Staggering Achievement

Rating: 10/10 (18 December 2003)

It would seem impossible for THE RETURN OF THE KING to be more spectacular or awe-inspiring than the previous films in THE LORD OF THE RINGS trilogy, (THE FELLOWSHIP OF THE RING and THE TWO TOWERS), but the what seems impossible has been achieved.
Once again forgoing a recap of previous events, the movie gets underway with a further explanation of how the ring of power came into the hands of the creature Gollum, who in his natural life was one of the river-folk named Sméagol (Andy Serkis). It is actually his cousin Déagol who first finds the ring, but Sméagol's lust for the ring is instantaneous, and in order to gain it for himself, he murders his cousin. We are shown is small bursts how the ring consumed Sméagol, and gradually transformed him into the dastardly Gollum, who now guides Frodo Baggins and Samwise Gamgee (Elijah Wood and Sean Astin) through a secret passage into Mordor.

From there we return to Isengard and the fortress of Saruman, which, when we last saw it, was under siege from the Ents, tree-herders of Fangorn Forest. Aragon (Viggo Mortensen), Gandalf (Sir Ian McKellen), Legolas (Orlando Bloom) and Gimli (John Rhys-Davies) approach Isengard and are reunited with the two Hobbits Merry and Pippin (Dominic Monaghan and Billy Boyd). They initially return to the kingdom of Rohan, where there is great anticipation that the battle for middle earth is about to begin.
From this point, the movie is wall-to-wall excitement.

The photography and visuals are even more stunning than anything seen in the previous two films. Scenes of Aragon outside Rohan at dusk were particularly striking, and there is a truly breathtaking sequence where the Beacon of Gondor is lit, setting off a chain reaction across Middle Earth to alert all warriors that the world of men needs their aid. In addition, the stone city of Minas Tirith is one of the most breathtaking combinations of set design and computer enhancement ever put on film.

The passages of the book dealing with Frodo and Sam's journey up the steps of Minus Morgul to Shelob's Lair, the tower of Cirith Ungol and ultimately Mount Doom have been realized to absolute perfection. It all looks exactly as Professor Tolkien described in his books. The sequence with Shelob is particularly chilling, as Jackson eliminates all sound for a particular passage and allows the silence to create a major amount of tension for the audience. Shelob is, gratefully, the creepiest spider ever committed to film.
The battle on the Fields of the Pelennor features the most exhilaratingly exciting war action. Particularly thrilling is a sequence featuring Legolas and an oliphaunt. The brain is, of course, aware most of it is special effects, but they are so seamless, so utterly photo-realistic it is staggering. This is a monumental accomplishment for the digital teams at Weta. The battle for Helm's Deep in THE TWO TOWERS was impressive of course, but by all accounts, is made puny by what is seen here in RETURN OF THE KING. It's absolutely mind-blowing.
The actors, who tend to get lost in films of this scope and magnitude, hold their own and tower right along with the effects. Viggo Mortensen demonstrates an inspiring command as Aragorn finally allows himself to lead the world of men. Miranda Otto has some wonderful, audience cheering moments as Éowyn, the maiden who refuses to be kept out of battle. Bernard Hill is quite stirring as King Théoden. Certainly not to be counted out is Sir Ian McKellen as Gandalf. He has few scenes of grand acting like those in Fellowship, but when he must give his thoughts, it is quite moving.
As with the story, it is in the hands of two little hobbits that all our hopes lay. As Frodo and Sam, Elijah Wood and Sean Astin more than rise to the occasion. Wood completely feels the exhaustion and utter devastation the Ring has put him through. Astin completely holds his own as he summons his own courage to help his Mr. Frodo. In the way of both of them is the wretchedly brilliant creation that is Gollum, who gets to be really nassssssty, wicked, tricksy and false (as he would say).

The way Jackson has structured the finale, with fades to black after two of three scenes, however, makes it feel as though the movie is ending about three or four different times. I understand this device was used to demonstrate a passage of time, but perhaps there might have been a better way.
That is a minor quibble in a film that is otherwise perfection from first frame to last. It will be an absolute robbery if Peter Jackson is not awarded the Best Director Oscar at next February's ceremony. What he has accomplished with this trilogy is so monumental and groundbreaking that he simply must be recognized somehow. I also hope it wins for Best Adapted Screenplay and, for Howard Shore's rousing, tremendous score.

I cannot imagine a more successful movie-going experience this holiday season than THE RETURN OF THE KING. It is the Best Picture of the Year.