Gondor Archives - The Wide Screen

In all the hype surrounding Amazon’s upcoming The Lord Of The Rings prequel series (hype that, to be honest, Amazon themselves have done little to stir up on their own with official announcements and news, relying on hardcore fans to drive interest for the past several months), it’s hard to remember sometimes that Warner Brothers and New Line Cinema still own the rights to the actual narrative of J.R.R. Tolkien’s magnum opus, The Lord Of The Rings. The situation is messy, and who owns what exactly is still not entirely clear (whether or not Amazon has permission to draw from Unfinished Tales, for instance, is a matter of heated debate in the Tolkien fandom), but Warner Brothers clearly still has enough to create an entire stand-alone feature-length anime focusing on the ancient history of Rohan.

Honestly, this is a startlingly random announcement to spring on us today of all days, without so much as a warning – Danger! Beware Of Hype Overload! Because I don’t know about you, but my hype levels are accelerating at an alarming rate, and show no sign of stopping. It’s been six years since the last film set in Tolkien’s Middle-earth came out, and that film was The Battle Of The Five Armies, so it doesn’t count. With Amazon’s The Lord Of The Rings still only dimly visible on the horizon like the far-distant peak of the Meneltarma rising above the waters of Belegaer, it makes sense for Warner Brothers to capitalize on their long delays by giving audiences a taste for what the OG makers of Middle-earth have been up to in the mean-time. Partnering with the Warner Brothers Animation department for the ambitious project, New Line has already picked out a director in anime veteran Kenji Kamiyama, and a pair of writers in Jeffrey Addiss and Will Matthews, who previously developed Netflix’s The Dark Crystal: Age Of Resistance. If you remember my feelings on that series, you probably know that their inclusion in this project sends a chill down my spine that I can’t entirely shrug off, but luckily these writers will have help from Philippa Boyens herself.

Boyens is one of the three masterminds behind The Lord Of The Rings‘ excellent screenplay, alongside Fran Walsh and her husband, Peter Jackson. While Jackson’s directing is a huge part of why the films are as good as they are and he certainly deserves credit for his accomplishments, he tends to be propped up on a pedestal by the mainstream media as the sole genius responsible for bringing Middle-earth to life – while Boyens and Walsh, both Oscar-winners, are overshadowed and largely ignored. Both women were instrumental in keeping the films as true to the source material as they could be, as well as creating some of the most iconic original lines of dialogue from the trilogy (some of Boyens’ contributions in that category include “You shall not pass”, a slight but significant deviation from the books, and “A wizard is never late, Frodo Baggins. Nor is he late. He arrives precisely when he means to.”) That’s not to say all of her work on the trilogy was perfect – she was apparently responsible for “Meat’s back on the menu, boys!”, according to Grishnákh actor Stephen Ure – but her involvement in the anime is encouraging to me.

Peter Jackson, meanwhile, is presumably still too busy navigating the fallout from a bizarre scandal in his personal life involving a vintage aircraft theft to get involved in the new film, although he apparently gives it his blessing. It’s unclear whether the anime will attempt to stay in line with Jackson’s canon anyway, although it seems fairly likely given that New Line is overseeing this project, not Amazon. That being said, the film, currently titled The Lord Of The Rings: The War Of The Rohirrim, will be set a few hundred years before Jackson’s trilogy, so the only area in which it will really be expected to adhere to his canon is in the architecture and design of certain locations.

The War Of The Rohirrim will take place in the kingdom of Rohan during the reign of Rohan’s ninth and arguably its most legendary king, Helm Hammerhand (for comparison, Théoden was the seventeenth king of Rohan, during the time period covered in The Lord Of The Rings). Helm inherited a kingdom very different from the one we saw in the trilogy: mostly due to the fact that Saruman the White had not yet settled in the ring of Isengard, nor consolidated the kingdom’s most ancient enemies into an alliance against the Rohirrim. Helm Hammerhand’s greatest foes were Freca, a powerful tyrant who lived west of Rohan in the region of Dunland, and all of his house. They claimed to be descended from Rohan’s fifth king, although Tolkien’s appendices to The Lord Of The Rings never confirm whether this claim held any weight. Either way, Freca was not very fond of Helm Hammerhand, and sought to gain power in Rohan by means of a politically-motivated marriage between his son, Wulf, and Helm’s daughter.

