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Meet the new Star Wars
Not since the first Star Wars movie came out in May of 1977 have I been as enraptured by a movie (and I almost weep when I think of who else might have been able to score it besides Howard Shore – nothing personal, Mr. Shore). There have been times one hears from critics and/or industry folk that a movie has exceeded their expectations (from The Shawshank Redemption to The Green Mile to, most recently, Harry Potter, for example), and it has become, frankly, tiresome. Though I’ve liked many of these exceptional successes (a few ardently), they have usually fallen short of, or merely met adequately my expectations, but none of them has surpassed them with the vitality of Fellowship of the Ring. They’ve had much that inspires or compels me, but which do not enthrall, amaze, and move me so completely as this first installment of The Lord of the Rings.
In my review, I’ll concentrate on my impression of the achievement of it cinematically and as an adaptation, and wont concern myself with issues of theme and the like, which, though well worth looking at (and which, you should infer, Jackson communicates as well as he dresses them), are more appropriately discussed around the books themselves; but before I launch into my effusive tirade about this movie let me say that I continue to believe what my film professor told me in school: there is no such thing as a perfect movie. I realize, however, that perfection might be defined as many different ways as there are people who care to try to define it. My definition would include events occurring believably, logically, or reasonably within the movie’s framework or conventions of the universe it has created. Also, while it is conceivably possible that a movie could be technically flawless, it seems absurd to me to hope for absolutely no moments of “untrue” or (especially) “perfect” acting, that is, that which, for some reason, doesn’t ring true within the framework or which we find never strays from how we think the character should or might behave to any large or slight degree of perception. I know of no movies I would give my label of ”perfect”, but, even through this one’s few minor flaws, I would put it among those few I feel come closest.
Watch your back, ILM.
What we’ve seen in The Phantom Menace, Harry Potter and every other movie has been mere nibbles, crumbs from the table, and, sadly, has been taken for the meal. Fellowship brings us to the table, is not parsimonious with its delicacies, not even fair, but generous, lavish, heaping copious amounts where we have gleefully accepted meager portions before.
Though not as revolutionary as Lucas’ ILM was in ’77, I have little reservation in saying that WETA, Limited (the New Zealand special effects company behind Fellowship) has given us the first truly evolutionary work since that time. The Matrix gave us wonderful new looks, as have other films, but nothing has been more ahead of its time since Star Wars as Fellowship. For the moment, however, WETA is beating ILM at its own game: indeed, they are showing them, and anyone else who cares to learn, how it’s done! Since the advancement of technology after Star Wars, no one has made more and better use of what is available and possible than WETA has with Fellowship.
Behold, we have looked through a glass darkly…
However, it would be egregiously myopic to attribute Fellowship’s magic entirely to WETA. Peter Jackson and New Line Cinema have brought to bear on this film a group that understood and was able to execute the vision of Tolkien’s world and events better than I can imagine anyone else being able to do. I reviewed Harry Potter a short while ago and, as enjoyable as I found the movie, it was another case of feeling someone else could have done better: not so with Fellowship. In fact, the last time I felt this way about a movie does not readily leap to mind until over 20 years back with Lucas’ first Star Wars.
Rising from anonymity
What’s even more impressive is that most of these people have not plied their wares on much, if anything, of particular note. Unlike the crew assembled for Harry Potter, I cannot spew rivers of acclaimed movie titles behind the names of any working on Fellowship. The closest, in my mind, would be the cinematographer, who’s only particularly outstanding achievement (not to diminish his magnificent work in it) had been Babe, a brilliant piece of work. There has been little else from any of the members of this troupe to suggest this, what can clearly be considered, even though still early in Jackson’s career, a magnum opus. Jackson forms and weaves this delicate, passionate tapestry with enormous confidence, clarity, and accuracy.
