Revisiting The Lord of the Rings

It’s hard to think that The Fellowship of the Ring first came out in theaters nearly nineteen years ago. It’s even harder to think of a world in which these masterpieces of cinema didn’t exist, and nobody knew what they were in for before their first-ever watch. It’s particularly difficult to imagine that Peter Jackson et al had the most immense difficulty getting these films green lit, filmed, produced, and realized, in an era where CGI was only just starting to take hold of blockbusters and our only experience of motion capture was Jar Jar Binks.

I want to revisit these films in light of their imminent release in 4K, as I am (like many fans the world over) simply dying to see scenes such as wandering the halls of Moria, or the battle of the Pelanor Fields, in even higher quality than ever before. I’m even more excited for the news that remastered editions are coming next year, but 4K will have to do for now.

Like the best of cinema, The Lord of the Rings trilogy is an epic visual feast, from the bright and colorful renditions of the Shire to the overwhelming sight of ten thousand soldiers on horseback running down an even greater number of orcs, and every scene and shot is filled with visual magic – both practical and CGI.

Given that we’re discussing these films in the context of their technological improvement (upscaling, re-rendering, etc.), it’s worth noting that the timing of these films was perhaps a key to their visual success: the burgeoning rise of computer-assisted imagery was vital to Peter Jackson’s vision, yet an enormous number of shots were achieved through much simpler – and much cleverer – practical effects. When comparing these films to later blockbusters – including The Hobbit prequels – it really is the seamless blend of practical and digital effects that allowed this movie to achieve the visual successes that it did. When we see great panning shots around the stone city of Minas Tirith, or witness the breaking of the dam above Isengard, we’re actually watching 100% practical shots, achieved with excessively large miniatures (‘bigatures’, as Jackson’s team would come to call them), enhanced only by the subtle CGI addition of things such as people wandering the streets, or orcs being thrown into cascading rivers.

At the time, audiences were used to CGI being used for very obvious, impossible to visualize effects; think the liquid metal of Terminator 2, or the tracking shot of the bug in the opening to Men In Black. Most other blockbusters of the time – even huge visual-effects-laden hits such as Independence Day – relied primarily on practical effects, sometimes superimposing multiple practical shots with green screen. It was much less common – and at times disastrously obvious – when CGI was used to render entire landscapes, create inhuman characters, or add dazzle to otherwise normal shots.

This means that Jackson was, at the time, at a crossroads of technology; anything was possible with CGI, but it still wasn’t alway the best choice. To create creatures such as Gollum – which, as opposed to Jar Jar Binks, was necessitated by the original source material – Jackson had no choice but to rely on motion capture and an army of digital artists to create his vision. But to create many of the epic landscapes and cities, he relied on something much simpler: the majestic and wildly varied countryside of his native New Zealand. So much of the grandiosity of The Lord of the Rings comes not from CGI, but from the real-life locations in which he chose to film. When we watch Gandalf, on the back of an eagle, soaring high over snow-drenched peaks, we’re watching a small blip of CGI against a completely real world.

In some ways, these are the scenes I’m most looking forward to seeing in 4K: not the crazy, CGI-laden battles of ghosts and oliphants, but the sweeping, majestic landscapes that deserve to be seen in the highest possible quality.

Of course, style is nothing without substance, and whilst there are small moments that detract from the overall interpretation of Tolkien’s original vision (I’m looking at you, Legolas-surfing-down-a-staircase-on-a-shield), the faithfulness of the adaptation, and the clear love Jackson had for the source material, make for one of the most thrilling, and emotional, stories to be put to film. When The Lord of the Rings first came out, many people were concerned at its runtime, and what seemed to be incredibly slow pacing. And arguably, they are a long, slow set of movies; it’s nearly forty minutes into the film before we even leave the Shire, and there’s still half an hour of film to go after the destruction of the One Ring. But this pacing reflects the detail of the film, which in turn reflects the detail of the world-building that Tolkien put so much effort into.