The marriage proposal fell through (although I won’t be surprised if it’s the central love story in The War Of The Rohirrim anyway) after Helm sucker-punched Freca in the face, killing him, and Wulf seized an opportunity to launch an attack on Rohan while the kingdom’s closest ally, Gondor, was occupied with defending their coastlines against the Corsairs of Umbar. Wulf’s Dunlending army was soon joined by warriors from the lands east of Mordor, and they drove Helm’s armies into the valley where he would fortify the foundations of an ancient Gondorian citadel which became known as Helm’s Deep. Both of Helm’s sons were killed there, but Wulf’s foes never breached the gates of the citadel. That’s an important plot-point in The Lord Of The Rings, so it can’t be altered with too much.

This siege lasted for many months, and coincided with the onslaught of the Long Winter, which left Rohan devastated by famine and blight. Tolkien describes Helm during this time as becoming increasingly dangerous and feral, venturing alone out into the snow to “slay many men with his hands”. Rumors that he had become a cannibal in his madness preceded him and sent his foes scattering whenever they heard the blast of his mighty horn from the walls of the citadel. Even when the cold finally killed him, he was found standing, frozen to death and covered in snow, on the wall. Long after his death, the ghostly echoes of his horn would still sound in the Deep, and his vengeful phantom was believed to rise again whenever Rohan was endangered.

Helm didn’t survive to see the end of the siege on Helm’s Deep, or the day when his brave young nephew Fréaláf ambushed Wulf in the Golden Hall of Meduself and achieved victory over the Dunlendings. But his legacy lived on, inspiring his descendants to great deeds of their own. The anime will have plenty of opportunities to draw parallels to the siege of Helm’s Deep in The Lord Of The Rings, where Helm’s horn marked the turn of the tide against Saruman’s armies of ravenous orcs.

And speaking of Saruman…I know I mentioned earlier that he wasn’t living in Isengard at the start of Helm’s reign, but by its end he had already taken an interest in the affairs of Rohan – assuming he hadn’t already been pulling the strings behind Freca and Wulf’s dissent. At Fréaláf’s coronation ceremony, he first appeared in Rohan and was welcomed by the Rohirrim. And with the Dunlending presence driven from Isengard, he was given free reign over the ancient stronghold and its treasure trove of magical artifacts. This ominous, almost tragic, ending would be the perfect way to tie everything back into The Lord Of The Rings proper.

So yeah, I’m definitely going to keep a close eye on this project. Voice-casting and animation is currently underway, and I’m especially interested to see the style of anime that Warner Brothers goes with, as I think that will be very important: personally, I’d be most excited for something similar to the artwork of Netflix’s Blood Of Zeus and Castlevania anime series’, both of which also come with the violence one would expect from a series following Helm Hammerhand. This could very well end up being the first R-rated Tolkien property, and I don’t know how the fandom will respond to that.

But what say you? Does The War Of The Rohirrim sound appealing to you, and would you look forward to more anime based on The Lord Of The Rings? It’s a “yes” and a resounding “yes!” from me, by the way. Share your own thoughts, theories, and opinions, in the comments below!

Today is Tolkien Reading Day, the best time of year to go out and read up on the works of the great J.R.R Tolkien, author of The Lord of the Rings and The Hobbit. However, if you don’t have access to the books, why not take three hours out of your day to watch one of The Lord of the Rings movies? And since this day is intrinsically linked to things that happened in The Return of the King, Part 3 of The Lord of the Rings trilogy, we’re going to be talking about that film.

Spoilers Ahead!

So let’s start our discussion with a reminder that I am one of those people who read the books first, before seeing the films – but, I am not a book “purist”, someone who believes that everything in the text could have been adapted word-for-word onto the big screen, without any need for changes, additions, omissions, etc.

Now, having watched the film about six-thousand times, I have noticed a number of flaws – little things, for the most part, but we’ll discuss them here: I say “we” because I’m going to be writing this post in Gollum/Sméagol fashion, as an argument between my purist self and my revisionist self. We’ll also discuss a number of scenes that capture perfectly the spirit of the book, and even manage to almost elevate the material (which is so good to begin with).

But, we’ll also talk about the movie in its own right, because it’s just such a good movie. Even if you go into these films never having heard of The Lord of the Rings, or J.R.R Tolkien, you’ll still be swept up into this magical world, and, assuming you’re anything like me, you’ll never leave it again as long as you live. The joy and wonder is still there, every time I open the book or watch one of the movies.

Well, now we’re off at last!

