Well, aren’t I just setting a fine example for the young Epinionators? Here I am, more than five months after I saw The Lord of the Rings: The Return of the King in the theatre, and only now am I writing my review of it. Why, the DVD is even out at this point. But even so, this is in fact a review of the theatrical release.

The movie is, of course, an adaptation of the novel by the same name. However, it should be noted that it also includes a good six chapters from The Two Towers, three from each of that novel’s two “books.” Also, take not that I have indeed reused certain relevant passages from my review of the book. Oh, and I’m using British spellings as well as I can, considering the source material. Plus the movie was made in New Zealand, where I’d imagine British spellings prevail.

The Return of the King picks up exactly where The Two Towers left off, and there’s really no point at all in seeing this movie if you haven’t already seen that, in addition to The Fellowship of the Ring. After all, it’s essentially one long movie that was released in three parts. The three literary volumes are really one novel, and the films were all made at the same time, enhancing their sense of flow and unity. Anyway, in this movie, Gandalf (Sir Ian McKellen [Gods and Monsters, X-Men]), Aragorn (Viggo Mortensen [28 Days, Hidalgo]), Gimli (John Rhys-Davies [Sliders, Raiders of the Lost Ark]), and Legolas (Orlando Bloom [Pirates of the Caribbean: The Curse of the Black Pearl, Troy]) are joyfully reunited with Merry (Dominic Monaghan [Hetty Wainthropp Investigates, An Insomniac's Nightmare]) and Pippin (Billy Boyd [mostly stage work in Scotland]) at Isengard, but they must soon part again. Gandalf takes Pippin to the Gondorian fortress city of Minas Tirith, while Merry stays with Aragorn, Legolas, Gimli, and the army of Rohan as they ride to the defence of Gondor. While the forces of Rohan will try to prevent Minas Tirith from being taken from without by the fearsome army of Sauron, Gandalf and Pippin will fight to prevent it from failing from within as Denethor (John Noble [extensive stage work in Australia]), Steward of Gondor, descends into madness. Aragorn, Legolas, and Gimli will take the ultimate risk and walk the Paths of the Dead, while Merry’s mettle will be tested in battle and Pippin’s will be tested by the madness of one to whom he has sworn fealty. And while massive armies collide in the West, we simultaneously see that the real conflict is unfolding in Mordor as Frodo (Elijah Wood [Eternal Sunshine of the Spotless Mind, Flipper]) and Sam (Sean Astin [Smile, The Goonies]) must rely on the treacherous Gollum (Andy Serkis [13 Going On 30, The Escapist]) to gain access to Mordor, and then are forced to flee the agents of Sauron and attempt to destroy the One Ring at the Cracks of Doom at Mount Doom.

Arguably the best decision made by Peter Jackson and the other creative staff was the simple reorganization of the story into a chronological scheme. Originally, the story was divided into two parallel “books,” one following Merry, Pippin, and their companions, and the other following Sam and Frodo. It was hard enough to follow in a book, where you can flip back and forth a little if you forget something. But in a movie, such a format would never work. That’s not to say that it hasn’t been done before, but it really just doesn’t work.

In the culmination of their coming-of-age story arc, Merry and Pippin really prove themselves in The Return of the King. Merry becomes a beloved retainer of Théoden King of Rohan, and then out of love and loyalty for his liege, he defies him and joins the army in their final defence of Minas Tirith, where he fulfils his mighty purpose. Pippin, out of gratitude for Boromir’s sacrifice at Amon Hen, pledges his service to the Steward Denethor. Then, as a mighty power struggle develops between Denethor and Gandalf, Pippin’s loyalties are sorely tested. Both young Hobbits learn a lot about themselves and about the world in the course of their journey, and truly make the transition from youth to adulthood by the end of this instalment. By this point in the series, I felt that Dominic Monaghan and Billy Boyd were really in synch with their characters. I felt really felt the moral dilemmas they were facing, as well as their bravery in the face of uncertainty. In addition, there was great tenderness between the two characters, indicative of the fierce bond they had formed after facing so much hardship together. There was a particularly touching scene early in the movie where they had to part, and it was played very well. The two actors are incredibly cute in real life, but after watching them in these movies for so long, I have to admit that even in their Hobbit guises, they were starting to look pretty good to me. I’m what you call a “pervy hobbit fancier,” actually.

