IN The Lord of the Rings: War of the Rohirrim The backgrounds are elevated from the opening scenes, allowing Kenji Kamiyama’s animated film to get straight to the point. The Kingdom of Rohan, under the protection of Helm Ironhand (voiced by Brian Cox), is in danger from a threat that could lead the people to humiliating and complete defeat. All this time the snow falls on the doors and men they listen to the wind call to a battle that will mark the before and after.
A film returning to the world of J. R. R. Tolkien can be considered spin off from Peter Jackson’s “The Ring” trilogy. In fact, both feature the character of Éowyn (voiced by Miranda Otto), who returns as the narrator and is responsible for providing context, content and story details on screen. But the plot, based on the Lord of the Rings appendices, is more interested in a specific conflict rather than new circumstances affecting Middle-earth. It’s actually the story of the mythical Rohan, and that’s what Phoebe Gittins and Artie Papageorgiou’s script is all about.
The above leads to the fact that the plot, despite its epic atmosphere and desire to tell the story of the legendary confrontation, fails in this. This is because the events it narrates are limited to a very specific moment and group of characters. The story doesn’t have much time to delve into the conflicts of its main characters and much more that they will have to face in the near future. So the film feels rushed at times and, at worst, a little sketchy in its explanation of the events that transpired. interest him, and this almost immediately elevates him to the level of myth.
Rohirrim War
The Lord of the Rings: War of the Rohirrim attempts to expand Tolkien’s universe into film, but fails. The story, which tells of a historical battle in the universe of a literary saga, never achieves the brilliance or solidity that it tries to achieve. Much of this is due to the sloppy script and flat graphics. Which makes it a lackluster version of an epic battle.
An epic but unusual story
However, the film’s first hour—its best and strongest—depicts the details that will lead to the fatal clash of weapons. On the one hand, there is Helm Hammertruk, a king who, despite his bad character, is trying to protect his people from an imminent threat. The film explores his character and the consequences his behavior will have in the future. So everything that surrounds the monarch has the appearance of some kind of tragic fatality. Something the film emphasizes by making it clear what man’s future will be – and how he will meet it. determined to protect the people he loves in any way he can.
At the other extreme is Hera (Gaea the Wise), the daughter of the monarch, who is not named in the books and is more of a reference figure. However, the shield princess Rohan takes center stage in the adaptation. Especially when she is the embodiment of the values of the land of her ancestors. The plot never fails to remind us that the women of the kingdom often have to fight to gain a place in battles and confrontations. Something that will cause Hera to rise up and face even greater evil. The decision that will lead you to become part of a battle that will cost him everything he loves, but will comfort his desire for justice and peace.
A story that distances itself from the work it adapts
Of course, Hera will inevitably not remember Éowyn and her epic performance during Lord of the Rings. But the animated character is much more choppy and less nuanced than the one played by Miranda Otto. What is overlooked is that this courageous woman, in the most desperate moments, seems to be only an excuse to transfer the plot from one place to another. And above all, it lacks the symbolic and mythological depth that Tolkien used to create his characters. In contrast, Lady Rohan’s best moments are her discussions of the need for justice. However, the script insists that it be more of a tool of power than a truly complex character.
Finally, there is Wulf (Luke Pasqualino), the visible leader of the Dunlendings, Saruman’s future allies. Cruel, cunning and brilliant, he will meet Helm to take revenge. In fact, the entire argument presents the situation as an inevitable clash between two leaders willing to die to defend what they believe is right. A point of view that separates the film from Tolkien’s usual symbolic confrontations. Instead, the film is more interested in the details of the inevitable war. than a clash between two antagonistic powers.
The nuance may seem unimportant until you remember that much of Tolkien’s work emphasizes the symbolic value of each event. This makes the film much more generic than it needs to be, and especially the kind of filler work that doesn’t add much depth to the universe it’s drawn from. This is despite the fact that The Lord of the Rings: War of the Rohirrim There are unusual scenes and Like animation, it gives you the opportunity to be bolder with your visual storytelling.
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Animation as a weak point
Despite good intentions and obvious efforts to create an interesting visual section, The Lord of the Rings: War of the Rohirrim has little to offer in this regard. It’s unfortunate that the film takes few risks with the animation and how it helps tell the story. This is an element that is sometimes not enough to complicate the narrative and especially when studying their characters.
From mid-battle scenes – sometimes chaotic – to the interior settings of Edoras. The truth is that to create the epic nature of a film, there are certain restrictions and very limited footage. Something is more than obvious in several of the most important scenes, including Wulf’s visit to the kingdom and what happens in the throne room when you come face to face with Helm.
A story of justice and courage
The plot moves quickly towards the center of the argument. Helm will soon lead his men to an ancient fortress, where they will have to resist Wulf’s siege. The tape takes into account that The Lord of the Rings: The Two Towerstold a very similar story and established some visual and narrative parallels. Both battles share not only the setting, but also the poignant tone of the story. In both cases the confrontation is deadly. But in Peter Jackson’s film such an attempt It’s like confronting darkness and evil incarnate.
In contrast, in the battle between Helm and Wulf, both human and somewhat similar opponents, from the most basic point of view, it seems that the effort is aimed only at winning. This would be nice if the film were part of a smaller, more complete universe. But the film failed to show this breadth. In particular, by not showing the deeper, longer and more important reasons for the battle, than simply avoiding the loss of the kingdom.
In the finale, Hera turns into the living spirit of Rohan. The Lord of the Rings: War of the Rohirrim reaches its best moments. However, it still feels limited and small. Which leads to a conclusion that, while not inconsistent with the general tone of Tolkien’s work, seems shallow and shallow. even clumsy in comparison. The film’s biggest problem.
Source: Hiper Textual
