I had high hopes for the Extended Edition of The Hobbit: The Desolation of Smaug, given how well the extended edition of An Unexpected Journey turned out. Surprisingly, AUJ’s extended edition felt like the film as it should be, superseding the theatrical version in every way. Almost every addition added to the film lent clarity to the adaptation and how it was moving towards the future films.
To my mind, an extended edition should do a number of things: add significant length to the film (ideally seamlessly), clarify the vision of the film (and future ones), and add fun and/or interesting information or action. Generally speaking, it should coexist with the theatrical version without superseding it or feeling gratuitous. The extended edition of An Unexpected Journey did all of these, barring the last.
The extended edition of The Desolation of Smaug does an exemplary job, but does not, in my opinion, replace the theatrical cut. It adds information, and cut scenes which it makes sense were cut. There are a few added scenes, particularly shorts ones, that seemed should have been part of the original cut, but ultimately don’t add as much as similar scenes which were cut in AUJ and were subsequently reinserted in its extended edition. In particular, the additions to DoS are almost completely confined to additional lore drawn from The Lord of the Rings Appendices. There are some welcome extensions from The Hobbit text, as well as some expository scenes which further define cinematic choices.
So the general verdict is that DoS, EE is definitely worth watching, but except for a few scenes, I’d stick with the theatrical cut for most viewings.
That being said, here follow the additions as I caught them, and some general commentary. If you have not seen the extended cut yet, and would like to be surprised, stop here!
As in AuJ, the prologue of DoS has been significantly expanded. First, Thorin is in the area of Bree because he has had word that his father Thrain was spotted in Dunland. Not finding him there, Thorin heads up the Greenway to Bree. There is a flashback of the battle of Azanulbizar, where Thorin is unable to find the body of his father. Gandalf mentions Thror’s ring, regarding its location. He also states that he had urged Thror to move on Erebor, not Moria. This starts a trend towards emphasizing the importance of the Lonely Mountain in the extended cut, and particularly hinting at the relationship between Smaug and Sauron.
Gandalf’s comedic deception of Beorn when introducing the Company is wonderfully translated from the text. It is inserted following the night in Beorn’s house, when the Company finds that he is outside chopping wood and effectively barring their escape. They come in twos and Gandalf’s wordplay is in full force. It added some much needed characterization to Beorn.
As the Company readies to leave for Mirkwood, Beorn and Gandalf have a much expanded conversation off to the side. He speaks of news of Dol Guldur and the Necromancer, and the likelihood that this enemy is Sauron (implied). Beorn also mentions that the dead walk in the High Fells. Continuing the future geographic confusion of TBotFA, these lie to the north, and Angmar also extended to include the Wilderland between the Misty Mountains and Mirkwood. There is a brief cut scene showing the burial of the witch-king. This is further building the case that the Nazghul were once living men, died and are just now being raised by Sauron. It fits the Necromancer title, but ignores both ring-lore and the nature of the Nazghul. Talk of Sauron’s return, couched in the nature of the Necromancer follows. Gandalf counters with Saruman’s assertions that Sauron may not rise again. All of this lends urgency and purpose to Gandalf’s otherwise seemingly random foray to the High Fells, and later to Dol Guldur. It is a rather heavy-handed expository conversation, but really does help piece the plot together.
At the borders of Mirkwood, Gandalf not only warns the Company not to stray from the path, but also to beware the enchanted stream. Also, before entering the wood, Durin’s day is mentioned, and its exact date is known (this knowledge a repeated addition throughout). There is mention of the need for air, which helps to establish the suffocating oppression of the forest. The enchanted stream is featured. Even the vapors from it have an affect, creating drowsiness and disorientation, which largely cause Bombur’s fall into the stream. They cross over vines. Once crossed, Thorin spots and shoots at the white stag. He misses. Bilbo states this is bad luck. Immediately following, Bombur falls. Many scenes follow of carrying him through the forest.
