The Hobbit: TBotFA First Impressions, Extended Edition

Time has passed, and I am no closer to definitively knowing how I feel about The Hobbit: The Battle of the Five Armies. Part of the difficulty is that I really want to like the movie, but am finding it difficult to do (at least when taken as a whole). There are aspects that I really enjoyed and scenes which excelled, but they are burdened under the weight of so much dross. Like many other reviews I’ve seen over the last couple days, I firmly believe the choice to expand the films from two to three was a grave error. I’ve run across a few reviews and comments which even go so far as to suggest a director’s cut which condenses the films to two or even one epic one…a concept which really could work (the reasons for which I will expand upon later).

As I’ve said before, the one choice Peter Jackson and the studios unequivocally got right is the choice of Howard Shore to pen the score. Though I was not as awed by his music in TBotFA as in previous films, it was still great and lends a wondering and authentic soul to the films.

**Let’s get on with the specifics! Here be spoilers, beware!**

Unlike all previous excursions into Middle-earth, The Battle of the Five Armies does not begin with a prologue as such. It starts right on the heals of The Desolation of Smaug with the coming of the dragon, the ensuing panic, and the valiant efforts of Bard (and Bain) to slay him. I found starting the film this way rather jarring, and sudden, like being dropped into the midst of a story half past. All previous prologues have served the purpose of showing the viewer past events, extraneous to the central story arc, but integral to its development and heart.

At first, I thought this prologue of Smaug’s demise did not fit into that precedent. However, I have since come to see how well it does work as a backdrop for the events of the final act, as the death of Smaug is technically speaking extraneous to the story. The true focus should be the relationships and the confluence of hard-headed characters which ultimately should be the foil to really let Bilbo shine. Tolkien does this in the rather abrupt way he offs Smaug once his role in Bilbo’s arc is done. The film gives the moment more emotional meat than Tolkien, by involving Bard’s son and by allowing Smaug a few last moments to be his dastardly self. I liked the improvised bow used, but still found the whole Black Arrow and Smaug’s impervious hide distasteful.

In a movie series which tries so hard to establish motive and psychology to each character and to reveal their weaknesses, why ignore the principle weakness of dragons? The soft underbelly of the dragon lends so much to the urgency of Smaug’s conquest of Erebor. It becomes an opportunity to demonstrate the obsessive quality of dragon hoarding: in greed, but also in necessity and pride. And what a missed opportunity to demonstrate the overall foolishness of that hubris, that a beast who meticulously builds his own armor, misses a spot so critical to his survival!

Smaug falls to his death, conveniently crushing the Master under him, and the subtitle appears. Alfrid takes on the sleazy politician role of the Master for the rest of the film; though he serves little purpose beyond campy comic relief and being a despicable human being. It would have been better had he been excised, or gone down with the ship like his master.

The film proper begins with the gathering of the refugees on the banks of the Long Lake. It was a painful scene to watch. In The Two Towers, women and children were shown briefly during the battle of Helm’s Deep in order to firmly establish the stakes and add a level of desperation and emotional depth to the battle. It was an odd choice, given it essentially trapped the people in a most nonstrategic way. Even so, it works beautifully, and in large part because it is used sparingly. The refugee scene begins a trend in TBotFA, in which emotions are overwrought to such an extent they become cloyingly saccharine or laughably caricatured. Given the tragic destruction of Esgaroth, emotions should run hot, but it is overplayed, like the movie is trying to beat the audience over the head with it, “Have you noticed? Look! Sad people…angry people! Let’s kill someone!” That someone being Alfrid, who may have been better off meeting his fate here.

Tauriel is prominently featured early and often throughout the film. She and Kili are apparently in love, which felt tremendously forced. This ruined what should have been one of the emotional climaxes of the film: Kili’s death, with a slow-motion meeting of gaze that lasted far too long to be taken seriously. Tauriel had great potential to be an interesting and valuable addition to Tolkien’s tale, but is largely reduced to a love sick girl.

She and Legolas gallivant across Middle-earth, defying geography, distance, and even gravity. The two elves travel “north” to Gundabad to scout out approaching armies. Apparently Gundabad is intrinsically tied to Angmar, as a sort of border fortress. Angmar is even further “north.” Though the two are geographically close, and not wholly independent of each other, they are distinct. By now you’ve also been introduced to perhaps the worst case of geographical confusion ever contrived in film. All locations mentioned in the film are north of Erebor/Dale: Raven Hill, Gundabad, Angmar, even Rivendel/Arnor where Aragorn should be found at this point in time. This was an utter absurdity, when true compass points (actually almost all lie west) could easily have been used, or even omitted altogether.

