You know, I was going to make this update longer, but what the heck, I'll just put what I have finished:
The Game Attempts-Part Twenty Four-Part Twenty Two:
Frodo wakes up in Rivendell, and at first, it looks like there’s a heavenly glow over him. This was probably to show the Elven influence that saved him, and it works. He asks where he is, and we hear Gandalf warmly answer “that [he] is in the house of Elrond, and it is [whatever] O’Clock in the morning, if [he] wants to know”. Frodo bolts upright and stares at the wizard by his bedside.
The key difference between Bakshi and Jackson’s Gandalf is that Sir Ian isn’t looming over Frodo menacingly. He’s sitting by his bedside like a beloved old grandpa figure, which is much, much more in line with Gandalf. He’s also speaking quietly and practically glowing with grandpa-ish warmth. Behaving, you know, like someone would at the bedside of someone in a hospital bed.
Frodo asks why he failed to meet them, and Gandalf uncomfortably explains that Saruman is turned to evil and madness. He cut to a flashback where the corrupted White Wizard is torturing Gandalf some more to try to make him submit. We catch a quick look at the moth Gandalf had summon the Lord of the Eagles, and the gray wizard departs on his back after leaving Saruman with one final bit of advice that Sauron does not sure power and will cast him aside when he is no longer of any value to him.
That fits with Gandalf’s character; as even in the book, he never gave up on Saruman until he was…well, dead. This also illustrates how far Saruman was fallen, and how much he is his own enemy. In the books, it makes a point of telling us that Saruman is out to get the Ring for himself, these films leave a bit more ambiguous, though (not necessarily a bad thing). Either way, he’s a mad wizard serving the wrong side.
We cut back to the present to a sad looking Gandalf, looking faintly tormented by the betrayal. Frodo asks him what’s bothering him, but the wizard assures him all is well…well, as well as he can be given the present circumstances. Then, Sam rushes into the room and runs to Frodo’s bedside, happy to see him awake. He grabs Frodo’s hand, but only because Ian McKellan wanted to promote the idea that they were gay, not because Sam wanted to check to see if the natural bodily warmth had returned to his hand, like in the book. I kid you not.
Gandalf announces that Frodo’s recovery are part and partial to the healing arts of Lord Elrond. Then the elf lord in question, and single most miscast actor in the entire saga, steps into view.
“Ah, Mr. Anderson,” Agent Smith says. "Do robotic sheep dream of electric sex?”
Alright, no, he doesn’t say that. On Weaving? Is there another actor in this entire trilogy, save Elijah Wood, who was more miscast? One reason Hugo Weaving is so miscast is because he doesn’t look elvish even in the slightest. Yes, I get that Elrond is half-elven, but he chose to live as a elf. That, and he’s frikkin Agent Smith. Role association like no one else’s business! When you see Hugo Weaving in anything, you see Agent Smith. It’s that simple. It’s kind of like whenever you see Jim Varney, you see Ernest P. Worell…only with more dignity in Weaving's case.
After Frodo has been properly greeted and introduced to Rivendell, we cut to a short montage of Frodo and Sam exploring the haven’s sites, and they eventually come across some familiar looking faces in Merry and Pippin. The cousins greet their kin with much vigor and hugs. Then Frodo spots someone else a little ways away. He recognizes his uncle Bilbo and rushes over to him.
Bilbo gets up and greets his heir with a warm embrace. There’s not really much to say about the reunion of Bagginses, Tooks, and Brandybucks other than it was well-acted and delivered.
Then we cut to Bilbo’s quarters at Rivendell where Frodo is sitting on his uncle’s bed and reading his memoirs, “There And Back Again: A Hobbit’s Tale”, and congratulates his uncle genuinely. One thing I notice about Wood’s performances is that he’s usually good when interacting with elements and people that are actually there. The plight of many a modern actor as blue screens becomes more and more prominently used.
At first, Frodo is overjoyed, but then the tone turns more melancholy when he reflects on how terrible his own journey was. Bilbo comfortingly puts an arm around Frodo. Holm absolutely shines with warmth in this scene as Bilbo. Had he been just a bit longer, we might have seen his reprisal of the role in Jackson’s upcoming duo of films, but alas, but he’s the second oldest member of the cast, born 1931. He will be narrating the upcoming Hobbit movie, though.
The camera passes far away from the two Bagginses to Elrond and Gandalf observing the two from afar. Elrond comments on Frodo’s returning health, but Gandalf reminds his old companion that the Morgol wound will be carried with the hobbit for the rest of his life. Their discussion then turns to the happenings of the world around them and to who they can still turn to as the times grow darker.
Gandalf thinks they can leave it to humans, but Elrond recounts Isildor’s fall to the Ring, which the elf lord witnessed firsthand in retort. He calls humans weak and that there is no strength left in them, calling us divided and leadership. Tolerance: pass it on.
Rather than leave just to men, Elrond reveals that he has called all the free peoples to Rivendell to decide what to do with it. As Gandalf looks down on the entrance to the Last Home, he spies the arrival of Boromir, played by Sean Bean, actor-extraordinaire but with a special talent for dying…a lot. He’s followed up by Prince Legolas of Mirkwoof, played by Orlando Bloom, former rising star and decent actor who frankly just never got much a chance. And finally, the dwarves arrive, and we are introduced to Gimli, played by John Rhys-Davies, master actor and always welcome screen presence.