Bilbo flicks a cobweb rather in the manner of Pippin in the Fellowship film. It is cut so this occurs soon after the stream crossing. Though drawn to do this while under the stupor of the wood, this blatant self reference and stupidity is irksome. However, it does explain how the spiders find them. There is a bit more shown with regards to the enchantment of the forest, and they are explicitly shown leaving the path. The Company often hears voices. Whether this is to indicate the elves, or the spiders, I cannot tell.
Barrels out of Bond has been needlessly extended, with more orcs and more elvish gymnastics.
In Esgaroth, there is a brief scene extending the introduction of the Master in which he eats rich (though visually disgusting) food and discusses Bard with Alfrid. They plot how to suppress the people and imprison Bard, going so far as to suggest laws specifically against bargemen.
When Bard and the dwarves arrive, there is quite a bit more time spent in their efforts to reach his home. They are found and a short, semi-humorous, battle ensues in the marketplace. The people help to hide the bodies of knocked out guards, which helps to establish their liking for Bard that is evident in the third film. In particular there is more of an introduction for Hilda Blanca (who I don’t remember ever having a name in the films, I had to look it up).
Alfrid is seen listening in to the people and Bard talk of the dwarvish prophesy. He shares this information with the Master, and helps reestablish the books conniving Masterly plot. In the Thrice Welcome scene, someone is asked to vouch for the Company. Bilbo steps forward. If you ask me, why the Lake Towners would listen to him, and not dwarves is absurd as he is a stranger too (who’s going to vouch then for Bilbo?!).
After the Company leaves for the Lonely Mountain, the dwarves left behind approach the Master for help. They are refused. The Master is shown before this discussing the win-win situation he is in: either he gains much gold or the dwarves die and are off his hands. I liked that this mercenary element of his character was re-instituted, though it is implied in the theatrical cut.
In the approach to the Mountain, there is a brief addition, showing Balin describing the Desolation of Smaug. There is also a brief glimpse of the thrush flying across the landscape.
Gandalf’s journeys through Dol Guldur are tremendously expanded. In a suspenseful and rather disturbing series of shots, he is followed, later he’s following, and finally attacked. It is revealed when Gandalf finally corners his attacker that this is Thrain. He is terribly insane. As in The Two Towers film, Gandalf basically does an exorcism. In a flashback it is revealed that Azog took Thrain’s ring, cutting off his forefinger. Hearing of Thorin, Thrain warns against retaking Erebor. Thrain explicitly binds Sauron and Smaug together. They are in league with one another, which is the danger Gandalf is working to prevent, in the text. However in the film, this danger is severely downplayed, and much is made of the Mountain’s strategic location and contrived relationship to Angmar, particularly in the third film. Therefore these scenes appear to conflict with the drive of the movies’ plot. On the other hand, the ties between Dol Guldur and Smaug do help, significantly, to explain why Smaug knows of the Ring and also of events in the outside world he’d otherwise have no knowledge of (ie. Thorin Oakenshield and the importance of the Arkenstone).
There are some brief additions throughout the last act of the film, which help to lay the groundwork for the dragon sickness which will be so prevalent in the third film. Also, perhaps having seen the third film now, it may be understood the that bizarre scheme to bury Smaug in gold is a plan derived in and out of Thorin’s madness, rather than any strategical sensibility which would easily spot the stupidity of such a plan. I may stretch things here, but it does make this disaster of a plot twist somewhat palatable, though only just.
Long story short, DO watch the extended cut of The Desolation of Smaug. Most major additions are confined to Beorn, Mirkwood, the Master and Dol Guldur. They are fascinating, and reveal much about the intended direction of the film-makers. I don’t feel the extended edition is the definitive version, as for most the added information would just confuse. For someone familiar with the wider breadth of Tolkien’s work, however, it helps a lot to understand the context of the film’s story, how it diverges and why. It doesn’t necessarily excuse changes or distortions, but helps make sense of them. Though the additions are seamlessly added, ultimately they are not fully necessary and the theatrical cut in much more tightly constructed.