I turn to paths that lead home

That feeling you get when you walk into the cinema to watch the last cinematographic stretch of Middle-earth greatness is a nostalgic one.
The Hobbit: The Battle of the Five Armies is a looong film, much dominated by the battle waged between elves, men, dwarves, goblins and wargs. Trust Peter Jackson to transform a couple of chapters into ~2.5 hours!

Cinematically speaking, the graphics were stunning. 3D HFR is still tough to adjust to, but Smaug swooping into Lake-town was quite the visual experience. Not to mention the choreography for all the battles. Could a chunk of the fighting have been cut out? Certainly, although I must say that Legolas's showdown with the goblin nearly tops his slaying of the Oliphaunt.

In many ways, The Hobbit movies have been much swayed by their marriage and persistent homage to the LoTR trilogy. After all, there are irresistible scenes in this film that only seem to serve the purpose of channeling LoTR:
1) The part where Legolas goes off to seek "Strider" (hence LoTR!!)
2) The final scene that takes us right back to the start of The Fellowship
3) Bilbo with Thorin in his final moments, a scene that poignantly recalls Aragorn and Boromir's mybrothermycaptainmyking scene
4) Galadriel unleashing her full power
5) Alfred is basically Wormtongue

Yet I think this is Jackson's way of ensuring that the film remains quintessentially 'LoTR' to Tolkienites. Most LoTR perceptions have been indelibly defined by the film trilogy.

Hobbit-LoTR comparisons aside, however, The Battle of the Five Armies does further engage its audience with deeper elements of Middle-earth that LoTR hadn't exposed as thoroughly (and no, I am not just referring to how Legolas is finally thrust into an arrow-less situation).


What love means to elves, notably, is explored throughout the movie. Early on, Tauriel struggles with her feelings for Kili because acknowledging them would be a betrayal to her kin. Legolas supposedly loves Tauriel, but speaks to her like a soldier; why is he so icy? Perhaps, as is hinted towards the end of the film, it is because of his mother's death. Thranduil, whom Tauriel accuses of having no heart, seems to be the epitome of the heartless, cold-blooded, unfeeling, immortal elf. Yet he later tells Tauriel that she feels heartbreak after Kili's death because her love for him "was real" just as he himself still mourns his wife.

In this movie (and relevant chapters of the book), we also see in Thorin a King Lear-esque character, someone who admits that he was "too blind to see" under the shadow of 'Dragon sickness' - the autocracy and unreasonableness that overcomes one who lusts after gold and prestige. Indeed, the Arkenstone is Thorin's ring; it seduces and manipulates him.

The one most immune to dragon sickness, and bravest to try and put a cork on the battle, is naturally Bilbo. Thorin's last words to him are,

"If more people valued home above gold, this world would be a merrier place."

The hobbit mentality encapsulated in Thorin's words is what has captured LoTR fans for centuries - the homeliness and warmth of the Shire and indeed of home. Bilbo doesn't say much in the movie (mostly just wrinkles his nose endearingly) but whenever he pipes up, we love it. Just as Galadriel is the Lady of Light, Bilbo is the pure token of home in The Hobbit. No matter how far one will bash these three Hobbit movies, there is no doubt that they all share that familiar, quintessentially Tolkien echo of home.

As Billy Boyd sings the end credits of the film, we know that it is not only Bilbo who is bidding "a very fond farewell" to the company, but also the LoTR crew who is bidding adieu to their Middle-earth cinematic journey. Yet I don't think anybody will be saying farewell to the LoTR legacy anytime soon. The mark it has left on literature and film will and should inspire generations of readers, writers and dreamers to come.

A quest to reclaim a homeland, and slay a dragon

There's nothing like the blue tint in the still above to make one hark back to Two Towers-esque imagery; however, The Desolation of Smaug is its 'own' film entirely, not as metaphorically attached to the LoTR film trilogy as its predecessor was. 

Apart from the cursory opening scene in Bree (in which Peter Jackson makes a familiar cameo), The Desolation of Smaug picks off nicely where An Unexpected Journey ended, with Thorin and Co. still headed towards the Lonely Mountain to recover the Arkenstone. With Wargs and orcs hot on their heels, the dwarves, Bilbo and Gandalf take refuge at Boern's residence before Gandalf - true to form - ditches them on the outskirts of Mirkwood with the warning, "stay on the path."

...So of course the dwarves lose their way; it is only until Bilbo pokes his head out of the trees (at one of the movie's noteworthy 3D effects scenes) that the path becomes clear; unfortunately, it is also at this point that the dwarves are cocooned by giant spiders and nearly consumed. They are saved by Bilbo - who owes it to the ring, Sting, and courage - and the elves.

Yes, LEGOLAS makes quite the entrée from the treetops, slitting several arachnid bellies en route before landing in front of the dwarves - I swear all his action scenes have been fast-forwarded. Sharp, cold and cutting, this younger Legolas seems to have done more in one film than he did in all three LoTR installations put together, and his very presence emphasizes The Hobbit's dependence on its Academy-Award winning predecessors. Having Benedict Cumberbatch voice Smaug and Ed Sheeran sing the film's song, the producers certainly chose wisely in order to maximize the film's profit - it certainly makes skeptics wonder about Jackson's authentic motives for filming the movie.

But of course, Jackson's decision to film The Hobbit is one for which I am infinitely grateful, for in filming another 9 hours worth of Middle Earthian footage, he takes LoTR fans back into Tolkien's world which is stunningly visualized with the aid of 48 FPS and 3D. Featuring members of the original cast, The Hobbit films are extending the vestiges of LoTR legacy into three new films for the old and new generation.

Thus no matter how irked I may be at the length of screen time the Tauriel-Kili-Legolas love triangle takes up (ah, why water the buds of romance when Kili will perish in the Battle of 5 Armies?), I nonetheless welcome every LoTR morsel with open arms and - let's face it - The Desolation of Smaug was 2.5 hours worth of cinematic epicness. 

Whether it is during the barrel scene - whoever choreographed that deserves all the best things in life - during which the dwarves' teamwork is as fluid as the rushing waters they traverse (apologies for lame simile), or when Bilbo is sliding in mounds of gold after the blinking Arkenstone, or when Thorin and Co. temper Smaug in order to light up the fortresses, The Desolation of Smaug is brilliantly action-packed, grand-scale and impressive. Newcomers such as Luke Evans (who bears an uncanny resemblance to Bloom) and Stephen Fry (yes!) only further embellish the film. 

So the Hobbit trilogy will wrap up in a year's time (The Silmarillion, anyone?), but Tolkien's legacy and the wonders of Middle Earth will be grounded forever. 

Here is my review for the first movie: http://may-theforcebewithyou.blogspot.hk/2012/12/the-world-is-ahead.html