An enticing introduction to the trilogy trifecta

Rating: 8/10 (20 December 2012)

REVIEW: THE HOBBIT (JACKSON, 2012)
Middle earth had made its much anticipated return to the big screen. The Hobbit: An Excepted Journey is the prequel story to the The Lord of the Rings, as if anybody was unaware. The story again focuses on a hobbit as the central figure in the adventure, a hobbit aforementioned in LOTR, Bilbo Baggins. The movie is based sixty years prior to its predecessor, and although it is its own film, links between the two are obvious in many areas of the film. The movie develops the amiable relationship between Bilbo and Gandalf from its inception. The tale is told when thirteen dwarfs arrive at the Baggins household acquaint from word of Gandalf, the dwarfs are lead by the uncrowned king Thorin, son of Thrain, son of Thror, his reason for assembling the ensemble of his kin is to take back Erebor from Smaug. The dwarfs are accompanied by Gandalf and by recommendation from the great wizard Bilbo is included in the company as 'burglar'. After initial reluctance to leave The Shire, inquisitive arousal as to what is beyond Hobbiton borders from Gandalf, initiates Bilbo's departure onto a journey he will never forget.
The film lacks pace in the opening exchanges and the pace does not accelerate until three mountain trolls capture the company, but soon after the scene the film falls back into its accustomed pace. There are small bouts of action betwixt the copious exposition. The bountiful elucidation could have been the intention to leave no stone unturned in the telling of the novel over the three movies, but the beginning of the movie makes you feel as though the oncoming 170 minutes will take there toll. Although the films final hour breezes by with a return to what fans have been acquainted to from The Lord of the Rings, using some recycled music pieces from the trilogy, a film score that quiet frankly ranks up there with some of the best non-diegetic music pieces ever conceived for a motion picture. The epic familiar film score is used once again in perfect unison with what is on-screen music, which annotates the emotions and feel of what is being viewed. Another resurfacing component is the breath taking sights of New Zealand, the natural backdrops used in the movie make the film look better than any CGI movie could hope to construct. Again shot by the very talented cinematographer Andrew Lesnie, the shots of the mountains and rivers, alongside director Peter Jacksons chosen long panning and establishing shot of the vast landscape give an elegant look upon what is being viewed; it also makes middle earth look endless. The entire spectacle in terms of location and scope is something to behold.
Something not seen in the Lord of the Rings, is the friend-full, humanitarian side of Saruman the White (Christopher Lee), as he seeks council with Gandalf (Ian Mckellan) along with Elrond (Hugo Weaving) and Galadriel (Cate Blanchett) when the company goes to Rivendell. The scene is arguably the best in the entire movie from fans of the Tolkien story. This intricate part of the film displays the reluctance of Saruman to accept the enemies resurgence (whether he is part of it yet is unknown), Elronds reading of Thorins map to help them on their quest. This almost cuts the film in half, as prior to the Rivendell the film is mainly exposition and seems to be tying up a few questions from the previous film trilogy. The films pace accelerates from there on in, as a fight between rock giants, made from the mountain whilst the company stands upon them. The introduction of the former ring owner Gollum is then executed exactly to how it is in the book, to escape the cavern Bilbo finds he must converse with Gollum, in which they have a battle of riddles to see if Gollum will assist Bilbo or if Gollum will have Bilbo for dinner.
Although not vast in scope like most in LOTR, the film is still very intense and parades the magical ability of Gandalf, befitting his distinguished stature as a wizard. This magic was never really seen in LOTR, apart from scarce glimpses. The final battle also endorses the ascension of two characters, Gandalf's to leader of the company and credible joint-focal character of the movie. Bilbo, who comes to the aid of Thorin after what must be said an anti-climactic sequence (whereby they use one of the franchises more powerful numbers over a slow motion charge from Thorin to Azgog) though the former is downed before he even raises his weapon, which was quiet disappointing. There is a typically stupendous establishing shot of the mountain that consequentially sets up the next film The Desolation of Smaug, infusing it with premonition and speculation as what the next instalment holds. A notion echoed by the final shot of the film, a marvellous panning shot inside Erabor, ending with a close up shot of Smaug's eye opening.
Praise must be given to Martin Freeman for his depiction of Bilbo Baggins, he gives the subtext elements of determination and aspirations of finding more than The Shire can offer. The way in which his character arcs from the guy that doesn't belong, to the guy whose belonging cannot be questioned is admirable. Ian Mckellans performance is as usual magnificent, I also think Hugo Weaving brings class to the films through Elrond, the pronunciation he uses during his dialogue extenuates the enigmatic nature of the tale.
Compiling all the previously mentioned attributes and taking away the draw backs of the film is one that needs to be seen by all audiences. With all the good elements that combine to great this motion picture it stops just short of a masterpiece like The Lord of the Rings trilogy.