May 26, 2000

A great novel is often driven by brilliant writing, complex story threads, and compelling characters. A great motion picture certainly is enhanced by the successful blend of these elements as well, but the rules change slightly.

It has been said that to be a great film a motion picture must have three great scenes. I believe that this is derived from one of the more important assets in the film medium: great moments.

When people discuss favorite movies they invariably discuss single incidents that forever live on in their minds. Great moments are almost everything. They force an audience to forgive inconsistancies, poor acting, and cheesy dialogue that a movie without is often crucified for.

I've said before that I thought the Lord of the Rings novel was very conducive to the film medium. There are a lot of reasons I believe this, but one in the forefront is that the book is filled with great moments. I could choose my ten favorite from the novel. These would include Frodo and Sam's vision of the recrowned King at the Crossroads, the first appearance of Glorfindel, and others that are small but striking to me. But at this time I wish to do another task: detail the ten moments I am most looking forward to in the Lord of the Rings films. These are the scenes that I hope will grab an audience expecting silly Hobbit stories (as well as laughing at the decision to see the film as the lights dim) and bring them into the serious story hook, line, and sinker without giving them any chance for escape.

#10: Witnessing Minas Tirith for the First Time
Will be seen in: The Return of the King

The most visually striking fortress in Middle Earth and the center of the Return of the King should be a feast for the eyes. Since I've already gone into detail of the importance of the city in Creating a Successful Return of the King there's not much more for me to say here. I will lament that it will seem a very long wait until the city appears in theaters- but let's hope it will be worth it!

Seen before? Yes, in Rankin/Bass's Return of the King
How well was it done? Not very

"An ancient world of towered fortress cities: Cirith Ungol, guarding the entrance to the Lands of Mordor. Barad Dur, palace of Dark Lord, Sauron. And now look you at yet another: Minas Tirith, chief city of Gondor, last bastion of hope for the powers of light and good."

Thus, after the first commercial break, Minas Tirith is introduced. Rankin/Bass understood the importance of the city even for their abridged animated version of the movie. 2 minutes and 8 seconds are spent just looking at and describing it. Unfortunately, the animation is second class (afterall, it was only 1979 and these weren't the greatest animators of that time). And the fortress itself partly misunderstood. The end result is one of the better scenes in the movie, but nothing special to remember.


#9: Ford of Bruinen
Will be seen in: The Fellowship of the Ring

At last! The Nazgul are all gathered together and finally have Frodo where they want him- after chasing him through the entire first part of the movie But Elrond's house is just around the corner, and... what's going to happen? Finally either the Enemy or the "forces of light and good" must win a decisive throw. Of course, you know this. You know what's going to happen. But, for the ignorant and wise alike, it will be a breathtaking scene.

Seen before? Yes, in Bakshi's Lord of the Rings
How well was it done? Pretty well.

Bakshi spends 5 minutes and 40 seconds on this scene- and keep in mind, it's only two a half pages in the book! It's very well paced, however, and every word Tolkien wrote is displayed visually (including the beautiful flickering between the Nazgul world and the real world). There are only two real problems here. Firstly, the rotoscoping is too noticable, and secondly the musical score detracts from the action (as it does through most of the movie). But still, this is one of the better scenes in this Lord of the Rings. It should be even better with Arwen.



#8: Aragorn's Appearance on the Anduin
Will be seen in: The Return of the King

One of many great moments in the Return of the King's first book, Aragorn's stunning return to his capital city still catches me by surprise when I read the novel. I mean talk about a guy who knows how to make an entrance! With all the lands south as well as new enemies or new allies on the line, just who is in those boats is a pretty dramatic question. To see the flag of Elendil's heir raised... well if the audience isn't clapping and cheering at this point we need the Houses of the Healing to check for their pulse.

Seen before? Yes, in Rankin/Bass's Return of the King
How well was it done? okay

Being a direct sequel to "The Hobbit" this version of the last chapter of our beloved trilogy (as it is often called) wasn't quite sure of what to do with Aragorn having no exposition to lean on. Basically, he has a cameo appearance. He may very well know nothing of the ring, nothing of the hobbits, and nothing of the lands outside of Minas Tirith for all we see here. He's certainly not one of our "friends" that we really "know". He's simply a strange returning King in a strange land that we're visiting.

