The extended DVD of “Return of the King” is filled with many new and extended scenes that will please fans who love Tolkien’s original story. The July 26, 2004 San Diego Comic Convention featured a preview of many scenes, some introduced by Peter Jackson himself. (Some of these scenes were recently featured in the sneak preview trailer at Lord of the Rings.net, although now it seems to have been removed). In reference to a couple of reviews on the board here — if you’re waiting anxiously for the Scouring of the Shire, don’t hold your breath. That segment was NEVER filmed by Jackson, therefore it will NOT be included in the extended edition DVD. But there ARE plenty of great scenes to be included:
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· We hear Christopher Lee’s booming voice echoed over a dark screen that lightened to reveal Saruman on top of Orthanc. He warns our heroes of something festering in the heart of Middle-earth and that they will all die.
· We see Frodo and Sam in their Orc disguises joining the column of Orcs as they march out of Mordor.
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· There are numerous shots of the Houses of Healing with Faramir, Eowyn, and Merry all seen.
· A lot more looks to be added to the siege of Minas Tirith, as there was a bunch of new battle footage.
· Frodo and Sam venture into the Crossroads and a few clips from that section were included.
· The Mouth of Sauron is featured pretty heavily. If you’ve played EA’s Return of the King video game you’ll recognize the scene. The Mouth of Sauron rides out of the Black Gate and presents Frodo’s mithril coat to the Fellowship.
· Aragorn reveals himself to Sauron by approaching the Palantir in Minas Tirith and wields Anduril to show that the Heir of Elendil was alive.
· We get to see more of Saruman later in the preview when he knocks Wormtongue down and also fires a giant fireball from his staff that engulfs Gandalf on Shadowfax.
· There’s more of Frodo and Sam in Mordor after they join the column of Orcs and before they discard their disguises. In one scene, Sam looks to the dark sky of Mordor and tells Frodo that he can see light as one little star can be seen glimmering through the clouds.
· And yes, we will finally get to see Gandalf facing down the Witch King. It happens exactly as we’ve seen, but when Gandalf holds up his staff the Witch King pulls out his sword and holds it to the sky where it spouts flames. As he brings it down, the air around the burning sword is distorted.
That was just the preview. New Line treated fans to three full clips, with the third introduced by Peter Jackson himself:
· There was a nice scene of Pippin and Faramir in Gondor where Faramir explains to the Hobbit how the small Gondorian armor he was wearing belonged to a young son of the Steward when he was a kid. Faramir further explains how Boromir was always the soldier and he wasn’t.
· A scene that takes place about five days after they were healed by Aragorn features Faramir and Eowyn on a balcony at the Houses of Healing where Eowyn falls for Faramir.
· The Paths of the Dead is extended from where it ends in the theatrical cut. After Aragorn poses his offer, the dead laugh and go back into the walls. A massive earthquake starts, and the Three Hunters must escape an avalanche of millions of skulls.
· Described, but not shown, another scene expanded in this edition is the scene where Pippin finds Merry on the battlefield. Now, Pippin searches the field for an entire day after everyone else has gone back into the city. He finally locates Merry at night in the new version of the scene.
Just a few weeks to go till the “Return of the King” extended edition hits the stores!
Peter Jackson proved me wrong when I said, like many people, that Lord of the Rings would be a bust: Spielberg-adventure at best, Lucas-disaster at worst. Had I known Tolkien’s classic was in the hands of the guy who directed Heavenly Creatures, I would have been more optimistic. As it turns out, my expectations were completely overturned. In some ways the films are actually better than the books, especially in terms of emotional power. Competent actors, amazing cinematography, and a brilliant music score combine to offer us Middle-Earth as we’d never imagined it.
Fellowship of the Ring is the most polished film, with its elegant episodic pacing. We start in the idyllic world of the hobbits and flee with Ringwraiths hot on our heels; we rest in Elrond’s sanctuary and plunge into Moria; we come out grieving and console ourselves in Galadriel’s safe (yet unsettling) dream-wood, and then wind up surrounded by Uruk-hai. This is a quintessential fantasy road-journey containing three episodes within an episode, each beginning in a haven and followed by a dark journey. The pacing is flawless, and the plot unfolds to a perfect beat.
Two Towers is the ambiguous film. It’s excellent (or at least the extended version is) but structured in a way that the hobbits become sidelined by the Rohan story. As they are the soul of Tolkien’s epic, we feel slightly nonplussed at their consignment to B-storylines. Ironically, the film is a showcase for cgi characters Gollum and Treebeard, who manage to steal the show from within these storylines.
Return of the King is the most dramatic film, tragic on almost a biblical level, and certainly the most satisfying. I can understand why Elijah Wood calls it “better than one and two combined”. It centers on the hopeless mission to Mount Doom, which, as every fan knows, is the heart of the story. Around this we’re bombarded by apocalyptic chaos and destruction on the Pelennor Fields, followed by Aragorn’s hopeless march on the Black Gate. We finish at the Grey Havens, the best ending in literary and cinematic history, which encapsulates all of Tolkien’s themes: courage, friendship, suffering, and passing on. It just doesn’t get better than this.
Peter Jackson deserves more accolades than I’m capable of heaping to the point of overkill. Minor quibbles aside, the extended versions of these films are masterpieces to be treasured as much as the books. Tolkien’s classic may be pure, but the movie’s cinematography takes us where even the written word cannot go. Tolkien’s writing is irreplaceable, but Howard Shore’s music taps deeper into Middle-Earth’s soul. The text is sacred, but the scriptwriters changed it anyway so that it could actually work on screen. The entire project has been too good to be true, and I’m still in awe of it.
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