Elrond proclaims: “They must decide now how to end it.”
Gandalf reminds Elrond that the heir of Isildor lives, but Elrond again shoots him down (he does this a lot in these films) that “he” had turned from his roots a long time ago. On cue, we jump away to another scene with Aragorn dead center in the camera (hinthint). He overhears some footsteps and spots Boromir having a look around what I can only guess was either a shrine or a library. The walls are lined with murals of events historical to Middle-earth, one of which is the final showdown between Isildor and Sauron, which Boromir stops and has a good look at.
He then turns and notices Aragorn watching him. The two exchange introductions, well, Boromir tells Aragorn who he is while Aragorn only reveals he is friend to Gandalf. Boromir, seeing his obvious caution, assures him that they are on the same side. He then spots the shrine of Narsil. He picks the sword up and stares in awe at it. He runs a finger over the blade and cuts himself on one of the jagged edges where it broke.
He utters: “Still sharp.” Some are absolutely convinced that this statement is a reference to Sean Bean’s most famous role in Europe, that of Richard Sharpe, in a series he starred in over there. I’ve always had my doubts, though, considering how “still sharp” sounds like something anyone might say if they had just cut themselves with a blade they were expecting to be dulled. So take from it what you will.
He looks over at Aragorn, and embarrassed, clumsily tries to put the sword away, but it falls onto the floor. Boromir pauses, considering giving the blade its proper respects, but then leaves without doing so, all the same. I’ve never been sure what to feel about that last bit. On one hand, it IS Narsil, on the other, it WAS wielded by Middle-earth’s biggest screw up as far as history was concerned. Can't say I'd necessarily show that a whole lot of respect if I knew the story behind it's last wielder, either.
Aragorn instead puts it back himself and gives it a bow. He stares uneasily at it. The shot of him standing before the shrine of Narsil with the mural situated behind him perfectly is well done and works as possible symbolism on so many levels I’d have to write another paper to cover it all.
Arwen approaches him from behind and assures Aragorn that he is only himself and not Isildor, and therefore not bound to the same doom. Yeah, the thing about Aragorn in this adaptation is that he’s terrified of becoming just like Isildor and being corrupted by the Ring and/or power in general. He knows power corrupts and he has his doubts that he can be a good king. It is a valid fear for him to have considering he's heir to the most powerful kingdom in all the land, but it is WAY to prominently displayed in these films.
I understand that Jackson was trying to create a character arc for him, since the book Aragorn has already decided how his life was going to play out if Sauron was defeated again before we ever meet him in Bree. However, Jackson and his co-writers overdid it here and as these films go on, I’ll be able to explain further. Right now, there’s no need to get that ahead of the story. That said, they did not give us a bad Aragorn in these films, however flawed their portrayal of him was. They didn’t. This Aragorn actually had depth and I could see both the king and the ranger in him at key moments in his story. The Bakshi Aragorn, however, was just the ranger.
We next see Aragorn and Arwen in a garden standing on a little white bridge over a creek. They stand opposite of each other and they’re handing each other’s hands. It is identical to the original cover of The Princess Bride, and it works perfectly here. The two reminisce how they first met, and Arwen pops the question to Aragorn. Yes, the woman asks the man to marry her. I’ve always found the switcheroo amusing considering how badass and manly Aragorn is meant to be.
He, at first, objects, but she insists, saying that staying on Middle-earth with him is her choice, and that “like her heart”, she is now bound to him. Then the two kiss. Best written moment between Aragorn and Arwen, save perhaps their marriage at the end, I have to say. Brace yourselves; it’s all downhill from here as far as these two are concerned.
The sequence with the happy couple above is very well written and shockingly subtle for a Hollywood funded movie. The two talk exactly like two people who have known and loved each other for a very long time. No more words than necessary are exchanged, because these two already know what’s going on with the other and what they’re thinking and feeling. In a few words, I wish more Hollywood romances were written like this, but alas, Hugh Grant must pay bills.
The film then makes a transition to the Council of Elrond. Alright, here we go, the most of the single most important scenes of the entire movie. I’m quoting from Bakshi section of this paper, concerning Elrond:
“Now, Tolkien knew how important it was to make sure his readers were up to date with the current events of Middle Earth, so the first part of the council was just putting together the pieces of the world view puzzle to properly establish what Sauron was up to. Of course, no film could ever deliver this, and it has thus been shortened in all other versions”; “As stated, the main purpose of the council is to track Sauron's recent movements via testimonies given by all invited to the council who came from all over Middle-Eart to figure him out, discuss what to do with the Ring, and then chose the people who will carry out the course of action they decide upon. Tolkien took thirty-two pages in what was essentially a whole chapter out of his work to do this.”
