![]()
08/12/2003 03:24 PM Matt Bostwick If Best Picture Oscars were awarded purely for the battle scenes, Peter Jackson's final instalment in the Lord of the Rings trilogy, Return of the King, would be a shoe-in. But the fact that Oscar gongs are awarded on a slightly broader range of cinematic competencies than battle scene depiction shouldn't worry Jackson and his backers at New Line Cinema.
Regardless of what happens at the Oscars (although all agree it would be nice to see Jackson take home Best Director or Best Picture) this film will be remembered as one of the best ever, for so many reasons. Firstly, it is quite possibly the most visually stunning piece of celluloid to ever hit a cinema screen. The Battle of Pelennor fields will simply dumbfound you. No kidding.
The giant elephant-like Mumakil, sweeping aside everything in their path with mammoth forklift tusks and crushing any leftovers with their enormous kauri trunk legs, are an absolute piece of Weta Digital genius. So too is the scene where Legolas attempts to bring one down, single-handed. As amazing as the battle scenes are in Return of the King, it's the sheer depth of thoughtful film artistry that makes this movie so good. One question asked of all the actors at the pre-premiere media day was how Jackson manages to get such good performances from his cast.
Sounds simple, but it's one of the most memorable moments in the film, the last touching scene before the battle cry is sounded. And it was something Bernard Hill himself came up with, after seeing the spears lined up in a storage room at Weta and idly running his hand along them as he walked past. He mentioned using it to Jackson as a device to convey the king's connection with his warriors. Jackson promptly added it in. Another triumph of Return of the King is the development of Gollum (Andy Serkis). The opening sequence, where we get a glimpse of Smeagol's transformation into the creature Gollum, is brilliant. Apparently a scene Jackson considered using in the second film, it works brilliantly to remind us of the power of the ring - and where the journey all started. Jackson's directorial prowess is also evident in the way the many stories are laced together. As good as the battle scenes are, Jackson knows there's only so long a battle can hold an audience's attention. To keep us locked in, Jackson switches the action deftly between the battles and, for example, to see how Gollum, Frodo and Sam are faring (and fearing) on their weary trek to Mt Doom. It's this clever pacing between the awe-inspiring battle scenes and moments like the touching intimacy between the two Hobbits that will keep viewers glued, hour after hour. Sir Ian McKellen has said he felt the actors' performances were slightly overlooked in appraisals of first two films in the trilogy. With many of the cast emerging from their shells for this one, that shouldn't be an issue now. Amongst the characters who shine are Sam (Sean Astin), the loyal companion to Elijah Wood's Frodo. The relationship, which many suggest is based on Tolkien's experiences of the comradeship between British soldiers in WWI, is beautifully conveyed. The depth of feeling between the two is easy to see, thanks to the bucket-loads of Hobbit tears and misty eyes. Gollum, as mentioned, continues to engross, and is now probably the best known CGI character in moviedom. That status is in no small way due to the sheer brilliance of actor Andy Serkis, who played Gollum for real in filming and was then used as the basis for the computer creation we see on screen. Other stunning scenes to look for include the lighting of the beacons. Like a Middle Earth version of modern day broadcast transmission towers, the beacons come alight across an incredible landscape (our own Southern Alps) calling the fellowship to war. All in all, Return of the King is nothing short of a masterpiece. If the end is long in the coming, it's because it's wrapping up three films, not one. Together the three epics add up to the most amazing cinema adventure ever. Roll on Oscar night. Watch the trailer on our Lord of the Rings site here. ![]() |
The Return of the King: Jackson's crowning glory 08.12.2003 With its sense of spectacle and its dramatic depth, 'The Return of the King' confirms Peter Jackson's 'The Lord of the Rings' as the greatest movie trilogy of all time, writes RUSSELL BAILLIE. (Herald rating: * * * * * ) We come to it at last, the great film of our time. The film which makes the heart leap, the tears flow, the adrenaline race like never before. The film which makes you laugh out loud, cower in fear, feel dizzy with vertigo, and at the end - and be warned, it sure does takes its time to finish - feel exhausted, dazed and slightly thankful it's all over. At least, until those compulsory further viewings. It's the one that makes you wonder: how did we get so hooked up in this imaginary world with its labyrinthine legends and its allusions to everything from The Bible to British history, its creatures great