Die-hard purists will complain that the reluctant king trope Aragorn plays in the films is contrary to the original story, or bemoan the loss of Tom Bombadil in the opening chapters, but the other thing Jackson had an uncanny knack for (which he has yet to replicate to such a degree) was knowing what worked well, and what wouldn’t work well, when translated to film. As slow as the films are, they are a masterpiece nonetheless in tension, character- and world-building, and even in the extended editions, nothing is present without reason. Sure, Aragorn doesn’t set out from Rivendell with Andúril in hand, knowing he is to be crowned king, as he does in the books, but this would have worked against the audience’s empathy for him had Jackson stuck hardcore to the text. Modern audiences expect character arcs, and arguably Tolkien was less a master of character-building than he was world-building.

Even when Sam (albeit temporarily) abandons Frodo in the passages above Cirith Ungol (a thing that never happens in the books), it works to the emotional tension of the film, serving as a breaking point, and moment of darkness before moving into the final climax of the film. These changes, I would argue, are for the better – at least in the telling of the story cinematically – and these three movies remain to this day my favorite works of art ever committed to film.

I can’t wait to see them in 4K, and when the remastered versions come out next year, I’ll be first in line!

What are your favorite moments from The Lord of the Rings trilogy? Do they stand the test of time, visually and content-wise? Let me know!

Wild Mood Swings

I am getting tired. Tired of so much, in the world, in life, and in my thoughts; but most of all, I’m getting tired of not knowing where my head is going to be next month, next week, or even tomorrow. Frankly, living with bipolar is an exhausting experience, and although I’ve mostly just dealt with it until now, I have to admit that I’m running low on energy – not just energy to live and do things, but energy to cope.

It’s one of the reasons, if not the most prominent one, why I don’t attend to this blog like I did years ago. I feel bad about it, but feeling bad was never much of a motivator for me, so I continue to neglect my daily writing in favor of sleep, TV, and sleep.

Historically, long periods of low mood, energy and motivation have formed a large part of my life, from my teenage years through my adulthood and to present day; I’m no stranger to depression. Often this manifests as wanting to stay in bed, feeling hopeless, and an inability to cope with the most basic of daily functions (e.g. showering, brushing teeth, etc.). I’ll spend day after day not even watching TV, and just staring at the ceiling, waiting for sleep to take me to twisted dreamscapes where I can escape from reality – if not entirely pleasantly.

But more recently, I feel I’m struggling with a new level of exhaustion: one that wears my mind down from an excess of actual mood swings. If my normal depression is akin to the tiredness of a marathon runner nearing the end of the slog, my current state of mind is closer to that of a sprinter after a day’s worth of races: running full tilt, then stopping, then starting again, over and over with no end in sight.

It’s like being on a non-stop rollercoaster. It’s like falling endlessly. It’s like … well, there are likely dozens of metaphors I could choose from, but the point is that I feel like my brain is about to leak through my eyes and ears, a complete and total meltdown from being forced to cope with a rapid cycle of ups and downs in a very short period of time.

Only a month ago, I was suffering from one of the worst depressions I’ve known in recent years. I couldn’t work, I couldn’t play, I couldn’t get out of bed, and I was sorely tempted to begin self-harming again after over a decade clean. Last week, I finished the last pages of my new manuscript after several days of hours-long writing stints. I went from catatonic to manic within a period of only a few days.

I don’t think this is good for me. It’s left me with a whole new level of exhaustion that I’m entirely unused to, and I honestly don’t know how to cope. It was my birthday over the weekend, and I spent it mostly in the loft watching Lord of the Rings and writing emails to people I haven’t contacted in months, or even years. I don’t know what I’m doing.

I wake up every day before 6 AM, but I want to pass out by 7 PM. This is also new; I normally sleep in like crazy, and stay up late.

I wonder if it’s to do with the new medication my psychiatrist started me on; I wonder if it’s to do with the strange weather (70°F in November, what’s with that?). I wonder if it’s … I don’t know anymore.

In any case, I’m done writing young adult/new adult for the time being, which means maybe – just maybe – I’ll find some time to return to The Redemption of Erâth for you all, as I started on book four almost eighteen months ago and never really got too far into it. In the meantime, I’ll see if I can start posting here a little more regularly, as I always want (and always fail) to do.

Many thanks!