Frodo and Sam continue their desperate quest to destroy the Ring of Sauron in Mordor. Throughout the story, Sam has grown in confidence and initiative, and while he has always been brave, he had had more opportunities to display that trait recently. There has been a gradual transition of the dominant role from Sam to Frodo, because Frodo has been increasingly weighed down (literally and metaphorically) of the Ring. This has reduced Frodo’s ability to function, and it has also begun to drive a wedge between the two Hobbits by fuelling doubts and jealousy between them. But they must cling to one another and to their companionship if they intend to survive. Unfortunately, Gollum is deliberately exacerbating these debilitating influences. There is a fascinating internal struggle between the deceitful and twisted Gollum personality and the repressed Sméagol persona. Andy Serkis plays the whole thing quite enthrallingly. The script also goes a great deal towards setting up a parallelism between Sméagol/ Déagol and Frodo/Sam. I suspect that this same thread was meant to exist in the novel, but I never picked up on it until I saw the movie. Of course, just as strong as ever are the very strong homosexual undertones of Sam and Frodo’s relationship. I mean, it’s just so far beyond what I think most of us would consider typical of a male friendship. Elijah Wood and Sean Astin are phenomenal, with easily the two most demanding roles in the film. There are a great many poignant moments between them, most memorably near the beginning when Sam tells Frodo that he has rationed enough lembas bread for the journey home.

Aragorn, Legolas, and Gimli actually have, in my opinion, considerably less development in this movie than in the previous ones. Once their characters were established, there wasn’t much of anywhere for them to go. Aragorn is a noble and wise man, who is immediately recognized as a leader by all who encounter him and inspires courage in all whom he commands. But we already knew that. Legolas and Gimli have forged an unlikely friendship as Elf and Dwarf. They are both accomplished warriors, and either would gladly give their own life to save the other, or any other member of their company. But we already knew that. So there you have it. That’s certainly not to disparage the performers, though. Viggo Mortenson is ruggedly handsome, and he conveys a great deal of wisdom and earnestness, as well as strength and grit. And the man can rock the pronunciation of the word “Morodr.” Orlando Bloom is certainly good-looking in real life, with his short, dark hair, but I really have to say that I prefer him with the long, blond hair and the pointy ears. Oh, those pointy ears. Watching him in the battle scenes is a thing of great joy. And John Rhys-Davies is, well, still mostly comic relief, which is a shame because I know he’s good for a lot more.

Gandalf, on the other hand, always manages to unfold more and more layers, as it were. Particularly revealing in this novel were the confrontations between Gandalf and Denethor. The men of Gondor are among the noblest and most ancient lines of Men, and even as their Steward (rather than King), Denethor embodies great power and lore. It is Denethor who is set up as a foil to Gandalf in The Return of the King, much more so than the distant Sauron, and also to a greater extent than Saruman was in The Two Towers. The greatest tragedy of Denethor, I feel, is the fact that he favoured his elder son, Boromir, in whom the blood of Gondor ran less true than in his younger son, Faramir (David Wenham [Van Helsing, The Boys]). For a lot of this, I find it helps if I ignore most of Faramir’s characterization in the second film, and instead imagine him to be the character I know from the book. Really, in the film, the sons of Ecthelion (Denethor’s father) are really short-changed in the films. Anyway, Denethor’s inability to accept Faramir caused him to project infidelities onto him in regards to the younger man’s relationship with Gandalf. Gandalf, for his part, is swift and judicious in the application of his extensive knowledge, and shows great wisdom in his management of the city of Minas Tirith as Denethor descends into madness. I must take slight issue with one aspect of John Noble’s performance, although I suppose it’s primarily an issue with the direction in this case. Basically, Denethor comes across as totally crazy-pants from the beginning, like Jack Nicholson in The Shining, rather than providing more of a gradual psychological breakdown like Steven Weber in, well, The Shining. John Noble falls somewhere in between. I guess he starts as halfway crazy, and then goes totally crazy, instead of starting as mostly sane. Sir Ian McKellen, meanwhile, is a living God. His brilliant portrayal of Gandalf stands out even in this illustrious crowd. The fluid confidence of his movements, the strength of his voice and gaze

