Perfect integrity of story, acting and effects

Rating: 10/10 (18 December 2003)

Wonder, immense scale and immense courage hold centre stage in this majestic, jaw-dropping movie. Writers Jackson, Walsh and Boyens weave the narrative brilliantly around this central theme of standing to fight against huge, intimidating evil, true to the spirit and detail of Tolkien, yet spotlighting and re-emphasising with great insight. The conflict between individual choices to be courageous and massive, mechanised enmity - again entirely true to Tolkien - are part of the movie's success: to an extent no other film has matched, the resplendent acting of the ensemble cast weaves in and out of the enormous and beautiful CGI, and both acting and imagery deepen and strengthen each other's impact on us.
Tolkien - and Jackson - are sometimes accused of glorifying war. It's naïve to say this - the totalitarian minds of Sauron and Saruman who initiate war are portrayed as evil and terrifying. What the book and film glorifying is the courage to stand against war-mongering. In the CGI work, Weta Worksop and Jackson have improved so much with each film of the trilogy that there is an extraordinary grace and fluidity in the large-scale movements of the riders of Rohan and the hordes of the Dead who fight alongside Aragorn, and in the flight of the enormous eagles who reappear towards the end, a sign of blessing in the face of imminent collapse. This is not to say that the forces of evil aren't also pretty stunning achievements - particularly the now-perfected fell beats which the Nazgûl ride, and the giant mûmakil (huge, multi-tusked elephants).
With great truth and understanding, the writers place Gandalf, not Aragorn, at the centre of these battles against evil and one's own fear of it. His roles as the inspiring captain of Gondor's defence, the caller of Rohan's aid, the protector of Faramir against Denethor's madness and the attacks of the Nazgûl are never the deeds of a super-hero, but always the courageous choices of a wise leader who knows fear yet inspires others. Ian McKellen (Gandalf) is entirely up to this, physically as well as in character and inner strength. If the movie has a star it is McKellen as much as Elijah Wood (Frodo), and he should be Oscar-nominated as best actor, not supporting actor.

Gandalf's bravery lights up another wonderful performance from Bernard Hill as Théoden, finding the same courage to fight even without hope of winning. Hugo Weaving (Elrond), the Mr Spock of the trilogy, becomes less impassive, more beautifully expressive, as he lets his daughter go free to be with her love. By employing the same actors over such an extended shoot and ADR period, Jackson has managed to show them with worn faces and sadder, reddened eyes - a legacy of the physical hardships of the film-making as well as makeup. One realizes that this is really a ten-hour film, not a trilogy. Nowhere is this truer than with Elijah Wood, whose tendency to make a meal of his sufferings threatened to annoy us in Two Towers. Now we see the steel of his resolve, the Hobbits' ability to fight if necessary which Tolkien actually celebrates at the beginning of the first book.
Perhaps the creative tension between character and CGI also explain why the principal effect and character of Gollum is so enthralling, and even better realised here than in The Two Towers. The character is in constant battle with his own ugliness and craving, and Andy Serkis (surely another Oscar nominee?) has more opportunity to reveal his genius for crazed yet sympathetic characterisation.
Too briefly amid the scale of everybody's achievement, we need to acknowledge the wonderful cinematography and score of Andrew Lesnie and Howard Shore. Faces are framed more subtly than ever, with the 'realism' Jackson has strived after; terrible fighting is charged with solemn choral lament, not gung-ho military sounds. Nowhere is this meld of seeing and hearing more perfectly realised than in the lighting of the mountain-top beacons summoning Rohan to fight - and yet again New Zealand becomes another star.
To be sure, there are small flaws and weaknesses. The movie simply starts - no concessions to anyone straying in without at least having seen Parts 1 and 2. (Not even a fiery Balrog-type overture as in Two Towers - still, it's great to see Andy Serkis' face, with a flashback - no spoiler - of Sméagol obtaining the one ring of power, killing Déagol and placing the awfulness of the Ring centre stage.)
Warning - Possible spoilers next 2 paragraphs?
Small miscalculations include Sauron's eye now starts moving in its socket - lizard-like in a way that does not fit the implacable terrorism of the role. (It would have been better to keep the eye still, and illuminate the land it gazes at with lightning.) Aragorn's speech after his coronation involves the trite words and limp hand gestures of a young clergyman. Shelob the giant spider seems, at first sight, just a big cumbersome, CGI baddie, though as she stalks Frodo her unearthly movements and presence convince and scare.
Some critics have faulted Jackson for one too many endings. Frankly it's hard to see what worries them - in the epic scale of the film the farewells at The Grey Havens pass quickly and with a single purpose and emotional integrity. True to the spirit of Tolkien there is no glory at the end, only courage and the costliness of the courage. Here at the end, framed by a beautiful seascape based surely on J M W Turner's `Dido building Carthage, we enter a mellowing that allows the mind and heart to digest the enormity of the struggles we have been witnessing, and to take on board the scar of Frodo's `wound which will never heal'.
As with listening to a performance of the greatest music, at the end one wants to say Thank You, Thank You, to the creators. Thank you, Mr Jackson, and your wonderful Company of friends.