This "great moment" is Aragorn's second scene in Rankin/Bass's Return of the King. His first, also a nonspeaking role, is an introduction by Gandalf before the first commercial break where the wizard narrates over a shot of Aragorn and company riding through the mountains, "There was one hope, though. In a distant land the noble Aragorn, heir to the empty throne of Gondor, awaited with a small band to return and become King."

And that was it. Until Gollum had recaptured the ring and the movie was drawing to a close. Still, when the moment came Rankin/Bass did a fine job with what they had to work with. The swing of fortunes in the battle of East vs. West was clearly displayed and explained in the one minute that was spent on the scene.

#7: Death of Boromir
Will be seen in: The Fellowship of the Ring

A mastered skill of Tolkien's used in the Lord of the Rings is his ability to keep every character's personal quest and ambitions a part of the story without ever pushing one to the background. No main character's story is ever told to simply be used as a tool for another character's story- and yet all the stories' quests and ambitions work with each other. For nine characters this is brilliant writing.

For a specific example of what I'm describing we need look no further than the Death of Boromir, one of the most important events in the Lord of the Rings.

The scene is most dramatic for the paths of Boromir (obviously), Merry and Pippin, and Aragorn. Firstly: Boromir- he could easily be the lead character of a movie. He's got the presence, the history, and the struggle of which no actor could resist wanting for his part. The tale of Boromir is tragic and heroic- and ends bittersweetly. You'd think Bill Shakespeare was writing this part. It's a wonderful story on its own.

But Merry and Pippin are more than just Boromir's friends in need of rescue- and here is the scene that transforms the hobbits from tools to stars.

"It was not in vain that the young hobbits came with us, if only for Boromir's sake. But that is not the only part they have to play. They were brought to Fangorn, and their coming was like the falling of small stones that starts an avalanche in the mountains."

And what not even Gandalf sees at this juncture was how this one moment- the death of Boromir- leads to Meriadoc and Peregrin becoming soldiers of the Mark and the City. Our two young friends make quite a journey, and it all starts here. But what is most compelling to me is the impact this event has on Aragorn. While some may not be looking at the adventures in the Fellowship of the Ring from his point of view, thinking of our Ranger as merely a convenient guide and friend to our jolly hobbits, Aragorn himself is not a tool but a tale of his own.

When Gandalf dies, Aragorn's choices for a short while are simple. He must journey to Lorien to recieve aid and healing and thereafter journey southwest. But when the question is put to him: whether to journey with Boromir to Minas Tirith, or with Frodo to Mordor (if the halfling wishes to go that way), Aragorn has no answers. His duty is to his people in Minas Tirith, and as he sets out from Rivendell he makes it no secret he's going to the City. But with Gandalf gone his duty is also to the Ringbearer- and he can't withhold any help he can give to Frodo's quest.

As if Aragorn doesn't have a difficult enough dillemma, it's this moment that compounds his problems into more than he ever expected to face: suddenly Frodo flees, Boromir dies, and Merry and Pippin are captured. Worst of all- none are going to Minas Tirith (where Aragorn even promises a dying Boromir that he will go). If there was ever a time we could forgive our good Ranger for letting out a curse or two this would be it.

Of course, he only says, "This is a bitter end. Now all the company is in ruin. It is I who have failed. Vain was Gandalf's trust in me. What shall I do now? Boromir has laid it on to me to go to Minas Tirith, and my heart desires it; but where are the Ring and the Bearer? How shall I find them and save the quest from disaster?"

The death of Boromir is the center of many different journeys, and it could be a visually amazing site as well. It also happens to be one scene we can be sure to see in the movies.

Seen before? Yes, in Bakshi's Lord of the Rings
How well was it done? okay

The pacing and blocking of the scene (just over three minutes) were handled well, but it was at this point the animation really started to suffer (as money started to run out). The main problem for this part of the movie, however, was that Merry and Pippin never really had any character exposition- and it didn't help that they looked just like Frodo. It all adds up to confusion for the audience. On the plus side the music actually lets up. Aragorn and Boromir's final conversation was very well scripted and acted.