and small, its grand scheme of things. Well, if memory serves, there were two films before this - in my book, one brilliant, one not quite so, in that order - and a certain hefty work of fiction before that. So far as his history-making adaptation of J.R.R. Tolkien's book goes, Peter Jackson and his crew have saved the best and the boldest for last. And that's despite the final third of Tolkien's original work being where his story unravels. Performance-wise, many of Jackson's cast - some of whom were previously sideline characters - shine like never before. Among them Sean Astin as Frodo's companion Sam, whose character becomes something much more than the loyal simpleton of earlier episodes. Likewise, Billy Boyd as Pippin gains in stature and sings a couple of songs while he's at it. Also outstanding is Bernard Hill as King Theoden, whose character has transformed from a wizened Lear to a heroic Henry V. He also delivers one of the great speeches to the troops ever committed to celluloid. Some characters do fall by the wayside: Liv Tyler's Arwen becomes a passive near-sleeping beauty, while Eowyn (Miranda Otto), her rival for Aragorn's affections, gets to swing a very big sword. There are more deeper, darker Shakespearean overtones to this, as Middle-earth politics, loyalties and blood ties become more complex. That resonates especially in the sub-plot involving the Steward of Gondor, Denethor (John Noble) and Faramir (David Wenham), the son he wished were dead rather than his slain brother Boromir. The Return of the King may be following several strands of story - part of the slight undoing of the previous film, The Two Towers - but here it interweaves them with deft precision, using what it needs from the previous books and pacing most of its long running time in exact swings of tension and release. That's right from the opening sequence, in which we meet Smeagol in his pre-Gollum days and are reminded of the devastating power of the ring, as well as seeing a little more of where actor Andy Serkis ends and the magic of Weta Digital begins. We are every stumbling step of the way with Frodo, Sam and Gollum as they head towards Mt Doom. We're also there, with the rest of the scattered fellowship, preparing for the showdown against the mounting might of Sauron. "We come to it at last, the great battle of our time," says McKellen's Gandalf as he sees the forces mount on the vertiginous city of Minas Tirith. It is a great battle. It makes The Return of the King a great war movie - the thrill of the horse charge of the Rohan warriors, the chill caused by the devastating stomp of the elephant-like Mumakils as they counter-attack. It takes a certain matinee idol elf to bring one down in an eye-popping action sequence. It's topped off with a priceless one-liner by his short mate Gimli. The Battle of Pelennor fields also comes with troll-powered catapults, and pterodactyl-like beasts piloted by Nazgul led by the Witch-king Angmar, the baddest of the Lord of the Rings baddies yet, though he has some competition from Orc captain Gothmog whose visage seems a tribute to the Elephant Man. Both are played by Lawrence Makoare who played orc Lurtz in the first film. If there's a prize for most makeup-tolerant actor, he deserves it. If it's a great war movie, it's quite a horror film, too. First there's the Army of the Dead who are summoned by the man who would be king, Aragorn, for the final showdown. Some business to do with an old curse apparently, but they are a visually arresting bunch whose special effects hark back to Jackson's The Frighteners. Then there's Shelob, the giant spider into whose lair Frodo is led by the treacherous Gollum. It could have gone all very B-movie at this point, but with the combination of creature and choreography, it's something more akin to Alien. But there are visual moments that are arresting for their simple beauty, such as the lighting of the beacons - mountain-top bonfires which presumably used the Southern Alps as their backdrop and on screen look like a high-concept art piece. As in the book, it does take a while to find its ending, even without including episodes such as the scouring of the Shire, which were discarded by Jackson and his co-writers. If it takes a while to wrap up, then again it is the ending to what is effectively one very big movie. It should be allowed a few curtain calls. If it takes its time to roll the end credits, for much of the film it is beyond exhilarating and certainly the best of the three, effectively elevating the series into the greatest trilogy in cinema history. Peter Jackson started off filming a legend. Now he is one. THE LORD OF THE RINGS: THE RETURN OF THE KING Cast: Elijah Wood, Sean Astin, Viggo Mortensen, Sir Ian McKellen, Bernard Hill, John Rhys-Davies, Orlando Bloom, Billy Boyd, Dominic Monaghan, Liv Tyler, Miranda Otto Director: Peter Jackson Rating: M (violence and fantasy horror) Running time: 202 mins Screening: Cinemas everywhere from December 18 - ADVERTISEMENT -
|