Galadriel and the rest of the Council of the Wise come to free Gandalf from Dul Guldur. This is a thrilling display of combat and magic. Galadriel’s efforts are particularly impressive. She uses both the Phial of Galadriel (which makes sense) and, based on the set up to the scene, Nenya to banish the Nazghul and ultimately Sauron. In using this power, she takes on the aspect of ‘bad-Galadriel’ as depicted in FotR to illustrate her temptation. The use of the Phial here is inspired, as the light of Earendil’s star, the last of the Silmarils, is holy and pure and would indeed cast out the darkness. However, use of the ring of adamant here demonstrates an utter lack of understanding when it comes to the purpose and power of the elvish rings and perhaps even the elvish people. The Three are NOT weapons, unless they be weapons against time and weariness. As Elrond states in the Council, “they were not made as weapons of war or conquest: that is not their power…but understanding, making and healing, to preserve all things unstained.” (FotR 262) Based on Sauron’s own statement regarding the elvish rings immediately prior to Galadriel’s show of power, it is clearly implied she is wielding Nenya in a blatant show of disregard for Tolkien’s eminently clear ring-lore. As with Radigast, and Saruman before him, the desire seems to be to show explicit magic. The scene is visually arresting, exciting and even thought-provoking, but remains irksome none-the-less.

The movie succeeds when the focus turns to intimate relationships, small group interactions, and its primary characters. This is the case with the dwarves and Bilbo in Erebor. Much time is spent establishing Thorin’s descent into the madness of the ‘dragon sickness’ which lies on the gold. He grows ever more paranoid of each and every member of the company. At his worst, he speaks with the voice of Smaug. This conception of Thorin’s greed is intriguing. It played particularly well on screen. It also has the added effect, whether good or bad, of in some sense excusing Thorin his greed. Rather than showing his stubbornness, his greed, his pride, or his ability to hold a grudge, his refusal to share out the treasure is a product of this madness.

During the search for the Arkenstone, there are brilliant moments of characterization. Balin mourns Thorin’s fall, and warns Bilbo that the stone may only make matters worse. Bilbo’s internal struggle is masterfully shown, subtly and often with little more than furtive looks, gestures or posture, a tactic Martin Freeman has used to great effect throughout the trilogy. In a wonderful improvisation, Thorin finds Bilbo fondling an acorn he took from Beorn’s garden. It is a touching scene, which does a lot of heavy lifting for both characters.

The parlay between Bard and Thorin plays out almost exactly as in the text and is beautifully done. Bilbo’s ultimate act of diplomacy and sacrifice in bringing the Arkenstone to Bard and Thranduil is also very well done, though a bit rushed. Each of these scenes, drawn almost directly from the text, are done with tender care and subtlety which I wish had been a more common trait in the adaptation.

The battle itself is absolutely massive. It is mind-boggling in its scope and numbers. In an apparent bid to outdo the epic battles of the original Lord of the Rings film trilogy, the battle of the five armies appears to far exceed the battle of the Pelenor Fields, or even that of the Black Gate. For myself, numbers alone was the first problem, making victory seem quite implausible. The orcs are also heavily armored, making their swift demise in battle all the more baffling. All this is completely out of place. Even with this sort of dissonance, the battle itself is very impressive.

In the midst of the battle, Thorin is challenged by the remainder of the company to join in the fight. Subsequently, he is shown going through a very surreal and out of place feeling sort of dream state which allows him to break free of the ‘dragon sickness.’ Ultimately, he has a change of heart, and they all join in the battle. It is in this change, which is more of a healing rather than an actual change of heart that the ‘dragon sickness’ concept fails. Where the ‘dragon sickness’ allows the audience to continue to empathize (on some level) with him, it ultimately drastically diminishes the greatness of his final repentance.

He, Fili, Kili, and Dwalin (I think) break for Raven Hill to take out Azog on war rams (a very cool and striking innovation!). It turns out to be a trap. Fili and Kili are killed in dramatic fashion. Fili’s death is very powerful, but as stated before Kili’s is marred in the last seconds by sappy sentimentalism.