#6: The Council of Elrond
Will be seen in: The Fellowship of the Ring

What a treat to be let inside one of the great councils in Middle Earth! I can't wait to see what Peter Jackson comes up with for a script and for scenery here. It's a great chance for him and his people to really let their hair down, and also something meaty for the actors and actresses to sink their teeth into. Character introductions, expositions, historical lessons, future postulations, big decisions- this scene has it all. And it's a wonderful place for the film to help the mainstream audience get aquainted with this foreign new world they've been walking around in. This is probably my favorite chapter in the novel.

Seen before? Yes, in Bakshi's Lord of the Rings
How well was it done? Lousy

Everybody talks at once, nobody listens to anyone (as they just wish to get off a good sound byte), and everybody is mad at each other. One of my family reunions? Yes, but sadly it's also the Council of Elrond as handled by Bakshi. You would not believe that this scene was important at all by how it was handled in this movie.

I realize that the writers feel a sense of urgency having to do so much in so little time, but at this moment the characters should not! In Bakshi's version you would think they had two minutes until the end of the world. The total effect is to impose the belief that the people of this council are fools. And it's such a shame considering that one of the aspects of the novel I enjoy the most is the intelligence displayed by Tolkien's characters- particularly those at the Council of Elrond (which clocks in at 3 minutes and 21 seconds).

The scenery was pretty at least. And Frodo's last line, "I... I will take the ring, though I do not no the way," was well timed and charming.

#5: Gandalf vs. The Balrog
Will be seen in: The Fellowship of the Ring

The one everyone's looking forward to: the big showdown, and probably the defining moment of the Fellowship of the Ring movie. And who am I to argue with this popular opinion? Everything builds towards the battle, and its effects will reverberate far into the future. I'm betting that this is the scene where the mainstream audience ceases to treat the film as a joke and finds themselves unable to turn away from the screen while not wanting the movie to end. The serious drama of the scene is that gripping. You can bet Jackson will be spending a lot of time filming this one. History in the making is a bit of an understatement. What a moment!

Legolas turned and set an arrow to the string, though it was a long shot for his small bow. He drew, but his hand fell, and the arrow slipped to the ground. He gave a cry of dismay and fear. Two great trolls appeared; they bore great slabs of stone, and flung them down to serve as gangways over the fire. But it was not the trolls that had filled the Elf with terror. The ranks of the orcs had opened, and they crowded away, as if they themselves were afraid. Something was coming up behind them. What it was could not be seen: it was like a great shadow, in the middle of which was a dark form, of man-shape maybe, yet greater; and a power and terror seemed to be in it and to go before it.

It came to the edge of the fire and the light faded as if a cloud had bent over it. Then with a rush it leaped across the fissure. The flames roared up to greet it, and wreathed about it; and a black smoke swirled in the air. Its streaming mane kindled, and blazed behind it. In its right hand was a blade like a stabbing toungue of fire; in its left it held a whip of many thongs.

'Ai! ai!' wailed Legolas. 'A Balrog! A Balrog is come!' Gimli stared with wide eyes. 'Durin's Bane!' he cried, and letting his axe fall he covered his face. 'A Balrog,' muttered Gandalf. 'Now I understand.' He faltered and leaned heavily on his staff. 'What an evil fortune! And I am already weary.'

The dark figure streaming with fire raced towards them. The orcs yelled and poured over the stone gangways. Then Boromir raised his horn and blew. Loud the challenge rang and bellowed, like the shout of many throats under the cavernous roof. For a moment the orcs quailed and the fiery shadow halted. Then the echoes died as suddenly as a flame blown out by a dark wind, and the enemy advanced again.

'Over the bridge!' cried Gandalf, recalling his strength. 'Fly! This is a foe beyond any of you. I must hold the narrow way. Fly!' Aragorn and Boromir did not heed the command, but still held their ground, side by side, behind Gandalf at the far end of the bridge. The others halted just within the doorway at the hall's end, and turned, unable to leave their leader to face the enemy alone.