Let’s begin with a breakdown of the plot: the film follows the journeys of a group of Men, Elves, Dwarves and Hobbits as they travel across Middle-earth. Our hobbit protagonist, Frodo Baggins (Elijah Wood), carries with him the deadly but beautiful One Ring, an object of incredible power that contains the very soul of the Dark Lord Sauron. Only by destroying this Ring can Middle-earth be freed from the horrors of war and evil that have been relentlessly assaulting it. The film opens with Frodo and his loyal gardener Sam Gamgee (Sean Astin) being led through the dangerous country around the Dark Lord’s realm of Mordor. Their guide? A treacherous and utterly wretched creature named Gollum (Andy Serkis), who once possessed the One Ring and wants it back. Can he be trusted? Can Frodo be trusted? Can anyone be trusted around the Ring? – for the Ring wants to get back to Sauron, and it has the power to corrupt anyone who owns it. By the time we see Frodo here, in The Return of the King, the Ring has betrayed many masters: it was cut from Sauron’s hand long ago but quickly killed its new owner, a man named Isildur – it fell into the River Anduin, and was there picked up by a hobbit named Deagol, who was very soon murdered by his friend Sméagol. Sméagol took the Ring and fled with it into the mountains, and there, dwelling in dark caves and pits, he changed into Gollum – the Ring abandoned him too, though, and was found by another hobbit named Bilbo Baggins (Ian Holm), but Bilbo was good enough that he was able to give up the Ring willingly – he gave it to Frodo. But the Ring betrayed one of Frodo’s friends as well, the noble man Boromir (Sean Bean), who tried to kill Frodo in an attempt to steal the Ring.

That is, of course, the main plot: the Ring must be destroyed, but destroying it takes great effort and great willpower. And the only place it can be unmade is in the fiery forges beneath an active volcano named Mount Doom, in the very heart of the realm of Mordor. Sauron dwells here, a giant flaming eye atop a horned tower.

Purist’s Note: in the books, Sauron is not a “giant flaming eye”. He has a physical form, but it is terrible and maimed, because he has been unable to take any shape fair to the eyes of Men ever since he fell into the ruin of Numenor in the Second Age. The Eye is merely a metaphor, in the books, for his piercing knowledge of all things that move on Middle-earth.

Thank you, Inner Purist, for making that clear.

Moving on. Many miles away from Frodo, his other friends are busy fighting Sauron’s vast armies of Orcs, Ringwraiths and Haradrim. Aragorn (Viggo Mortensen) is the reluctant King of Gondor who must rally his people to stand in defiance of the shadow. Gandalf the White (Sir Ian McKellen) is the good wizard entrusted with helping all the Free Folk of Middle-earth. Arwen Evenstar (Liv Tyler) is the Elven princess in love with Aragorn, who must choose between an immortal existence with her family, or a mortal life with the man she loves.

But, the fight for victory will not be easy. Sauron has unleashed all of his forces, and they are heading straight for the greatest city in Middle-earth: Minas Tirith, the capital of Gondor. Will Gandalf be able to keep the city’s defenses firm against such reckless hate? Will Aragorn reach the city in time to save it? Will Arwen choose love over the promise of immortality? The stakes are so high, they’re incredible.

Purist’s Note: in the books, Arwen had already chosen love over immortality, many years before the events of The Lord of the Rings. She and Aragorn had been betrothed on the hill of Cerin Amroth, and they had rejected both the Shadow of Sauron and the Twilight of the West.

Yeah, well, that’s not the case here. Here, we have a cast of incredible characters – played by an extraordinary cast – who collide with each other in the most brilliant ways. When the hobbit Merry Brandybuck (Dominic Monaghan) meets Éowyn, shieldmaiden of Rohan (Miranda Otto), will they overcome prejudice to fight in the war for Middle-earth? When Pippin Took (Billy Boyd) swears loyalty to the Steward Denethor (John Noble) will this choice come with a terrible responsibility – to watch as the Steward goes mad and tries to burn his own son alive?

Purist’s Note: well, no, apparently not, because in the movies Denethor releases Pippin from his service – whereas, in the books, Pippin remains in allegiance to Gondor.

This purist is getting on my nerves. You know what, Inner Purist, how about that scene where the Riders of Rohan appear over the hills at dawn and ride down to meet the orcs of Mordor in battle on the Pelennor Fields? Hmm, how about that? Was that not exactly as in the books?

