Here we go, just got finished with it this section. Let's get this thing completed!
Part Seventeen: The Game Attempts-Part Fifteen:
From Bilbo’s final words in the previous scene, we make the transition to sundown. Gandalf and Bilbo are overlooking the near complete party grounds while sitting on a bench.
“Old Tobey! The best weed in the south farthing!” Bilbo exclaims happily as he puffs out a smoke ring. In return, Gandalf takes a smoke and puffs out some smoke shaped like a ship and guides it to pass right through the ring. This is a reference to a scene described in The Hobbit near the beginning. As the dwarves’ unexpected party played out in Bilbo’s living room after many meals, Gandalf and Thorin had a little contest in which Thorin would try to blow out a smoke ring that Gandalf couldn’t guide a smoke ship through. Although this is material from a different book in Tolkien's mythos, it’s still a nice, small moment and unobtrusive to the film. In fact, it’s a nice little moment of Bilbo and Gandalf just enjoying themselves like the old friends they are. Little moments like these are every bit as important as the iconic ones like the Siege of Helm’s Deep. Normal interactions between the characters help further develop them and the audience or reader will grow more attached. I repeat, interactions like these are part of the build-up to later scenes in which audience empathy will be at a height thanks to earlier scenes like this as well as the more important bits. This is something aspiring writers need to learn quickly and also a part of what held the Bakshi and Rankin-Bass films back. There was no time for little bits between characters like this in those earlier adaptations. Two people just enjoying themselves may be less memorable, but are still key as it shows how they relate to one another in general.
Moving on, both of the Sir Ians are so natural in this scene you completely believe this is two olds friends having a nice chat before the night’s festivities. The scene finished with Bilbo telling Gandalf that “this will be a night to remember,” with mischievous gleam in his eyes. The film then promptly cuts to some of the Gandalf’s fireworks exploding in the shape of a tree. The camera follows as bits of light float slowly downwards almost like leaves and finally stops on the partying hobbits below. Some of the hobbits even try to catch the pieces. A nice touch that adds some weight to what would have been otherwise just an effects shot and shows what a simple folk the hobbits, as they've probably not seen anything like this in a quite a while. This is part of what makes the Jackson trilogy so good. No effect is ever just eye candy. It all serves some purpose and it impacts what’s going on in some way.
The hobbits are doing a appropriately folksy dance put to good old fashioned flutes and fiddles. The dance itself is likely inspired by the kind of festivities rural middle class English people which the hobbits are based off of once performed. I honestly did try to track down any direct examples for the inspiration for the dance seen here. I came up with about a few hundred examples of old fashioned British-born festive music just like this, and that was just on YouTube!
Also, take note of Frodo’s dancing. He holds his hands in front of him kind of like a squirrel, ducks down low, and then comes back up using just his legs to nimbly do so. John Belushi did a dance identical to this in National Lampoon’s Animal House. What relevance does that have? Good question. It could be coincidence, since Jackson and co don’t seem like the types to be familiar with the antics of a former SNL member, so I’m guessing Elijah Wood must have just done this impromptu and it was kept in the film. Either way, it fits, surprisingly. Thankfully, this is the first and last time the LotR films will take a cue from anything related to SNL. Of course, it could be argued that Merry and Pippin are two wild and crazy guys.
Meanwhile, we see Samwise shyly looking over his shoulder at Rosie Cotton, who is oh so subtly trying to get him to dance with her. He faces forward and exhales nervously, trying to gather his wits and courage. Frodo plops down at the table next to him and also tries to prompt him into dancing with Rosie. Sam declines, claiming he’ll just have another ale, but Frodo will have none and that shoves Sam right into Rosie’s arms, so the two dance away as Frodo laughs good-heartedly.
