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The Lord of the Rings:
The Return of the King 2003 |
Review by Jonathan Cornwell |
Directed by Peter Jackson
PG-13, 210 min. (intense battle sequences, scary images) |
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Starring: Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Miranda Otto, Bernard Hill, Andy Serkis, John Noble, Liv Tyler
Producers: Peter Jackson, Barrie M. Osborne, Fran Walsh
Screenplay: Fran Walsh, Philippa Boyens, Peter Jackson
Cinematography: Andrew Lesnie
Distributor: New Line Cinema
Released: 12.17.03 (Wide) |
Rating:
 (out of ) |
 
"You can't go back. Some wounds don't heal."
In the closing moments of what is certainly the year's best film, we sense the regret and the still burning embers of a pain
and triumphant resolution that resides in the bittersweet eyes of a hobbit who realizes that life will never be the same again,
not even in the idyllic confines of the Shire. If this defining moment seems more a statement by director Peter Jackson than
by his weary characters, it's because this journey - arduous, exhausting, and exhilarating - has not only changed his life,
but also that of cinema history. The Lord of the Rings trilogy has now claimed the title of "greatest trilogy of all time,"
despite the arguments from George Lucas (Star Wars) and Francis Ford Coppola (The Godfather), respectively.
The sweeping epic that is The Return of the King is so all-encompasing and grandiose in its presentation that viewers
are simply stunned at the level of accomplishment that can be fashioned by a cast and crew that sacrificed a year of their
lives to make J.R.R. Tolkien's literary masterwork a reality. Unlike many other celebrated trilogies, Jackson's Lord of the Rings
saves the best for last, utilizing the solid framework of The Fellowship of the Ring and The Two Towers
to create an awe-inspiring final chapter that is as fully satisfying as it is emotionally draining.
There is so much territory and narrative to cover in this last installment that it's amazing that Jackson is able to do it justice
in the already stultifying 210-minute running length. Weaving together strands of personal journeys and epic battles for Middle
Earth in a smoothly-defined, well-edited manner makes Jackson not only a great director, but also a master administrator.
His team - writers Fran Walsh and Philippa Boyens, cinematographer Andrew Lesnie, production designer Grant Major, and an all-star cast - help to define the
imaginary but seemingly real world of hobbits, orcs, man, and elves in a way that redefines our expectations from cinema's
greatest films. The bar has been raised so high here that the next great film adventure may be many years away. It's not
an overstatement to pronounce The Return of the King as maybe the greatest of all fantasy epics.
But most of all it's Jackson's singular vision that catapults his films to cinematic greatness, which is best demonstrated in a
breathtaking sequence that shows many lighthouse-like signal fires ignite atop the mountain ranges that stretch from one part
of Middle Earth to another. More than any other moment, this meticulously crafted scene proves his attention to detail and
an adventurous spirit, one that provides his seemingly endless energy with a second wind, so-to-speak. Howard Shore's
majestic score accompanies Jackson along the way, conjuring the appropriate ebb and flow of the film's tumultuous, almost
uncontrollable tide of emotion. Through each of the films, especially here in the last, Jackson's beautifully-rendered pictures
evokes the grandeur of Earth, in a story that has enraptured a legion of fans worldwide.
When last we saw our heroes, Frodo (Elijah Wood) and Sam (Sean Astin) were following the treacherous steps of Gollum
(Andy Serkis) into the darkness of Mordor, while Gandalf (Ian McKellan), Aragorn (Viggo Mortensen), Legolas (Orlando Bloom),
and Gimli (John Rhys-Davies), were celebrating a triumphant victory at Helm's Deep. Reunited with the hobbits Pippin (Billy Boyd)
and Merry (Dominic Monaghan) at Isengard's captured tower, the band prepares to defend the city of Minas Tirith (the city of kings),
which is about to feel the full force of Sauron's multitude of evil minions. Meanwhile, Frodo's burden has become so great that
Gollum's devious plan to devide Sam's friendship takes hold at in inopportune time, which sees Frodo confront the terrifying
Shelob, a giant spider located in the labyrinthine depths of a passageway to Mordor. The intertwined fates of Frodo and Sam
and the rest of the Fellowship unfold at a brisk, uncompromising pace, culminating in a climax that defines the word.
Return of the King boasts the most accomplished merging of computer-generated effects and live action figures
ever seen on screen. From the interaction between Gollum and the hobbits to the astonishing battles at Minas Tirith
and the Pelennor Fields, there's never a time when we sense the machinery (i.e. computers) at work behind the scenes.
And the rendering of Shelob is the most effective man vs. monster struggle put together, as Sam must protect the
helpless Frodo from certain death. One of the reasons Jackson's film is so successful is because his reliance on CGI is
tempered by the enormous, made-by-hand set pieces that provide many of the story's spectacular backdrops. Taken
together, their impact on the Rings trilogy is invaluable since these films could not have been made believable
just a decade ago. This is the standard by which all other films will now be measured.
