, who sketched and painted extensively. And American artist Barbara Remington deserves to be remembered alongside the greats such as Alan Lee, John Howe, and Ted Nasmith: her beautiful cover artwork for Ballantine Books’ first paperback editions of both The Hobbit and The Lord Of The Rings quickly became notorious, largely because of how distanced it was from the source material. Remington’s swirling, brightly-colored designs included fantastical flora and fauna such as emus, lions, and a massive pink fruit tree. Tolkien himself was very confused by the art, but, as Remington herself later explained, the embarrassing blunder was due to her not being able to actually read the book before painting the artwork – once she did, she fell in love with the story and said that, not only would she have painted something entirely different if she could, but she might have felt too intimidated to even try due to the scope and significance of the books. Personally, I must admit I’ve warmed up to Remington’s characteristic psychedelic style, and am deeply sorry we may never see the collection of other unofficial artworks based on the books that she designed in her later life.

Christopher Tolkien: 21 November, 1924 – 16 January, 2020

Christopher Tolkien
Christopher Tolkien | cnn.com

If anyone on this earth lived and breathed Middle-earth, it was Christopher John Reul Tolkien, who dedicated almost his entire life to exploring the extent of his father’s fantasy world. Christopher grew up with the bedtime stories that would later blossom into The Hobbit, and spent much of his childhood and youth reading and critiquing his father’s manuscripts, assisting in the writing process of The Lord Of The Rings even while stationed in South Africa with the Royal Air Force during World War II. Many of the book’s most notable elements can be attributed to Christopher’s input: including the iconic surname of “Gamgee”, which J.R.R. himself wanted to change to the far less unique-sounding “Goodchild”. In 1973, upon being handed the reigns to his father’s literary legacy, Christopher determined to finally publish his father’s true masterwork, The Silmarillion: a collection of epic stories from the prehistory of Middle-earth that J.R.R. had left only partially-completed and hopelessly disorganized at the time of his death. The work took several years and exhaustive edits, but was completed for publication in 1977, and Christopher soon followed with an even longer and more ambitious series of books dedicated to recounting his father’s entire writing process: every scattered note, every rewrite, every idea scrapped and revisited. Unfinished Tales followed in 1980 and became an instant hit, allowing readers a chance to learn more about the Second Age of Middle-earth (which will be the setting for Amazon Prime’s upcoming adaptation). Christopher continued to publish books of this sort up until 2018, with the last of the three “Great Tales”. His harsh views on Jackson’s film trilogy caused quite a stir, but I feel he should be remembered most for his efforts to preserve and protect the legacy with which he was entrusted. For Christopher was a steward of Middle-earth who succeeded in his mission, and now that he has passed on, he has given us all the responsibility to follow in his footsteps and continue that stewardship as we move forward into a new era. And that may be an encouraging thought.

Take comfort in the things that we as a community have gained this year (about which I may write a separate post, so stay tuned), and in the knowledge that those whom we have lost will not be forgotten, but that their legacies will live on. Again, I apologize if anyone has been left off of this list that should have been included, but I ask you to please share that information in the comments. Stay safe and read Tolkien. Until next year, my friends.

“Shadow And Bone” 1st Trailer Hypes Up The Epic Dark Fantasy!

It’s been a long time since we got any news from the set of Shadow And Bone, one of the myriad of upcoming fantasy series’ in Netflix’s seemingly endless catalogue. The cast looked pretty good when they were revealed last year, and filming wrapped just prior to the start of the coronavirus pandemic, luckily, but in the months since then all we’ve really seen (or rather heard) was a snippet of the series’ melancholy, ominous score – which was admittedly quite beautiful. But now, to accompany the news that Shadow And Bone has been set for a fast-approaching April 2021 release date, Netflix has generously dropped a new teaser trailer.

Shadow And Bone
Six Of Crows | grimdarkmagazine.com

A mere forty seconds long, the teaser doesn’t provide any actual footage (and only a single line of dialogue), but instead sets up the series’ general atmosphere: dark, wintry, and mystical. Shadow And Bone will combine storylines from Leigh Bardugo’s two separate book series’ set in the Grishaverse world: the Grisha trilogy, which follows Alina Starkov as she becomes the prophesized Sun-Summoner and battles The Darkling for control of her homeland; and its more popular successor, the Six Of Crows duology, which takes place many years after the original trilogy and explores life in the criminal underworld of the city of Ketterdam, where a thief named Kaz Brekker and his gang of social outcasts stage a daring heist to win a fortune. The books are very good, and I highly recommend reading them, but suffice it to say that the Grishaverse is kind of like a gritty Narnia with overtones of The Witcher. It stands out from the crowd of young adult fantasy stories thanks to its mature themes and elegant writing style. I’m pretty typical/boring in that I prefer Six Of Crows to the Grisha trilogy, but I have a feeling Netflix might finally make me care about the characters of Alina Starkov and The Darkling (nothing they can do will ever get me to spare an ounce of interest in Alina’s love interest, Mal, one of the most detestable and annoying characters I’ve ever read).