I’ve heard Chris Columbus and others touted as Spielberg proteges, and, literally, that may be accurate, but there has been none more so in spirit than Jackson has shown himself here. This piece of compelling fantasy sits gloriously, and exclusively, in the lineage of Star Wars and E.T. as a landmark piece of cinematic captivation. Though Jackson is not (I’m sure he will readily and frequently insist) exclusively responsible, he is at the helm, and such a piece of mastery could not have been born without someone capable to task. Possibly, he will have to deliver more than the Lord of the Rings trilogy to be truly considered in Lucas and Spielberg’s (particularly the latter) league, but Lucas, as a director, really only has the first Star Wars to his credit as far as fantastical escapism, and not much else beyond that, so it’s not such a stretch to mention him (particularly with his involvement in WETA) alongside Lucas. Certainly, and this I will insist, he is the most likely candidate (Fellowship as my evidence) to come along; certainly more deserving than anyone who has been offered that company.
The complete package
Directing, screenplay, casting, acting, cinematography, editing, production design and art direction, make up, visual effects, sound, etc. It seems as unconscionable to think of discussing whether it’s best film of the year (a pox upon ye that do), as it is easy to consider this one of the best films in cinematic history. I shudder to think of the travesties not at all implausible that may be wreaked upon this movie on Oscar night. This is the best cinematography I’ve seen in decades, and the editing enhances every stroke of Jackson’s brush, the production design and art direction unleashed like a heavenly Pandora’s box, the casting as deeply brilliant as any I can think of, and the acting inspired, enthralling, and surprising.
Having not read the books in years, I cannot say whether it was faithful to the book or whether it will please ardent fans, but, as a film, it’s difficult to imagine that what this movie is, even if taking considerable liberties to fit within its framework, could possibly be doing any disservice to Tolkien’s Lord, and is easy to imagine that it has, incredibly, brought the book to life like no other movie has done for its literary inspiration. With all the traps of bringing a book (let alone a legendary book) to the screen, Jackson and crew have done as good a job as any ever have, and arguably better. If you haven’t yet read the book, I would (contrary to my typical M.O.) recommend waiting until after seeing the movie to do so.
Directing – Peter Jackson: A
Unreservedly, and with great admiration, I rate Jackson’s work at the top of the class. Easily the best this year. Packed with emotion, action, and intrigue and snappily kept moving and interesting; and beyond the technical excellence, infuses it with such mammoth heart that no author would dare to dream such a translation of their work to film were possible. Include this in your curriculum for directing class, and make it the paragon in the part of the semester called “Adapting Novels to the Screen”.
Screenplay – Fran Walsh, Phillipa Boyens, & Peter Jackson: A
They had good material to work with. They kept it in tact and – like the production that followed – infused it with the true spirit of the story.
Acting/Casting: A
When roles like Gandalf come up, there’s a list of people that I imagine producers and directors and casting directors usually go through to cast it, and in that group for Gandalf the Gray, which would include the likes of Richard Harris and others, the man tapped for the job reminds me why he’s my favorite in that lis. Ian McKellan is unerring, masterful, subtle, powerful, and commanding as the wizard. I would have wanted no one else for this role. I see him as much as Gandalf as I see Sir Alec Guinness as Ben Kenobi.
Rounding out the remainder of the cast are wonderfully enjoyable, but confidently restrained and appropriate performances from Viggo Mortenson (a surprisingly good fit), Sean Astin, Billy Boyd, Ian Holm, Liv Tyler, Orlando Bloom, and John Rhys-Davies (remember him in Raiders of the Lost Ark? “Asps, Indy. Very dangerous. You go first.”) Without this superior job of casting and acting, this movie would have only been a glorious spectacle, a respectable Mummy (though that comparison does WETA and Jackson an injustice).
Special and Visual Effects – WETA: A
Fuhgeduhbahdit.
Production Design and Art Direction: A
All the imagination, creativity, and wonder that Harry Potter almost found (as commendable and admirable as it was) and should have. This movie, here, as in almost every other category, draws an evolutionary line in the sand, making every other effort look like they’ve been caught with their britches down.