Éowyn (Miranda Otto [Through My Eyes, Danny Deckchair]), the shield-maiden of Rohan, also maintains a presence as the lone representative of female humanity in the entire trilogy. Seriously, there’s her, a couple of Elf women, and some hairy Hobbit girls. Anyway, she represents her ilk with great strength and force of will. She has the strength of her convictions, and this leads her to respect her loyalties as she sees fit. And that doesn’t always mean obeying orders. She is an accomplished warrior, whose greatest fear is to die passively. She has some great scenes with Merry, with whom she shares the situation of being relegated to a position of inferiority, despite having the same drive and passion of those around them who may appear more capable. In addition, Éowyn is in love with Aragorn, who of course is in love with Arwen (Liv Tyler [Armageddon, Jersey Girl]). Arwen is torn between her Elvish heritage, represented by her father Elrond (Hugo Weaving [The Matrix, The Adventures of Priscilla, Queen of the Desert]), and her love for Aragorn, a Man. Liv Tyler carries out the role with an appropriate degree of stoicism, clearly masking great emotion.

Every imaginable technical aspect of this film is exceptional. Let’s start with the special effects. The CGI is impeccable. Gollum is computer generated, but technology allows the animated character to convey Andy Serkis’ facial expressions. Great, winged monstrosities swarm above Minas Tirith, looking no less real than the hand in front of my face. The sheer volume of CGI is staggering, what with the marching trolls, the grotesque Shelob, great glowing eyes, and fiery pits of doom, and everything looks spectacular. Even little touches, like the Phial of Galadriel, and Frodo being taken by Shelob, are accomplished quite well.

The battle choreography is just staggering. It encompasses some broad effects, such as catapults and mangonels hurling boulders and vast pieces of masonry to and fro across the battlefield. But the hand-to-hand combat is also quite exciting. Gandalf is a whirling dervish with his sword and staff, while the Hobbits also acquit themselves well with their short swords. The most intriguing battles are those that pit man against beast. The final confrontation with the Witch-king of Angmar was particularly climactic. And Sam, coming up against Shelob, was particularly stirring. (It’s worth noting that the book describes Sam’s actions as those of a small creature avenging a fallen mate.) But the most impressive battle move of the movie goes, once more, to Legolas, with the single-handed defeat of a mûmak. (Mûmakil are those great elephantine beasts. One mûmak, two mûmakil.)

The costumes and sets are fantastic. Gandalf’s pure white robes are majestic and serve to increase his stature. Denethor wears this sort of man-fur that somehow conveys just the right level of crazy. There’s all manor of military uniforms as well, and fabulous Elvish finery. And when I say “sets,” I suppose I really mean “settings,” since many of them are computer generated, I think. But the city of Minas Tirith is quite gorgeous in all its white marble splendour. The gates of Mordor are terrifying, while the council chambers of the great men are stately and elegant. It all combines to give the hole thing a really amazing look.

The last point to touch on, then, is the soundtrack. And it’s a fine one. Howard Shore’s Oscar-winning score is largely sombre in tone, which of course makes sense considering the many dreadful things that happen in the film. The music consists mainly of strings and horns, I believe, with (possibly) occasional non-verbal vocalizations. They complement the pace of the action quite well, I’d say. In one particularly dramatic sequence near the end, the volume of the action is decreased and the soundtrack takes over, which works quite well.

