A year is a long time to wait...

Rating: Null/10 (3 January 2002)

For a film to arrive on a wave of hype is easy. For it to leave dashed upon the rocks of mediocrity is also, it would seem, easy. For most moviegoers, the ultimate thrill is to leave the cinema having witnessed a spectacle of modern movie-making magic. And for a select few others, theirs is to have done so whilst under no illusions of the grandeur of its potential, whispered across the waves by the marketing arm of a bloated Hollywood studio.
The Fellowship of the Ring is a movie which could not possibly arrive unnoticed and unheralded like an invisible hobbit. Instead it comes as if with the full force of an army of bloodthirsty orcs. Those who pay even scant attention to cinema news in the media cannot fail to have been aware of the coming of the Ring.
My own journey began over two years ago, alerted to the youthful potential of an ambitious project to bring the greatest fantasy story ever told to the silver screen. Director Peter Jackson, still relatively unknown despite distant Kate Winslet flick "Heavenly Creatures" and Michael J. Fox vehicle "The Frighteners", would steer the ship. Surely the murky and dangerous waters of the fantasy genre sailed and ultimately failed by lamentable "Dragonheart" and woeful "Dungeons and Dragons" would prove too much an obstacle for him. For today's PS2 generation, flashy effects are the norm and wizards and dragons carry less impact than improbably well-endowed female antique hunters.
As for the choice of location, the land of one's birth never leaves the heart, and New Zealand suited both canvas and wallet for Mr Jackson and his studio backers.
With time we began to form a picture of the cast who would play the adventurers. Sean Connery was wrongly rumoured to be cast as the wizard Gandalf the Grey, though fans of the Ring began to salivate at the potential for the films, and could breathe a sigh of relief that other screen heavyweights would be in contention. Cynics tore away at the thin gossamer fabric of positive outlooks from those involved in production, but were soon silenced when the first trailer became available to download via the internet a full year and a half before the film would be released.

There we saw very little, but one cannot easily forget the tingle of excitement as we see each member of the Fellowship broach a hill on their track to Moria. Frodo, Gandalf, Aragorn, Boromir are all lovingly brought to life before our very eyes. Perspective and camera trickery ensure the little people, Gimli the dwarf, Merry, Sam and Pippin the hobbits, and of course Frodo appear perfectly sized in comparison to their taller compatriots.

A stirring theme and the dark threat of the ominous Nazgul (Ringwraiths) round out the teaser. And there we are left to wait, scanning the Internet on a daily basis, hoping for mere scraps to be thrown to us. In time our ravenous appetite for all things Tolkien is staved off by the appearance of larger, more substantial trailers, which include dialogue. In addition, whole interviews with the production team and cast help to light our way through the darker, twistier periods during which we struggle to find our way. The principal cast melds together before our eyes: Elijah Wood (Deep Impact) as our hero Frodo, a hobbit troubled by the weight of the Ring's evil power upon his little shoulders; Sir Ian McKellen (Gods and Monsters) as Gandalf; Viggo Mortensen (Crimson Tide) as Aragorn.

But it is in the supporting character castings that we gain even greater heart: Cate Blanchett as Galadriel; Christopher Lee as Saruman the White; and surely the finest villain in recent Scifi history, Hugo Weaving (Agent Smith in the Matrix), as Elrond, leader of the elves at Rivendell.
The final three months of waiting is accelerated by a modern-day parallel. A real-life Sauron for the year 2001 is identified on September the 11th, and all eyes turn to those difficult days following the tragic events, and ensuing weeks dedicated to a siege war fought in the Middle East.

Ultimately though, December 19th 2001 is a date which takes on new meaning other than simply being the last Wednesday before Christmas. For many fans, this date comes and goes without their quest for the Ring bearing fruit. Packed cinema houses bear witness to the gulf crossed by the Ring. Even those who have not read the book now realise that they are about to bear witness to a tremendous literary epic.
My journey culminates at a cinema theatre in South London. After what seems an interminably long advertisement prelude, the opening sequence begins, and we are plunged into the world of Middle-Earth and the history surrounding the One Ring.
So what of this ship and its valiant crew? To understand the complexities surrounding its success or failure, one must compare it to its brethren: other films based upon books which blur the gap between page and celluloid: Gone with the Wind; Schindler's List; The Silence of the Lambs. One thing strikes the reader with these: The films perhaps went on to be greater than the books, and in doing so can be considered successful screen adaptations. Can The Fellowship of the Ring be considered a successful screen adaptation? In terms of leaving a fan of the book happy with what must undoubtedly have been sacrificed in order to bring the work to screen, I venture that it has succeeded. Has it surpassed the book in any way? In truth, yes, but only in two spheres: conveying to the viewer the hidden and rising menace in both Saruman's mine, and Sauron's fortress; and in the portrayal of the female characters, who it must be said were marginalised in the first book to some great distance. Has it fallen short of the book? Of course, for despite our reliance on mere scenes to dictate our love of characters, the book will always garner greater fondness for its characters through a far larger time spent with them.
This is in no way a criticism of the acting in the film. Without doubt, each actor has taken their lot seriously, and made great attempts to fulfil the expectation and responsibility of their roles. Particular mention must go to Sir Ian McKellen who seems to have been born simply to play this role. Die-hard fans of Tolkien cannot deny that the great Wizard has come to life at last.
Memorable throw-away lines punctuate the dialogue, which is at once familiar and at times compelling. Our stars are not over-awed or out-shone by the special effects. CGI characters and scenery complement, and enhance the spectacle for us. A rousing musical score by Howard Shore adds mood and power to the key battle scenes, and atmosphere to all others.
So how did I feel once I left the theatre? Elated! And yet troubled. If only as to how I will pass the time until the next instalment.