Shadow And Bone
Alina Starkov | bookstr.com

The first season of the Netflix adaptation will tackle the events of the first Grisha trilogy book – itself titled Shadow And Bone – and, it seems, the backstories of most of the main characters in Six Of Crows. Whether or not these two story threads will interweave organically or not is still a mystery: in the books, there isn’t much crossover between the two until Six Of Crows‘ sequel, but that may change for the series. It’s possible we’ll follow two storylines unfolding in a non-linear fashion – but The Witcher just did that, and got criticized for confusing viewers. I suspect there’s a chance, then, that the events of the two series’ will occur simultaneously for the Netflix show’s purposes…despite the plot-holes that could case, if done sloppily. The clearest link between the two, which I hope Shadow And Bone will exploit, is the character of Nina, who (in the books) is a crucial member of Kaz Brekker’s gang, but hails from Alina Starkov’s home country of Ravka, where she was a young but powerful Grisha mage before being abducted.

Anyway. Elements from both series’ are incorporated into the imagery used in the teaser – from a crow (the emblem of Brekker’s gang) soaring past, to the white Morozova’s Stag whose intricate, frosted, antlers command attention before being transformed (via CGI wizardry) into a ball of radiant, fluid, sunlight clasped between two silhouetted hands. In the books, the mythical Stag’s antlers are similarly used to amplify Alina’s magic powers, which manifest as the ability to conjure and control light. I especially love how Alina’s hands fold against her chest, snuffing out the light as darkness encroaches around her. Before the title card is illuminated by one of her outbursts of magic, we hear from Alina’s nemesis and love interest, The Darkling himself, whose power to manipulate shadows pits the two against each other throughout the book series: in his gentle yet firm voice, he tells her that “You and I are going to change the world”. Fans have long been hyped to see Ben Barnes as The Darkling – it would have been nice to get a first look at his costume.

Shadow And Bone
Shadow And Bone cast | deadline.com

And of course, the whole visual masterpiece is complimented by the aforementioned theme, composed by Joseph Trapanese and well-suited to a dark fantasy epic like this. Although there’s not much to go on yet, the vibe I’m getting from the show is really good so far. And Netflix’s track-record when it comes to creating addictive content is pretty spotless: I unironically loved The Witcher, and I believe Shadow And Bone will probably be another bingeworthy hit for the streaming service.

Trailer Rating: 8/10

“Cursed” Review! Arthurian Legend Gets The Netflix Treatment.

Strange women lying in ponds distributing swords may be no basis for a system of government, but it is a pretty decent hook for a Netflix series. Cursed, the streaming service’s epic new Lady Of The Lake retelling, definitely mangles the Arthurian source material (and takes an extremely long time to get to the whole Lady Of The Lake bit), and even as a standalone it suffers from a number of problems, but it still tells a crafty little story about wizards, witches and Vikings (you heard me correctly), all wrapped up in the standard Netflix package.

Cursed
ign.com

That standard package can sometimes be very standard (characters falling hopelessly in love with each other after approximately fifteen seconds! How original!), but the show does go through several highs and lows in terms of quality – with some of its highs being extraordinary (the entire climax to episode four) and some of its lows being abysmal (pretty much every attempt at heterosexual romance). The series takes a little while to get going: the first two episodes, unfortunately, are the weakest, as we follow our reluctant protagonist Nimue (Katherine Langford) on the first steps of her journey, but episode three is good and episode four is great. After that, the quality takes another dip, but the series regains its footing in time for the finale.

Our heroine Nimue begins her epic quest as a Fae villager living comfortably far away from the merciless brutality of the Catholic Church’s servants, the Red Paladins, whose mission it is to wipe out magic across England (it’s best to just accept that they live in England, despite the wonky geography and the constant references to a nearby “desert kingdom”). Nimue is soon entrusted with a powerful sword which grants her increased power, strength, and, as time goes on, an unceasing blood-lust. Langford’s performance as the cursed young woman is a strong one, though she clearly falters in romantic scenes when partnered with her love interest, the handsome young Arthur (Devon Terrell). That’s entirely fair – the romance is boring and conventional, and the dialogue meant to build chemistry and passion is unoriginal. Langford’s greatest strength is when she’s in the thick of battle, wielding Excalibur (sorry, the Sword Of Power) alongside her Fae magic.

Cursed
Merlin | inverse.com

But the thing that makes Nimue’s arc most interesting is that she’s not technically supposed to be wielding the sword. In fact, the words “Take this to Merlin” echo through her head over and over again. The Merlin in question is none other than Merlin the Magician (Gustaf SkÃ¥rsgard), the legendary sorcerer of Arthurian legend who is deeply entangled in all the myths surrounding the English king’s rise to power. Here, he is even more intimately entwined in Nimue’s story. SkÃ¥rsgard does a good enough job conveying the ancient wizard’s inner turmoil and pain, but he brings significantly less fun to the role – and the character of Merlin, who in this version stumbles around drunk half the time and uses his wits to escape any number of situations, needs that quirky dash of humor. The lack of it is surprising, and makes Merlin far less engaging than he might have been.