The Balrog reached the bridge. Gandalf stood in the middle of the span, leaning on the staff in his left hand, but in his other hand Glamdring gleamed, cold and white. His enemy halted again, facing him, and the shadow about it reached out like two vast wings. It raised the whip, and the thongs whined and cracked. Fire came from its nostrils. But Gandalf stood firm.

'You cannot pass,' he said. The orcs stood still, and a dead silence fell. 'I am a servant of the Secret Fire, wielder of the flame of Anor. You cannot pass. The dark fire will not avail you, flame of Udun. Go back to the Shadow! You cannot pass.'

The Balrog made no answer. The fire in it seemed to die, but the darkness grew. It stepped forward slowly on to the bridge, and suddenly it drew itself up to a great height, and its wings were spread from wall to wall; but still Gandalf could be seen, glimmering in the gloom; he seemed small, and altogether alone: grey and bent, like a wizened tree before the onset of a storm.

From out of the shadow a red sword leaped flaming. Glamdring glittered white in answer. There was a ringing clash and a stab of white fire. The Balrog fell back and its sword flew up in molten fragments. The wizard swayed on the bridge, stepped back a pace, and then again stood still.

'You cannot pass!' he said. With a bound the Balrog leaped full upon the bridge. Its whip whirled and hissed. 'He cannot stand alone!' cried Aragorn suddenly and ran back along the bridge. 'Elendil!' he shouted. 'I am with you Gandalf!' 'Gondor!' cried Boromir and leaped after him.

At that moment Gandalf lifted his staff, and crying aloud he smote the bridge before him. The staff broke asunder and fell from his hand. A blinding sheet of white flame sprang up. The bridge cracked. Right at the Balrog's feet it broke, and the stone upon which it stood crashed into the gulf, while the rest remained, poised, quivering like a tongue of rock thrust out into emptiness.

With a terrible cry the Balrog fell forward, and its shadow plunged down and vanished. But even as it fell it swung its whip, and the thongs lashed and curled about the wizard's knees, dragging him to the brink. He staggered and fell, grasped vainly at the stone, and slid into the abyss. 'Fly, you fools!' he cried, and was gone.

Seen before? Yes, in Bakshi's Lord of the Rings
How well was it done? Pretty well

Considering that the movie flubbed one of the more important aspects, their end result was pretty impressive. The big mistake: the design of the Balrog (which you would think would be layered with much thought). It's a big bat. A silly looking big bat at that. And yes, with wings- which is fine and dandy by me; but it also flies. And that's not really fine and dandy when the character is supposed to fall down into an abyss after Gandalf's surprise tactic.

Nontheless, the scene is still riveting. This is due in part to the build up to the scene (with the well done mines), and in part to the writing and deliverance of Gandalf's lines. In addition, clocking in at 1 minute and 42 seconds, the scene is not rushed (though all the needed urgency is intact).

A nice added touch is the reaction of Aragorn and Boromir to Gandalf's fall.

#4: The Ents vs. Isengard
Will be seen in: The Two Towers

The Battle of Helm's Deep and the Siege of Gondor are already being impatiently anticipated. But with all due respect, these battles will not be anything new. Now Tree vs. Rock- there's something you didn't see in Braveheart.

Will we see an arrow filled Ent infuriated? Will we see the gates of Isengard crumpled like tin? Or what about a treefriend blazing like a torch after men set him on fire? It will be a long wait before the answers to these questions are revealed. I'm very excited about the possibilities. The power the creatures hold is simply awe inspiring- and it is not magic but natural. Meanwhile the opposition has a wizard on its side. The greatest wizard. Victory and defeat finally must happen here after much anticipation, and it will be a visual feast to watch.

Seen before? No

#3: Fellowship Reunion at Isengard
Will be seen in: The Two Towers

I've always found the plot of "Book III" to be the most interesting of any single "book" in the novel. It starts so simply- the Fellowship is broken and (with the exception of Frodo and Samwise) wishes to reunite. The paths our friends (Gandalf- Aragorn, Gimli, and Legolas- and Merry and Pippin) take to meet each other are in three divergent directions and finally meet in the one place everyone agreed should be avoided in the first place.