See what I meant about smaller moments of character interaction, folks? This set-up of Sam’s love life hardly has anything to do with the quest to stop Sauron, destroy the Ring, and rid Middle-earth of the festering malignancy of the Ring. This bit also only lasts for just eight seconds. Yet, in this scene alone we learn that Sam has a crush on Rosie, is a very innocent and shy individual, and in matters of romance: clumsy and clueless. He’s also just too danged cautious in stepping up for his own good. On top of that, Sean Astin’s acting and the concise writing of the scene carries it all so well that that it’s established perfectly. Within the eight seconds in which this little bit plays out, we already understand a number of things about Sam and have already begun the form a bond with the character, so any further scenes that richen our love of the character will just be icing on the cake from this point on. To anyone thinking of ever writing a story, remember this. Include many moments between characters, both big and small.
On Sean Astin’s Samwise, there are many debates raging on various forums about which actor in this series did their role the best and did their character the most justice. In the depths of all those debates, though, pretty much everyone will agree that Sean Astin did a great job as Samwise to such an extent that he could qualify as the series ensemble darkhorse.
Back to the film, we cut over to Bilbo telling some hobbit children about his ordeal with the three trolls. What makes this scene work is that Ian Holm was just sat in front of some kids and told to be story teller if he were babysitting. Being the high class actor that he is, as well as being a grandpa, Holm, of course, carries the scene withou flaw. He plays the scene out akin that war veteran relative everyone seems to have recounting his wartime days to the little ones. By the by, the children’s reactions are genuine. Other than Holm memorizing the story, there was no forward practices, so the kids really did get as into the story as it seems. At the closing of the tale, the children’s mother gathers them up. Bilbo inquires if all of them are the mother’s. Upon confirmation he makes a quip about how “productive” she’s been. I would make a comment about getting crap past the radar, but the theatrical version was already PG-13.
Now, this is the part I mentioned earlier that I said I couldn’t believe Jack and co cut from the theater release. Suddenly Bilbo hears the Sacksville-Bagginses calling him and his ear stands twitching. He warns Frodo, who just happened to be passing by and the two hide as the unwelcome relatives attempt to find the old hobbit in a short, comedic scene.
Now what comes is why I can’t believe they cut this. This, before Rivendell, is the only scene where Frodo and Bilbo have any physical contact with each other aside from Frodo knocking Bilbo to the ground during what he thinks is a dragon attack later, despite the two being so close. Anyway, after the Sacksvilles move on without spotting them, Bilbo solemnly turns to Frodo and attempts to try to tell him what he intends to do that night. In what I think was an attempt to both stall and work up the courage, Bilbo tells Frodo why he really adapted him after his parents died. Out of all of Bilbo’s various relatives, Frodo is the one only who showed any real wits and courage. Frodo then asks if his uncle has been into the Old Gaffer’s (Sam’s father) home brewed ale. This unfortunately ruins the moment and Bilbo loses his nerve, ending it with “Youëll be alright“. This short sequence established the close relationship uncle and nephew share concretely in the Extended Version. In the orignal, we are kind of forced to take the film's word for it until Rivendell. Yes, it could argued that the film hyped up the bond they shared effectively, but the term "show, don't tell" comes to mind in response to that.
Meanwhile, on Gandalf’s end, he sets off some smaller fireworks that turn into butterfly shapes and fly away for the children to chase. Gandalf is laughing merrily as the hobbitlings try to catch them. Again, this is what Bakshi and Rankin-Bass’s Gandalf was missing: the ability to lighten up. Also, the children’s reactions to…well, nothing, CGI, actually, is surprisingly good. But then again, if you watch the Extended Edition 'Making Of' features, you see behind the scenes how Jackson played up on the children’s ability to pretend and imagine and got them worked up for the take. Why other filmmakers seem to have a problem grasping this when working with children is beyond me. For that matter, why is Jackson the only filmmaker who seems to get a lot of things?
Moments later Gandalf gets more fireworks from his wagon and leaves it unattended, chuckling as his goes. Merry and Pippin make their entrance. As you all know, they steal one of the fireworks and make off with it.