The supporting cast surrounding these three main characters is vast and filled with highlights – Morgana (Shalom Brune-Franklin), a sorceress in the making, treads a fine line between good and evil while various demonic entities try to make her their pawn; Pim (Lily Newmark), is a cheery, wide-eyed Fae who makes the impulsive decision to join a pack of Vikings; Sister Iris (Emily Coates), a frighteningly intense young nun, is set up to be this show’s answer to Game Of Thrones‘ Arya Stark – only Iris is more like a mix between Little Red Riding Hood and The Terminator. And Peter Mullan fully transforms into the series’ villain, Father Carden, the friendly, smiling leader of the Red Paladins’ genocidal crusade. Carden’s Paladins make perfectly decent villains: but while they have no problems burning or crucifying innocents and pillaging the defenseless, they aren’t a well organized military force and thus their battles are often on the weak side. But that’s where the Vikings come in.

Cursed
Father Carden | thehollywoodnews.com

The Vikings are everywhere in this series. All the time we spend on the longships of The Red Spear (Bella Dayne) with Pim might seem pointless at first (though I stopped feeling that way once we were treated to a hilarious montage of Pim, who was enlisted as the crew’s healer, trying desperately to keep up with the raiders’ never ending brutal injuries), but it is integral to the events of the finale, which sees multiple Viking clans clash in epic warfare: and, based on the secret identity of one specific Viking character, it will prove to be integral to the events of future seasons of Cursed, if there are any. All that being said, it’s hard to stop from laughing when King Cumber (Jóhannes Haukur Jóhannesson) arrives about halfway through the season with a ridiculously mangy platinum blond wig that appears to have been loosely glued to the top of his head. If you thought Henry Cavill’s wig in The Witcher was bad, then you’re going to be horrified by Cursed, which has plenty such awkward hairpieces.

Besides occasionally looking awful, the hair, costumes and makeup utilized on this show don’t even try for any semblance of historical accuracy. For instance, the court of the distasteful Uther Pendragon (Sebastian Armesto) is a complete mix-and-match of styles, ranging from late Medieval to Victorian, with some background characters appearing to have stepped out of the 16th or 17th Centuries. I was tempted to say that Cursed is reminiscent of an Assassin’s Creed interpretation of history, but I actually think the video game series does a far better job of achieving authenticity – though the Trinity Guard, an elite sect of gold-masked Catholic warriors wielding maces and whips under the command of a solemn, vaguely reptilian abbot, feels like it would be very much at home in the game. As does The Weeping Monk (Daniel Sharman), a nimble assassin and another of the series’ roster of antagonists – but his journey takes some very interesting twists and could be relevant to the LGBTQ+ community in ways which I don’t wish to spoil here.

Cursed
Lady Lunete | wehaveahulk.co.uk

Cursed is well worth the long ride (and it’s a long ride indeed) for its strong lead performance, the beautiful aesthetic – insert shoutout to those absolutely lovely animated scene transitions here – the surprisingly good cinematography, and the political intrigue: one of my favorite fantasy tropes, very well executed here, with a particular emphasis on how powerful women often had to work their influence from behind the throne. Two wildly different women – the quiet, calculating Lady Lunete (Polly Walker) and the sadistic berserker Eydis (Sofia Oxenham) – both have to operate in this fashion.

The diversity is another good reason to settle in for the ten-episode ride: though some audiences will inevitably become enraged by the mere presence of people of color – and women of color, especially – in 4th or 5th Century England, I think that’s a stupid complaint because people of color have been living in England since Roman times, well before Arthur’s reign. If anything, that’s one of the few things that Cursed actually gets right when it comes to historical accuracy. Maybe instead of getting offended by black people and LGBTQ+ characters, you should direct your attention toward the swarms of Vikings coming down from Norway about two hundred years early? Just a thought.

If you’re at all interested in fantasy, you’re at least going to have a fun time with Cursed. It’s shamelessly entertaining when it wants to be (i.e. when it doesn’t get bogged down in love triangle tropes), and there’s nothing wrong with just watching something because it’s fun, and has some thrills and scares and big cliffhangers. If you’re hoping it’s the next Witcher, I’d encourage you to lower your expectations just a little bit – just a little bit, mind you. It’s not so far behind its more high-profile Netflix competitor in terms of quality that it could never catch up in future seasons (and I’m going to hazard a guess based on the finale that future seasons are planned because otherwise I’m suing Netflix), but it still needs to find its own voice amongst the crowd.

Series Rating: 6.5/10