The Fellowship doesn't stay together long before breaking up again, but that makes this reunion more special. And Merry's speech before King Theoden is the charmer of the Two Towers.

It's a light moment after (and before) a lot of darkness. And with the upset victories in the West our friends have a rare opportunity to put fears and cares aside for a brief time and enjoy each others' company.

Finally, after much confusion, debate, and struggle, our remaining friends achieve the quest of their part of the Two Towers.

Seen before? No

#2: Gandalf vs. The Nazgul
Will be seen in: The Return of the King

Everyone's excited about Gandalf vs. the Balrog, and it's true that we won't have to wait as long for it- but I am already giddy about the big showdown between the White and Black riders in the place where no enemy has ever stood- the Gates of Minas Tirith.

In my opinion, of all the situations in the Lord of the Rings this one ends with the greatest surprise. Who in or out of the world would have ever guessed the cock crowing followed by Rohan's horns?

The Black Rider has had his character in development since the opening chapters of the novel. The White Rider has had enough exposition to engrain him in popular culture. The Gates of Minas Tirith are the focal point of all Middle Earth. It's been a long journey to get to this showdown. Who will see this movie and ever forget it?

I do have one gripe against Tolkien, here, however. You see, whenever I read this part, and I hear the horns of Rohan, I start jumping up and down and hooting and howlering. It's really embarrassing when I'm someplace in public.

Seen before? Yes, in Rankin/Bass's Return of the King
How well was it done? okay

Just as Bakshi's lousy design of the Balrog took away so much of that scene's impact, so does a part of the design of Rankin/Bass's Nazgul.

The scene starts out wonderfully. Just as Tolkien writes, Grond is brought before the gate (carried by trolls and surrounded by Orcs).

The drums rolled louder. Fires leaped up. Great engines crawled across the field; and in the midst was a huge ram, great as a foresttree a hundred feet in length, swinging on mighty chains. Long had it been forging in the dark smithies of Mordor, and its hideous head, founded of black steel, was shaped in the likeness of a ravening wolf; on it spells of ruin lay. Grond they named it, in memory of the Hammer of the Underworld of old. Great beasts drew it, orcs surrounded it, and behind walked mountain-trolls to wield it.

And the Nazgul appears. The look of the Witch King is accurate and menacing. The tone of the music, just right.

Grond crawled on. The drums rolled wildly. Over the hills of slain a hiedeous shape appeared: a horseman, tall, hooded, cloaked in black. Slowly, trampling the fallen, he rode forth, heeding no longer any dart. He halted and held up a long pale sword. And as he did so a great fear fell on all, defender and foe alike; and the hands of men dropped to their sides, and no bow sang. For a moment all was still.

The drums rolled and rattled. With a vast rush Grond was hurled forward by huge hands. It reached the Gate. It swung. A deep boom rumbled through the City like thunder running in the clouds. But the doors of iron and posts of steel withstood the stroke. Then the Black Captain rose in his stirrups and cried aloud in a dreadful voice, speaking some forgotten tongue words of power and terror to rend both heart and stone. Thrice he cried. Thrice the great ram boomed. And suddenly upon the last stroke the Gate of Gondor broke. As if stricken by some blasting spell it bursts asunder: there was a flash of searing lightning, and the doors tumbled in riven fragments to the ground.

In rode the Lord of the Nazgul. A great black shape against the fires beyond he loomed up, grown to a vast menace of despair. In rode the Lord of the Nazgul, under the archway that no enemy ever yet had passed, and all fled before his face. All save one. There waiting, silent and still in the space before the Gate, sat Gandalf upon Shadowfax: Shadowfax who alone among the free horses of the earth endured the terror, unmoving, steadfast as a graven image in Rath Dinen.

And here Rankin/Bass unleashed a masterstroke- in a movie where music is poored over the product like ketchup they actually let it fade away as foe and friend alike run leaving Gandalf and the Black Rider alone.

'You cannot enter here,' said Gandalf, and the huge shadow halted. 'Go back to the abyss prepared for you! Go back! Fall into the nothingness that awaits you and your Master. Go!' The Black Rider flung back his hood, and behold! he had a kingly crown; and yet upon no head visible was it set. The red fires shone between it and the matled shoulders vast and dark.