The Lord of the Rings: The Return of the King is the conclusion to a more than worthy screen treatment of one of the most important fantasy tales of all time. It encompasses love, war, friendship, loyalty, avarice, deceit, and bravery, combined with excellent production values and some pretty fierce performances. And if you expect to be able to participate in any pop culture discussion at any point in the rest of this half of the century, I really think you’re going to need to see all three films. So hop to it, already!

QF2 (See my profile page for an explanation of QF)
Look, I’m not even stretching here. Sam and Frodo, with the mutual clinging in the face of adversity. Merry and Pippin with the tender partings and reunions. Even Sméagol calls Déagol, “My love.” Seriously, Hobbits are all gay. Rose is totally Sam’s beard.

Differences Between the Book and the Movie

And now for the exhaustive comparison of the movie to the original book (and appropriate chapters of the preceding volume). If you’re not interested in that, then you’re all done here. I don’t mind, really. Anyway, I’ve divided it into three sections, to separate things that were removed, things that were added, and things that were changed. I’m going to be a bit briefer, though, than I’ve been in previous incarnations of these sections. Oh, and best as possible, I’ve listed things chronologically in each section. Chronologically according to the books, that is.

THINGS ADDED
The following things happen in the movie, but not in the book: Gollum frames Sam for stealing lembas bread. Gandalf tells Pippin not to speak at all. Arwen has a vision of her son with Aragorn. Arwen’s immortality, the “gift of the Eldar,” leaves her. The Dead defeat Sauron’s forces by actually swarming “physically” over them. Legolas kills a mûmak single-handedly. The hosts of Mordor fall into a giant sinkhole.