So how well does the Jackson version hold up? Well, Jackson’s rendition takes about six-ten minutes, depending on the Edition you’re watching and foregoes on the information sharing and just sticks with deciding on what to do with the Ring and appointing its handlers. It goes as follows, Elrond briefly introduces the purpose of the meeting and has Frodo present the Ring and lay on a pedestal in the middle of the meeting area. We get various reaction shots of the members of the council. Legolas stares, looking almost shocked while Gimli just furrows his brows in defiance at its calling.
In the extended edition, Boromir gets up and recounts the dreams about the Ring he and his brother had been having all the while slowly approaching it, unable to resist its draw even at this early. It was a very clever way to introduce his character flaw. Just as he is almost upon it, Elrond is about call him out, but Gandalf speaks the Black Speech at the meeting. This causes the sky to cloud over and the earth to shake. The elves of the council react as if the speech is physically harming them just hearing it.
Elrond scolds Gandalf for this after he finishes scaring everyone, but Gandalf shoots back that the Black Speech may end up heard everywhere in Middle-earth, especially if Sauron gets the Ring. It is a very effective as a means of putting the fear of Sauron’s return to power in everyone’s minds, actually.
Gandalf declares the Ring altogether evil, but Boromir argues this point. He makes a speech about the wars Gondor has been having against Mordor, since they’re the kingdom closest to it, and besieges the council to give Gondor “the weapon of the Enemy”. This is quickly rebuked by Aragorn, who reaffirms that no one can wield it, save Sauron, himself. Boromir snidely asks what a ranger knows of the Ring. Then Legolas suddenly stands reveals who Aragorn is to the council.
Boromir stares incredulously at Aragorn before arrogantly declaring that Gondor has and needs no king and then takes his seat glaring daggers into the ranger. Elrond then announces that it must be destroyed. This gets varied reactions from everyone.
It’s here that Gimli growls that they should not wait around to try, grabs his father’s axe, and tries to cleave the thing right then and there. Of course, it doesn’t work. In fact, it shatters Glion’s axe and knocks Gimli on his ass. I’ve always taken this action on Gimli’s part that he was starting to get pissed off at the Ring for trying to draw him in. Being a magical being akin to the elves, he was likely aware of when an enchanted presence of some kind was having an effect on him.
Elrond takes this cue to instruct the council on what they must do. If you don’t know, tough, I’m not repeating it. Silence falls over the council as this news sinks in. Now Boromir takes the stage again neigh saying, though this time, he has some facts backing his logic. He quite adequately describes what a hellhole Mordor is, but then goes back into Idiotville by trying to convince the council to take different actions.
This angers Legolas, who shoots up from his seat and reaffirms what Elrond has said. So Gimli and Boromir begin to tear into him for different reasons. Boromir: the effect the Ring is having on him. Gimli: racism, and that Legolas in a Mirkwood and his father was one of thirteen that were their captives on their way to The Lonely Mountain.
It’s here that the council just explodes into an argument. Frodo watches helplessly as everyone butts heads over what to do with the Ring, and eventually his eyes fall upon it. Flames shine in the Ring and it consumes the image of the entire council reflected in the Ring, symbolizing the effect it was having on them all.
Frodo knows what he must do, immediately. He swallows his courage and stands. “I will take it!” His calls get the attention of the Council. We get a close up of Gandalf when the halfling’s calls reach his eyes. He stops, and closes his eyes, collecting himself, and then turns to look at Frodo with the solemn expression of a father whose son is being sent to war. It’s tragic, but he knows in his heart that it must be done. Some real smooth acting on McKellan’s part really sells this and hearts ache for the old wizard, everywhere.
The entire council stands in silence, staring in amazement at the simple courage of someone so small. Gandalf states that he will help Frodo for as long as he can. Then Aragorn stands and declares he, too, will help Frodo. We cut to Gandalf exchanging glances with Elrond as they both observe what happens as more members of the council are moved by Frodo’s courage. Then Legolas and Gimli volunteer, and continue to give each other unfriendly looks.
Then Borormir declares he will help as well, if that is the will of the council. Then Samwise pops out from some bushes, and declares that Frodo’s not going anywhere without him. Elrond observes with some amusement that not even “invitation only” council will have them parted. Then Merry and Pippin come out of the woodwork, and a now slightly stunned Elrond observes as the two cousins insist on going as well.
Pippin: “You’ll need people of intelligence on this sort of mission…quest…thing!”
Merry: “Well, that rules you out, Pip.”
Elrond declares them The Fellowship of the Ring. Cue Pippin asking where they’re going.
It’s not a perfect retelling of the council, but it serves the film well and establishes many personality quirks of Boromir, Legolas, and Gimli and you get a sense of what motivates them. It also shows us what each one of the main characters is made of early on as they volunteer to go on the quest to destroy the Ring. Overall, a very worthy effort and is informative enough that the audience is not left in the dark at all. It is heads and tails above the three minute scene of Elrond dishing out orders from the Bakshi version. It maintains the spirit that this is a bunch of people of many different backgrounds, beliefs, cultures, and races coming together to fight a single, monotonous evil. In the Bakshi version, it’s basically a singular good ordering people to destroy a singular evil. That just betrays that Tolkien was about, so thank God Almighty for Jackson for bringing us this.
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