Purist’s Note: well…well, I mean, no, because…

And what about the scene where Gandalf and Pippin discuss the prospect of death, using words directly from the book?

Purist’s Note: okay, that was touching, but the scene itself wasn’t in the books…

How about the scene on Mount Doom? Where Frodo finally stands above the consuming fires, unable to throw the Ring to its destruction? How about when Gollum takes the Ring from him in their last desperate struggle, biting off Frodo’s finger to get the corrupting treasure, dancing madly for joy on the brink of the fire – and falling, to his death? How about that terrifying scene where the Ring sits, motionless, on the surface of the lava, unwilling to be destroyed? And Frodo hangs from the cliff far above, staring down at it, contemplating with himself in those final moments whether he should leap into the fires after the Ring, or if he should take Sam’s hand and be carried to safety? How about that scene?

Purist’s Note: ooh, and how about that tortured look that Frodo gives to Sam as he makes his choice – but then, he reaches for Sam’s hand! And Sam pulls him up! And…uh, I mean, yeah, that scene is fine.

What about the final scene, at the Grey Havens, where Frodo goes off with the Elves to sail across the seas into the West? That emotional goodbye to his friends that has me in tears every time I watch it? That smile he gives as he boards the boat, and you know in your heart that he’s finally going to be healed of all his pain and hurt.

Purist’s Note: and when Sam says “well, I’m back” as he returns to his home, just like in the book…

Well, not just like in the book. If it had been just like in the book, he would have gone home to Bag-end, since in the book he inherited it from Frodo. Also, he should have only had one child at that time, but he had, like, five.

Purist’s Note: well, yeah, but, come on, the emotional heart of Tolkien’s work was all there. Director Peter Jackson could easily have gone for a more traditional route and had them all live happily ever after, but he didn’t. He showed the incredible pain that Frodo went through, and how it could never be healed – unless he left Middle-earth.

Yeah, I know, but Peter Jackson got a lot of things incorrect too. Let’s not forget the infamous scene where Frodo tells Sam to “go home”, which goes against everything in the books. That scene is painful to watch, it’s just so annoying.

Purist’s Note: okay, sure, but don’t forget that that scene was shot really early on, before the actors had any clear idea of the emotional journeys their characters were going on – before Andy Serkis had been cast as Gollum, in fact.

Good point. But how do you explain that scene with the skull avalanche in the Paths of the Dead?

Purist’s Note: wait, I thought you liked that!

I do! But…wait, aren’t you the purist? I feel like things got switched around here. I’m not supposed to be grilling you, it should be the other way round!

Purist’s Note: well, this is pretty normal when dealing with the movies. They’re conflicting, but in the end…they are pretty good movies, even when they’re not great adaptations. And, for the most part, they are great adaptations. Except for…a handful of things.

More than a handful. But, you’re right. No matter how many things might be wrong with the movies, I’m always going to love them. I’m always going to cry when Frodo sets sail into the West, or when Annie Lennox’s beautiful song starts playing over the credits…I’m always going to cheer when Sauron is cast down, and the Eagles rescue Frodo and Sam. I’m always going to feel completely heartbroken after the credits roll, when I realize that the story has finally come to its end. It’s the magic of this movie that makes that possible: you can overlook or even ignore every minor change to a character’s appearance, every faulty line of dialogue, every blunder or misstep. Because the magic is still there.

Purist’s Note: you’re going to tell me what the magic is now, aren’t you?

Yes, I am! It’s the magic of Frodo struggling through pain and torture to do the job that needs doing. It’s the magic of Sam carrying Frodo up Mount Doom, even when all seems lost. It’s the magic of Aragorn going to what seems like certain death so that he can buy Frodo just a little time. It’s the magic of Merry and Éowyn standing up against the Witch-King. It’s the magic of Pippin leaping into the flames to rescue Faramir. It’s the-

Purist’s Note: you’ve gone on long enough. I get it. It’s magic.

It is, and it’s the sort of magic that doesn’t go away, even after multiple viewings.

So there you have it: my thoughts on The Lord of the Rings: The Return of the King. No movie quite compares to it, honestly. It is everything I love about cinema, all rolled into one beautiful movie. From the opening sequence to the moment the screen fades to black, I am entranced, brought into another world, a world that I know and love from the books: not everything from those books made it onto the screen, but that’s okay. This sort of magic is rare. Enjoy it as it is.

Movie Rating: 10/10

Tag: Gondor

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