THINGS REMOVED
The following things happen in the book, but not in the movie: Pippin is asleep when the others come to Isengard. Théoden mentions the name Holbytlan for the Hobbits. Merry, Pippin, Leo, and Gimli share the provisions of Isengard. Gimli notes that Merry and Pippin have gotten taller. Aragorn returns Merry and Pippin’s brooch and knives to them. Merry and Pippin give a full account of Isengard’s destruction, the Huorns, and the song the Ents sang about destroying Isengard. Gríma Wormtongue comes to Isengard. Pipe weed is found at Isengard. The company has a lengthy conversation with Saruman. Legolas tells Treebeard that he wishes to visit Fangorn with Gimli. Treebeard sings a song about Hobbits. The Pillar of the White Hand is broken. Gandalf stirs slightly while Pippin is taking the palantír from him. Aragorn takes charge of the palantír after Pippin’s episode with it. Gandalf sings a song about the palantíri and their origin. Sam is cut by severed pieces of Shelob’s web. Gollum grabs Sam while Shelob attacks Frodo. Sam rages about in his upset at Frodo’s apparent death. Sam goes to sleep while he tries to figure out what to do. Sam actually wears the ring. Sam eavesdrops on the Orcs. Sam comes to a blocked passageway in Shelob’s lair. The gates of Minas Morgul close right in front of Sam and he faints. There is a mention of the Rammas Echor, the eall of the Pelennor. Denethor instructs that Pippin is to be taught the “lesser passwords.” Gandalf tells Denethor that he, too, is a steward. Gandalf speaks of what Denethor has been able to learn from Pippin. Gandalf says that the blood of Westernesse runs nearly true in Denethor and Faramir. Gandalf tells Pippin to check on Shadowfax. Beregond son of Baranor guides Pippin in Minas Tirith. Pippin is called Prince of the Halflings, Ernil I Pheriannath. Bergil son of Beregond also guides Pippin. The Captains of the Outlands arrive. Gandalf says that there will be no dawn. Several Dúnedain, sent by Galadriel, join Aragorn on the road. Merry lays his sword in Théoden’s lap and becomes an equire. Merry is given a pony, Stybba. Aragorn relays the words of Malbeth the Seer. There is a village near the end of the Paths of the Dead, as well as the Stone of Erech. Aragorn has a banner that Arwen made for him. Mordor emits a great shadow of darkness. There are statues called the Púkel-men on the winding road in Rohan. Denethor sends the errand-rider Hirgon to Rohan. There is a narrative song of Rohan’s muster. Éowyn takes on the alias Dernhelm. Denethor and Gandalf speak directly about the Ring. An army of broad, grim, bearded men comes from the uncharted East. The knights of Dol Amroth charge Sauron’s riders. The name of the great beasts of Harad, mûmakil, is given. Sauron’s army has a battering-ram named Grond. The Lord of the Nazgûl enters Minas Tirith and is confronted by Gandalf. Ghân-buri-ghân, a Wild Man of Drúadan Forest, helps the Rohirrim. Théoden sings a battle cry and blows his horn apart. Éowyn’s sword shatters when she kils the Lord of the Nazgûl. Éomer sings a benediction upon Théoden’s death. Merry’s sword smokes and withers after the Witch-king of Angmar is slain. Snowmane is buried. Éomer sings the song of his own last stand. Aragorn’s banner is unfurled from the approaching ship. There is a narrative song of those who died in the Battle of the Pelennor Fields. Denthor has a palantír. Denethor breaks the staff of his stewardship. Part of Rath Dínen collapses in flames. Gandalf and Pippin bring Merry to the Houses of Healing. Aragorn uses an herb called athelas to heal Merry and Éowyn. Legolas recounts the journey with the Dead. Legolas sings a song about Lebennin. There is a Lieutenant of the Tower of Barad-dûr, a Black Númenórean. He has many of Sam and Frodo’s accoutrements, and demands that Aragorn’s army surrender. Sam puts on the ring and can hear inside the Orc-tower. Sam uses the Phial of Galadriel to pass the Two Watchers. Sam sings a peaceful song and Frodo hears him. The entryway of the tower collapses as Sam and Frodo leave. A Nazgûl swoops down upon them. Sam and Frodo jump off a bridge onto thorny bushes. Sam asks Galadriel to send light and water. When the Lord of the Ringwraiths dies, light appears, as does a fleeing Nazgûl. Sam and Frodo find a spring. Sam and Frodo encounter an army before Orodruin. They overhear Orcs discussing them and Gollum, and then get caught up in a marching company before escaping at Udûn. Sam and Frodo discard their unneeded equipment, including Sam’s cooking gear. Sam carries Frodo. Sam and Frodo follow Sauron’s Road up Orodruin. Sam sees a vision of Frodo in white robes. Frodo reflects on Gandalf’s much earlier words about Gollum. After the destruction of the Ring, a dark hand reaches out from Mordor, but blows away. The army of Gondor sings a song in praise of Sam and Frodo. There is a feast in Ithilien. The seed is planted for the tale of “Nine-Fingered Frodo and the Ring of Doom.” Legolas sings a song of the sea. Éowyn and Faramir fall in love at Minas Tirith. An Eagle sings of Sauron’s defeat. Faramir continues as steward, and receives Ithilien as a princedom. Aragorn finds a new tree. Théoden King is laid to rest in Rohan, and they sing about it. Legolas and Gimli, along with the others, visit the Glittering Caves and Fangorn. The group encounters Saruman and Wormtongue in the road. They celebrate Bilbo’s 129th birthday at Rivendell. Bilbo sings a song about journeying. Bill is restored to Sam. There’s a whole story arc where Saruman, using the name Sharkey, is cannibalizing the Shire in the name of Lotho, who has actually been murdered. Nineteen Hobbits lose their lives in the Battle of Bywater, but Saruman’s thugs are defeated. Merry and Pippin serve as generals. Then Saruman tries to kill Frodo, but Wormtongue kills Saruman. (Incidentally, that segment provided a rare bit of humour. Saruman claims that the nickname Sharkey was given to him by his servants at Isengard as “a sign of affection, possibly.” A footnote tells us that most likely came from the Orkish sharkû, “old man.”) Sam plants the soil of Lothlórien around the Shire. Frodo and the westering Elves sing a walking song. Círdan the Shipwright greets those who are going west. Frodo sees “white shores” and a “far green country.”