Here Rankin/Bass is animating every description, and Gandalf speaking every word. The scene is working absolutely perfectly, and then...

The Nazgul laughs and speaks, and the moment is ruined. The problem here was the choice of voice actors- John Stephenson the First. He also did the voice of Dori, the Great Goblin, and Bard in Rankin/Bass's The Hobbit. But he's most famous for doing the voice of Mr. Slate, Fred Flinstone's boss.

Actually the Nazgul does have a voice before this- it's the "forgotten tongue" that speaks "words of power and terror to rend both heart and stone" which is a deep distorted voice without intelligable words that still gives me nightmares. But when his "common" language lines are spoken, it is then that Stephenson is used.

Whatever put the thought in anyone's head that the personification of Evil should be Mr. Slate, I don't know. The high pitched laugh and tenor novelty voice turn fear into snickers. (And the animators don't help matters out when they employ the age-old animated laughter enhancement of having the character's head bob up and down on his shoulders)

(By the way, just on a side note, the folks at the Internet Movie Database and Voicechasers, the two most in-depth sources of credits- including those uncredited by the studio- have not caught wind of Stephenson's work in the Return of the King. To my knowledge this is the only website that gives such information. Not that I won't put you in their directions if you're looking for any other information.)

From a mouth unseen there came a deadly laughter. 'Old fool!' he said. 'Old fool! This is my hour. Do you not know Death when you see it? Die now and curse in vain!' And with that he lifted high his sword and flames ran down the blade.

Luckily the script for the movie is still following the novel verbatum, and as this is the last we hear the King speak for a while there's a chance for recovery. The rest is handled wonderfully.

Gandalf did not move. And in that very moment, away behind in some courtyard of the City, a cock crowed. Shrill and clear he crowed, recking nothing of wizardry or war, welcoming only the morning that in the sky far above the shadows of death was coming with the dawn. And as if in answer there came from far away another note. Horns, horns, horns. In dark Mindolluin's sides they dimly echoed. Great horns of the North wildly blowing. Rohan had come at last.

And in a surprise that perhaps only one out of every thousand people ever will notice, Rankin/Bass's Return of the King actually acknowledges- and pays homage- to Bakshi's Lord of the Rings, (the only such time the two movies have a non-novel connection,) with Rohan's horns (lifted straight from Leonard Rosenman's Lord of the Rings score).

The scene is given 3 minutes and 28 seconds of screen time.

#1: The Grey Havens
Will be seen in: The Return of the King

It's so far away that sometimes I wonder if I'll ever get the chance to sit in the theater and watch this scene. But when (if?) it happens, my poor old eyes and nose will be running like the Fountain of the Citadel.

Forgetting the greatness of that which precedes it, has there ever been a better ending to a story than this? Have you ever been so happy and sad at the same time?

The Lord of the Rings is so complex and has so many hidden wonders it's easy to start to believe the adventures will continue forever. The ending is a sharp wakeup call. Or perhaps it's more like falling asleep again.

Seen before? Yes, in Rankin/Bass's Return of the King
How well was it done? Pretty well

Spending 5 minutes and 47 seconds on The Grey Havens, Rankin/Bass certainly understood the potential and importance of this scene.

The tone, that of finality, is well done. The music, special. Even the animation of the ocean is better than the rest of the movie. When watching the scene I really do get the feeling that it's not just the ending of this 70 minute story, but the ending of a greater series of unseen adventures. It transcends a children's cartoon.

And yet, Peter Jackson's version will transcend Rankin/Bass's. The possibilities give me chills already.


The succuss or failure of any scene in the filmed LOTR will not determine the success or failure of the product as a whole. The situation is, obviously, much more complex. And unlike many stories in today's cinema this one will require an in depth framework- the moments I have described are rather uneffective if misunderstood.

But I do think it's interesting that looking at effectiveness of the moments previously seen, we see a clear pattern: the more closely the scene (both script and blocking) sticks to the novel, the greater the impact. (The score is very important as well).

How well will these moments mesh together when we are able to watch the films back to back to back? We'll find out someday. For now we can only imagine.

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