In a series of what are perhaps the most insanely implausible and ridiculous stunts, Legolas also makes his way to Raven Hill. The first is when he hitches a ride hanging onto a giant bat. The second is when he goads a troll to knock down a stone tower such that it wedges itself horizontally between two cliffs. The first I can generally overlook, the second is ludicrous! As an architect, with at least a rudimentary understanding of masonry structures (and more knowledge of physics) this was an infuriating set piece. Not only does the tower hold, but continues to hold after much of it has been smashed to bits. The tower is constructed of a single wythe of block, with no evidence of any other structure (ie. reinforcement of any kind which could have made a brief period of tower as bridge remotely plausible). Then, to cap it all off, Legolas is able to jump up falling stones to reach the cliff edge before the ‘bridge’ collapses completely, defying all rules of gravity. Though a fantasy world, Middle-earth is a secondary world, sub-created based upon the primary. Therefore, where Tolkien doesn’t bend the rules of nature, either with magic or otherwise, the rules of the primary world should still apply.

As you can tell by that rant, this scene had me fuming for a long time through the latter part of the movie.

Bilbo does actually fight a bit in the battle. He goes to warn Thorin, and Dwalin (too late) that the attack on Raven Hill is a trap as the Gundabad army is fast approaching. Thorin confronts Azog on ice, in an interminable fight which is crammed full of weaponry/battle cliches. It is only partly made up for by the manner in which Thorin receives his fatal wound, which was tragically satisfying. Bilbo wakes up to see the eagles flying overhead, and come to Thorin’s side for their final farewell. This scene was superbly done, one of the few scenes in all of the Hobbit films which gave me chills (and the only in this outing).

The eagles and Beorn are given next to no screen time. Beorn is dropped, paratrooper-style, into the midst of the orcs, transforming in mid-air leading to one of the greatest let-downs in this whole enterprise. He charges into the orcs, creating untold carnage, disappearing into a sea of bodies in mere seconds, never to be seen or hear from again. One can only hope the built-in potential here will be realized in the extended edition.

After the battle, Legolas decides he cannot return to the woodland realm. Thranduil directs him to go “north” and find Aragorn son of Arathorn, otherwise known as Strider. This is a painfully clumsy attempt to tie the two trilogies together. Not only does it further shrink Middle-earth through the implication that everyone knows everyone else, but it has no logical purpose…and can’t even get its geography even remotely correct!

Bilbo has a very touching last goodbye with the company, Balin in particular (who I love in the films). He heads home to the Shire with Gandalf, where they part ways in the border country. They have an odd and rather abrupt conversation regarding magic rings, which really does not satisfy. Bilbo returns to BagEnd in the middle of the auction. In the scene immediately following, he steps into his home, which is empty, ransacked and forlorn. It was one of my favorite scenes of the whole trilogy, evoking the sense of the scouring of the Shire and the simple truth Tolkien wrote, that the hero never comes home unchanged, and home is not often the home one left, or the home one needs.

I am sure in subsequent viewings my opinions and feelings regarding The Battle of the Five Armies, and The Hobbit trilogy of films, will evolve. At the moment, I can give no clear verdict. I have read many reviews which state that this is the best film of the three. I have a hard time seeing that…at all. At the moment, I find it the worst, the weakest, due to its insistence upon one-upping what has come before. Where the movie dwelt in simply telling the story, without straining to be something it is not, it was stunningly beautiful. The same is true of much of The Desolation of Smaug and The Unexpected Journey. Each are weighed down in a desire to be the new Lord of the Rings, demonstrating a tragic lack of confidence in its own story. But the main threads are there, which is why an edited-down director’s cut of sorts is eminently feasible and likely to be absolutely brilliant if it were ever to take shape. This is just further proof that the expansion from two to three was extremely foolish.

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4 thoughts on “The Hobbit: TBotFA First Impressions, Extended Edition

  1. I hear of a fan edit called The Hobbit Dwarfed that drastically shortens the films. I imagine it keeps most of the good parts, something like you mentioned. Thanks for sharing an insightful review!

    • Thanks for stopping by. I will have to look into it. The film(s) can be epic without being epically long…the bones are all there and some judicious editing could make something really stunning and much closer to the spirit of Tolkien’s work.

  2. Great review! I agree with pretty much all of this, especially your comments re the White Council in Dol Guldur. But you mention that, based on something Sauron says prior to their confrontation, it is implied that Galadriel is using the power of Nenya to banish him. What exactly did Sauron say here? I don’t remember him saying anything then!

    • Sauron quotes a portion of the poem of ring-lore:
      “Three Rings for the Elven-kings under the sky…”
      The end of this poem is the inscription on the One Ring.

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