Here’s the interesting thing, while Bakshi downplayed Merry and Pippin, Jackson plays them and their antics up. Ah, completely different filmmaking philosophies on dealing with these two. Both have their finer and flawed points, but overall, Jackson did a much, much better job playing them up because in Bakshi’s, as I’ve said before, I couldn’t tell them apart. Of course, it didn’t help that they looked almost as alike as Huey, Dewey, and Louie. The only time I ever could tell Bakshi-Merry or Bakshi-Pippin apart were in scenes like in Bree in the Prancing Pony when Merry goes for a walk and almost ends up Wraith food. I say again, I only knew that was Merry because it was Merry this happened to in the book.
Fortunately for Jacksonës version, the characters are much more defined, Dominic Monaghan and Billy Boyd are very distinct individuals, are very lively, and have vibrant on-screen personalities in and of themselves. There is NO mistaking them.
Now, some may point out that the Jackson’s films had more time to develop their personalities in Bakshi’s defense. I say: So? One simple, but well-written line can speak volumes about a character. Or heck, not much needs to said at all. Recall the eight second sequence which introduced Sam's crush on Rosie earlier? Thus a concisely and well written hour and a half film can be very deep and have well defined and developed characters. I have no sympathy for Ralph Bakshiës case.
That being said, the dynamic duo decides to take the explosive into a tent, of all places, to set it off. The audience in the theater I was in were already beginning to laugh at this point. Pippin lights it, but then suddenly the two realize that the firework is neither secured in the ground or outside. They squabble and the thing goes off, taking the tent with it and leaving two blackened hobbits lying on their backs on the ground.
The audience gets a straight down shot overlooking the party from far off the ground as the firework explodes and forms into a dragon shape and it flies right at the camera. It opens its mouth as if to try to eat the audience. There’s a shot that just screams “3D Edition”. The effect looks artificial, but it was deliberate, because Jackson wanted to the effect to look exactly like what it was: an in-story special effect. Anyway, the dragon firework circles around and this is enough to panic the hobbits that begin to flee in terror, falling over tables, chairs, each other, and even themselves. I don’t where Jackson found such good extras that were able to breathe enough life into each and every hobbit that you’d almost swear this party was the genuine deal and he just filmed it using hidden cameras, but kudos to him.
Here is the only contact Frodo and Bilbo had in the theater release before their scenes in Rivendell. Frodo rushes over to Bilbo, warns his uncle of the dragon, and then pushes him to ground when Bilbo shows skepticism and doesn’t react. This is why that little scene the two have after they evade the Sackvilles should have been kept in the theatrical release. It was only a few minutes long and wouldn’t have significantly added to the running time, so I just can’t understand the rationale behind getting rid of it. I cannot reiterate this enough. In fact, I'm scratching my head even as I type.
The party goers look up to see the firework just as it goes off in a display that puts about every big city July 4th celebration I’ve ever seen to shame. The crowd claps and cheers, and completely forgets that they probably trampled dozens of children and elderly in their mad panic.
Cut back to Merry and Pippin, who are patting themselves on the back for the successfully recreating the War of the Worlds Radio Drama panicked mayhem. Excitedly they proclaim need to get another one. Cue Gandalf suddenly appearing and pinching their ears. He calls them each by their full names, Meriadoc Brandybuck and Peregrin Took. Oh yeah, anyone who has ever been in done something really stupid as a child knows what it means when an authority figures calls you by full name afterwards. It means you are in biiiig trouble.
Cut to Gandalf keeping watch on the two as they clean dishes, still with blackened, filthy faces. This gets a chuckle out of me every time. On top of that, Sir Ian finally gets the cute little man servants he’s always wanted. Everyone wins. While Merry is putting another pile of dishes down Bilbo begins his speech at the request of his guests.
“I don’t know half of you half as well as I should like, and I like less than half of you half as well as you deserve.” Bilbo drops the now infamous bombshell, leaving his guests to figure out the insult or compliment. Holm really knows how to deliver brain breakers well, because here it does come off every bit as clever as it was written. Take heed of this, Bakshi-Bilbo, and your drunken delivery.