Yet for all the visual splendor inherent in the movie, this is still at its heart a multi-dimensional character study that tests
the inner will vs. the external forces that attempt to quell man's better nature. This dilemma faces most of the characters
in the narrative, but focuses most intensely upon three figures - Frodo, Gollum, and Aragorn. Their distinct struggles with
this encompassing Rings theme is at the heart of Tolkien's work.
Frodo's battle with the ring of power has him at the brink of insanity, much like it already claims Gollum. His weary body
and sullen eyes is matched only by a tormented mind, one that sees his world twisted and disfigured, even in the light
of his true friend's steadying hand. His torturous journey is almost unbearable, and, if not for the heroics of Sam, would
have proven tragic. Even with resolution, Frodo's spiritual battle leaves permanent scars that not even the Shire can
salve. It's to Wood's credit that his gloomy disposition becomes an overwhelming burden that only he can remedy.
Aragorn is torn between hesitancy and destiny, afraid of what assuming leadership would demand of him. His brave victory
at Helm's Deep has given him the confidence to move forward, to take another step toward the ultimate act of repentance -
to fulfill his preordained purpose and lead the world of man against Sauron. He is supported by Gandalf, tenderly but forcefully
portrayed by McKellan, whose own grave acceptance of immiment defeat is offset by an unforeseen hope that all will be
as it should; that good will conquer evil.
And then there's Gollum, the embittered creature that cannot keep his duality from overtaking his noble intentions, scheming
and arguing with himself (in a signature scene in which he speaks to his own reflection in a murky pond) along the way.
Ironically, it's his own journey (the film's first scene is dedicated to his origins with the ring) that will deliver both himself and
the ring to their fateful conclusion. He and the ring, after years of companionship, have become one, which cements his
misery in a fearful heart of addiction. That only Frodo can feel empathy for Gollum's plight is almost his own undoing, something
that would be all too welcomed by the wounded soul of the ring's old conquered companion. Andy Serkis and Jackson have
fashioned one of the most tragic of all movie characters, rich with irony, greed, and regret. Although not on screen for more
than a few minutes, Serkis' performance and voice is the central strand of the Rings' bittersweet theme.
Surprisingly however, the true hero in Return of the King is Sam. Wonderfully portrayed by Sean Astin in his best
screen performance to date, Sam recognizes that Frodo's failing strength of purpose must be bolstered by his loyal, bulldog-like
tenacity in the face of despair. It's Sam's presence, encouragement, foresight, and ultimately his physical help that allows
Frodo to complete his mission. Jackson has devoted significant time to communicate the themes of friendship and companionship
that enables others to realize their appointed purposes. The Lord of the Rings has many messages, but none greater than this.
This film in particular has so many supporting characters it would take too much time to describe them all in detail. Suffice
to say, figures such as newcomer Denethor (John Noble) as Gondor's steward king, and returning stalwarts Theoden (Bernard Hill),
Eowyn (Miranda Otto), Elrond (Hugo Weaving), Galadriel (Cate Blanchett), and aging Bilbo Baggins (Ian Holm) round out
the colorful players. Among the supporters, Eowyn and Theoden stand out; Eowyn asserts her feminist angst and provides
a critical victory for the forces of good, while Theoden leads his army of Rohan bravely into battle. Special notice goes to
John Noble, who portrays a decidedly cynical king in the throngs of psychological denial and defeat.
Throughout the Rings trilogy, there is a somber, eloquent quality that haunts the inner core of the narrative. Although
the characters discover their individual purpose in reclaiming peace in Middle Earth, it's also evident that the hesitation
behind their actions is driven by an uncertainty, a fear of the unknown, something intangible that threatens their very
existence. This poignancy lends a transcendant quality to the Rings films, as the heroes achieve ultimate victory
with a somewhat subdued satisfaction, as if a nod to the difficulty in attaining their goal. Jackson and his collaborators
also seem to sense this quasi-duality as the film winds down during a protracted epilogue.
Jackson's bittersweet, extended farewell to Middle Earth is understandable, if not a little too indulgent, but it's hard to fault him for
having a difficult time saying goodbye to characters and actors that have forged his place among the great directors in
cinema. Some have complained that his weepy protagonists eschew Tolkien's strong-willed, confident characters. Indeed,
Sam and Frodo shed so many tears it's hard to believe they're able to keep themselves together long enough to reach
Mordor's fiery interior. Yet it's this fragility that lends the most humanity to the production, portraying the fact that
noble, worthwhile endeavors are usually not realized without blood, sweat, and, yes, tears.
And so it ends. One of the most popular and influential sagas in cinema history will be revisted countless times on video and
perhaps through a few revivals on the big screen in years to come, yet it's appropriate to point out that this singular achievement
in film will be lauded as long as motion pictures exist. For Jackson, who is rumored to have interest in helming the beloved
The Hobbit in the near future with some of the cast from this epic series, forthcoming projects will probably pale
in comparison to his towering work here. It will be interesting too see whether or not The Lord of the Rings will be
considered as one piece of work or as individual chapters as filmed. While Return of the King is the most accomplished
of the three films (and almost certain to finally win Best Picture from the Academy), arguments can be made for each of the movies
as the superior of the three. Whatever one's inclination, there's no doubt that this franchise will be remembered as one
of the great landmarks in the history of film.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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