Cinematography – Andrew Lesnie: A
As I’ve said, some of the best work I’ve seen in decades. From camera movement to lighting to composition, Lesnie tames the camera and bends it to his will (or, rather, to Jackson’s). I’d better see a golden statue on this guy’s mantle or Oscar’s gonna have some ‘splainin’ to do.
Editing: A
The editors enhance every bit of work that Lesnie and Jackson have painstakingly forged. It is crisp, logical, never indulgent, and seamless. It carries the story along effortlessly and with such flawlessness as 3-hour movies do not dare to dream of. How long did I wait for Titanic to just, please God, sink already; surely that tragedy deserves more than that romanticized, sloppy, indulgent treatment. Seriously, a friend I went with to see Fellowship made a comment (which seemed to be an observation rather than a complaint) about not having heard the word “love” used in the film, to which I was about to lean over and reply, “Well, who knows, we still have about 30, 45 minutes to go,” and the credits came up! I was ready for at least another hour. That has been the shortest 3 hours of my life.
Music – Howard Shore: C
Never been a big fan. He’s done some decent scores, but nothing I’ve had to have in my collection. The list I would have tried here would have been (in this order): Joseph LoDuca, John Williams, Joel McNeely, Jerry Goldsmith, Elliot Goldenthal, James Newton-Howard, etc. on down about 10 to maybe 20 others before I got to Shore. It’s not bad scoring, just barely adequate. I try not to dwell on the enormously missed opportunity by tapping Shore here, as it tends to send me into seesawing between fits of immobilizing bewilderment and an overwhelming sense of injustice (again, nothing personal, Howie).
Makeup: A
From all the gory and obvious work to the subtle layer of smoky ash on Gandalf’s face in the mines, this crew nailed their jobs as almost every other department: second to none.
Costumes: A-
Though they settled for some easy (even if still appropriate and beautiful) choices with characters like Blanchett (flowing white robes), not many films have made such simple costume ideas seem so new and unique, from the black garb of the ring wraiths, to the surprising creativity in simple fare like Gandalf’s. On a second viewing I'll be paying more attention to the detail here to find out why they seem so exceptional. I mark off for the few lapses in imagination like the aforementioned Blanchett get-up and the Shakespearean look of much of the Hobbits’ dress in the Shire. Though fitting and workable, I would have hoped for more imagination.
Sound: A
I’m tempted to give it an “A-“, but only when comparing it to the revolutionary genius of Ben Burtt’s work in Star Wars. The sound design team does an exceptional job here with the appropriate work being noticeable, and the rest being “hidden”.
Producing: A
Probably the most impressive job of all because they assembled this incredible band of wizards. To spotlight a couple, Saul Zaentz has done some of the most successful movies in history (One Flew Over the Cuckoo’s Nest, Amadeus, and The English Patient) and one of my favorite movies (The Mosquito Coast). And the Weinstein brothers (of Miramax) prove yet again why they are legendary.
“This…this is history.” – Belloq, Raiders of the Lost Ark.
I will be disappointed in Oscar (like that’s uncommon) if Fellowship doesn’t walk away with Picture, Directing, Cinematography, Editing, Special Effects, Production Design, Art Direction, and at least nominations for Elijah Wood and Ian McKellan. I’ll be satisfied with Directing and Cinematography since it’s difficult for me to imagine it winning Picture (and, only hell spawn would not nominate it).
I think only the most narrowly opinionated fans of the book might find cause to complain about it. I don’t remember the book well enough to say it’s how I imagined it, but as a movie, I can’t think of a more enjoyable and moving experience in theatres now or at any other time this year (or past couple of decades, for that matter) than Fellowship of the Ring. If you want an emotionally sincere and powerful, and visually superior and lavish feast of a movie then get in the theatre for this one. Don’t wait for video! If you see only one movie this year in the theatre, make it this one…to rule them all, and in the darkness, bind them.
Strongest Points: almost every aspect of production.
Weakest Points: music.
Final Score: 96.
2001 copyright Christopher Ryan Huston
All pictures ©New Line Cinema Productions, Inc. All rights reserved.