Now, Holm’s Bilbo takes out the Ring and puts it behind his back, while trying to find his parting words. After some mild stuttering his says this, “This is the end. I am going now. I wish you all a very fond fair well.” Then he looks fondly directly into Frodo’s eyes, and in a fatherly tone says “Goodbye”. And with that, he vanishes completely. In the book, Frodo was completely in the know of this and was laughing at the guests’ reaction. Here, Frodo wasn’t. I think it adds to the drama of the scene for this film. It impacts the overall plot in no way, shape, or form, so I think we can let this one slide. Bilbo also just disappears, while in the original book Gandalf helped with a flash of magic so no one could ever describe it accurately afterwards. In Bakshi’s version, the Ring itself causes the flashy effect. Here, Bilbo just disappearing was a nice effect, and maybe visually more effective than having Gandalf seemingly make him go up in a firy blaze. Jackson’s philosophy on magic was to keep it subtle and it really works.
Cut to a shot overlooking the party as the party guests search for Bilbo, one guest calling of his name even being faintly heard. The road leading to Bag End is in the lower part of the shot and the camera immediately begins to follow Bilbo’s footsteps as he chuckles to himself about his little trick. The door opens by itself and closes as such. Finally, Bilbo takes off the Ring, flips it in the air triumphantly, and starts readying his things. All the while light-hearted music plays in the background of this quick paced sequence. It’s charming, yet uneasy, because the audience knows Bilbo is playing with fire. We know as we’ve already been shown near countless times in just the less-than-a-hour running time thus far how dangerous the Ring is. So a feeling of apprehension really begins to set in as Bilbo continues to hold onto the evil instrument, and because he’s played so brilliantly by Holmes, we’ve already fallen in love with him.
Suddenly Gandalf arrives out of thin air and startles Bilbo. He reprimands the hobbit for using the Ring so lightly. Bilbo tries to defend himself, but then concedes that Gandalf is probably right. The old spirit inquires about the Ring’s whereabouts and Bilbo tells him that it is in a letter on the mantelpiece. Then Bilbo corrects himself, upon remembering that it is in his pocket. Here, a low dooming rumble in the soundtrack picks up and as Bilbo’s demeanor changes, so does the entire tone of the scene. The way he hesitantly confessed that he kept it in the pocket, as if doing so somehow pains him takes the uneasy feeling up to eleven out of ten.
Then Bilbo begins muttering like a mad man about how he does not want to part with the Ring. Gandalf reaffirms that he thinks Bilbo should leave it behind and inquires if the decision is so difficult. Bilbo at first regains control of himself and looks ready to give it up, but then the audience can literally see the point where the Ring takes control again in his eyes as he hisses “Yes”, it is too difficult. Now the mad muttering has turned into outright ranting before he practically roars, “It’s mine, it came to me!” Gandalf tries to calm Bilbo, but the hobbit will have none of it and the scene culminates with Bilbo calling the Ring his precious. Gandalf, in a concerned tone, points out that Gollum was the one who called it that before and begins advancing towards his old friend.
Then, all hell breask loose with Bilbo growling that what he calls his own things is none of Gandalf’s business. The Istari spirit asks, more forcefully, one more time for the hobbit to give up the Ring, and finally gets accused of wanting it for himself as the result. The wizard, having had enough, cuts loose with a small display of his power by forcing Bilbo against the wall using nothing but his magic as the candles nearly blow out and the floorboards squeak and groan. He roars out that Bilbo should not take him so lightly as a thief and a summoner of cheap tricks. He cools down with a deep breath and the world returns to normal. I liked the handling of this little display. It’s just enough to give the audience a hint of Gandalf’s true supernatural nature, yet subtle enough that it leaves a sense of mystery concerning the old wizard, but isn’t enough to show you how powerful he really is.
Bilbo is finally shocked back to his senses by this and mutters something inaudible before walking up and hugging Gandalf. The wizard says these words with genuine conviction, “All your life, we’ve been friends. Trust me as you once did. Let it go.” Bilbo finally admits, looking deeply disturbed by what just transpired, that the Ring must be passed on. Then, forgetting to get rid of it again, grabs his backpack and walking stick, and starts to head out the door.
