“The Lord of the Rings: The Return of the King”
Directed by: Peter Jackson
Starring: Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin
When “The Lord of the Rings” was first published in
the mid-1950s, author J.R.R. Tolkien’s friend and
colleague C.S. Lewis wrote, “Here are beauties that
pierce like swords or burn like cold iron; here is a
book that will break your heart.”
Lewis was referring to the trilogy’s inherent
bleakness. Not only did Tolkien create a world from
scratch, he gave readers a front-row seat to its
dismantling. His Middle-earth was a place of
tremendous beauty, but also of gut-wrenching sadness,
where characters wandered through the crumbling
fortresses of their ancestors, hopelessly dreaming of
a return to days long past.
It’s a testament to director Peter Jackson’s
brilliance that many of the most memorable set pieces
from the film series — the Mines of Moria, the Elves’
woodland realm, the stronghold of Helm’s Deep and now
the marvelous city of Minas Tirith — exist in this
context. With “The Return of the King,” Jackson
completes the greatest fantasy saga of all time, a
film achievement that captures not only the visual
splendor of Tolkien’s universe, but the sorrow of
everything that takes place within.
Sure, “King” has a happy ending, depending on your
definition, but how can saying goodbye to these
characters and this world be cause for celebration?
It’s not, but we have to move on.
This will be no easy task, since the release of
“King,” the trilogy’s money shot, seems to signal
something of a turning point in mainstream cinema. It
means a big-budget film can no longer be merely the
sum of its special effects. It means CGI must forge a
peaceful coexistence with story and character
development. It means Every Noun should begin with a
It also means we can expect one of two things: a
boatload of great fantasy films or, more likely, a
parade of stuff that pales in comparison. Jackson has
made George Lucas’ new “Star Wars” movies look like
digital “Sesame Street” episodes, and an adaptation of
Lewis’ “The Lion, the Witch and the Wardrobe” is in
pre-production, but can it possibly be as good as
Anyhow, why worry about the future when the present is
so exciting? “King” may represent fantasy’s last
hurrah, but at least the genre goes out with a bang.
It’s the best “Lord of the Rings” movie, delivering a
head-rush of visual thrills and emotional poignancy.
Except for a brief expository sequence, the story
picks up pretty much where it left off in “The Two
Towers.” The members of the fragmented Fellowship of
the Ring reconvene at Minas Tirith, the capital of
Gondor, to defend the city from attack by Sauron’s
forces. The resulting battle easily ranks among the
finest action sequences ever filmed. Jackson’s
attention to details large and small makes the war,
however fantastic, excruciatingly real.
The magnificent epic splatter of the battle sequence
is offset nicely by the film’s emotional core, the
journey of Frodo (Elijah Wood), Sam (Sean Astin) and
the trilogy’s most fascinating creation, Gollum, who
is nothing short of a marvel of modern filmmaking.
Their relationship evolves into sort of a Freudian
three-way psychodrama. Gollum, having lost the battle
between his split personalities, turns to evil. His
continued struggle against the good-hearted Sam
dramatizes the division of Frodo’s deteriorating mind
into id (the self-gratifying desire for the “precious”
ring) and ego (the need to destroy it).
This storyline leads to the film’s most harrowing
scene, an encounter with Shelob, a giant man-eating
spider that lives in a Cave guarding the entrance to
Mordor. As Gollum leads Frodo into the monster’s
clutches, Jackson spins together a sequence that
recalls the primal terror of Ridley Scott’s “Alien,”
creating a kind of claustrophobic dread few horror
directors are capable of producing.
Even during the film’s centerpiece battle sequence,
individual character triumphs shine through. Gimli
(John Rhys-Davies) and Legolas (Orlando Bloom) mostly
are reduced to fringe players, though Legolas gets the
most jaw-dropping action scene, and Gimli gets the
best one-liner. Merry (Dominic Monaghan) and Pippin
(Billy Boyd) get their chance to be heroes. But
naturally, Aragorn (Viggo Mortensen) and Gandalf (Ian
McKellen) carry most of the heroic weight, thanks to
triumphant performances by both actors.
The ferocity of the Pelennor Fields battle makes the
siege on Helm’s Deep in “The Two Towers” look like a
game of tiddlywinks, and the Nazgul reclaim much of
the terrifying power they lost in the second film. The
cutting of Christopher Lee’s Saruman (which certainly
will be restored on the extended DVD) is the film’s
only notable weakness, but when all is said and done
it hardly feels like a loss.
I could go on describing the film’s visual treats and
terrors, but there isn’t time or space, and there
aren’t enough Oscars in the world to appropriately
honor Jackson’s accomplishment, or that of the cast
With the trilogy’s completion, “The Lord of the Rings”
has become a singular event in the history of cinema,
representing the first time filmmaking on this scale
has been executed with such unbelievable success.
I wish it never had to end. “The Lord of the Rings:
The Return of the King” is rated PG-13 for intense
violence and frightening images. **** out of ****