THINGS CHANGED
The following things happen in both the book and the movie, but differently between the two (I will describe them as [book event] instead of [movie event].): Wormtongue throws the palantír down at Gandalf, instead of Pippin simply finding it in the water. Gandalf speaks at greater length to Merry and Pippin about Saruman and their upcoming plans. Merry and Pippin speak at greater length about the palantír. Gandalf’s eyes are slightly open while he sleeps, not fully. Pippin uses a large stone instead of a pitcher to take the palantír’s place in Gandalf’s grasp. Pippin falls unconscious after holding the palantír, rather than Gandalf and Aragorn wresting it form his grasp. We see Pippin’s entire revelation of what he saw, and it does not include a dead tree. Sam goes with Frodo into Torech Ungol. Shelob is not seen actually stabbing Frodo, even though it does happen. Sam sings a longer verse when he holds up the Phial of Galadriel. Shelob’s web on Frodo reaches from his ankle to his shoulder, but does not encompass his head. Frodo was stabbed in the neck, not the chest. Sam is actually seen taking the ring from Frodo’s supposed corpse. The beacons of Gondor are already being lit, rather than Pippin having to light them. When Pippin mentions Boromir standing against “many foes,” it is to a border guard instead of to Denethor. When Pippin and Denethor speak about Faramir, it is over a small meal. Elladan and Elrohir suggest the paths of the dead, rather than Elrond. Andúril is reforged only now, and not months earlier. When confronting the Dead, Aragorn blows a horn, and then the dead submit to him immediately, rather than trying to fight him. Pippin eventually sings for Denethor, but not immediately after declaring that he has no fit songs. When Faramir sees Pippin, he actually expresses aloud his recognition of a Halfling, and Gandalf doesn’t comment further at that time. There is more focus on Denethor’s perception that Faramir prefers Gandalf to him. When Faramir returns to Minas Tirith, Osgiliath is not yet taken. Gandalf doesn’t bludgeon Denethor; Denethor simply leaves Gandalf in charge. The pyre is in the rear of the sixth circle of the city, not at the top. The Lord of the Nazgûl wears a steel crown, not a steel mask. Éowyn’s decapitates its steed with a single blow instead of several. It’s Éowyn who falls and appears dead after the Witch-king of Angmar is slain, not Merry. Gandalf and Denethor have a longer confrontation at the pyre. Denethor dies on the pyre, not by falling from the courtyard. When the armies marched from Gondor, a force remained in Gondor to confront an enemy army to the north. Some of Aragorn’s army feared Mordor, and they were sent to liberate Cair Andros. When Sauron’s army approaches Aragorn’s outside the Black Gate, battle is actually joined. Frodo dresses in Orc-mail, rather than his own recovered clothing. We are present when Gandalf asks Gwahair the Eagle to find Sam and Frodo. The Eagles can speak aloud. Éowyn makes her statement that “those who have not swords can still die upon them” much later in the book, at Minas Tirith. Aragorn’s wedding to Arwen is a narrative statement only. Merry and Pippin ride up separately, on word from Gandalf, rather than having been part of the party the whole while.

Right, well, you’ve read a hell of a lot, so the least I can do is give you some extra tidbits. Here are a few things from the books that you’d never know from just the movies. Sam Gamgee went on to become a seven-time Mayor of the Shire. After Rose died after many decades of wedded bliss, Sam went over the Sea to rejoin Frodo in the Undying Lands. Aragorn and Arwen’s son was named Eldarion, and he ruled after Aragorn’s death in the 120th year of the Fourth Age. Finally, Merry and Pippin become great noblemen, and were buried in Gondor.

Well, what are you still doing here? Go home!

Recommended:
Yes