Just as he reaches the door however, Gandalf stops him and tells him that the Ring is still in his pocket. Bilbo takes it out and looks apologetic and holds it in the palm of his hand. The camera looks up at him almost at a 90 degree angle as his hand slowly turns over and eventually the Ring drops to the floor. The scene is slow and almost torturous as Bilbo openly struggles with letting it go and looks almost as if he won’t. He does it give it up eventually and the Ring lands with an unnaturally heavy thud. Bilbo hastily steps out his door looking tempted to go back, but just for an instant before returning to his charming self as Gandalf steps into the doorframe behind, perhaps to stop the hobbit if he does try to go back.
Bilbo utters that he thought up the perfect ending for his book and turns to his old friend to say it. “And he lived happily ever after, ëtil the end of his days.” The wizard answers that he’s sure he will, and the two parts ways with Bilbo singing, The Road Goes Ever On and On as he goes.
The sequence takes on yet another bit of well-executed mood whiplash as Gandalf steps back into Bag End, looking down at the Ring. The angling of the camera looks as if the Ring is looking up as Gandalf as he reaches down to pick it up. Just as the wizard’s fingers reach the Ring, a flash of the flaming Eye of Sauron fills the screen briefly and Gandalf withdraws his hand from it at the unsettling vision.
Cut to Gandalf sitting at the fireplace, deep in thought. He recalls Bilbo’s calling the Ring his precious while staring into the flames, perhaps also this also invokes thoughts of the eye he just briefly saw. He begins uttering the word ëprecious’ as he thinks. Frodo enters the house calling for Bilbo. Although he was out of focus, the audience could see as he noticed the Ring and picked up before turning his attention to the Istari sitting by Bilbo’s fireplace.
“He really gone then hasn’t he,” Frodo asked, and Wood’s performance delivers on Frodo's sadness with the prospect that he didn’t even get to say goodbye to his uncle. It’s at this point that Gandalf actually looks at Frodo and smiles friendly before telling his old friend’s nephew what has become of the former master of Bag End. Bilbo has gone to live with the elves, though that Bilbo was actually going to revisit the likes of Lake Town and such are left out for reason I will never fully understand. More on that later.
Anyway, Gandalf announces that Bad Eng, and all of its possessions, Ring of pure evil included, have been left to Frodo. I like McKellan’s acting in this scene. He’s trying to put on a good face, but there’s an underlying concern that Frodo is picking up on, showing the hobbit’s own perceptiveness. Most of Jackson’s films feature such acting that carries subtle implications beyond the surface.
Gandalf holds out an envelope for Frodo to put the Ring in, Frodo wordlessly complies, and then Gandalf seals the letter with the Baggins crest. My only problem here is that I have always thought that Frodo should have been just a might more hesitant about relinquishing the Ring, but I do get that the young hobbit just handing it over is showing us that it’s not affecting him yet.
It is about this point that McKellan’s Gandalf breaks all pretense of normalcy and instructs the hobbit to never put it on and hide it somewhere safe, all the while readying what belongings he has and heading for the door. Frodo inquires about what is going on and why Gandalf already has to leave. There’s another nice bit of acting as Gandalf stops by the door with a resigned sigh before turning to face Frodo and solemnly announcing that he doesn’t understand yet, either. With one final warning to, “keep it secret. Keep it safe,” Gandalf is out the door. The camera cuts to Frodo and focuses on his face before panning downward towards the envelope containing the Ring, which he is holding. As the pans, Frodo quizzically looks down at the item he’s holding, obviously having figured out that all this fuss is over the Ring of Invisibility, but not knowing why.
Alright, Elijah Wood’s acting in this scene is pretty spot on as you can get a real sense of poor Frodo’s utter confusion mixed with his solemn acceptance of his uncle’s departure. It’s a whole bag of emotions that he had to seamlessly deliver and did so very well. Oh, if only his acting would remain so consistent for the rest of the series. I’ve already commented on McKellan’s acting, and can’t really say much more. He IS Gandalf.
