Some readers have been kind enough to ask if I would be writing a wrap-up entry on The Hobbit: The Battle of the Five Armies now that the entire set of Peter Jackson’s films have appeared, including the extended edition of the last part. I was somewhat hesitant to do so. Five Armies is my least favorite among the six parts, and I have many fond associations with researching and writing about the Lord of the Rings films for The Frodo Franchise book and blog. Still, it makes sense to follow up on my previous comments on the strengths and weaknesses of the two earlier parts of the HOB trilogy and suggest how they continued on into this concluding chapter.
I have previously blogged three times about The Hobbit at intervals since just before the release of the first part. In September of 2012, I posted “A Hobbit is chubby, but is he padded?” In it I discussed the July 30 announcement that the film would be released in three parts rather than the originally announced two. I expressed cautious optimism, suggesting that there was enough material in the original novel plus the appendices of Tolkien’s The Lord of the Rings to create a film reasonably faithful to the original.
In mid-January of 2013, I posted a follow-up entry, “A Hobbit chubby, but is he off-balance?” The first part of the film, An Unexpected Journey, had been out for about a month, and I felt the additions mostly worked well, or at least were acceptable. I still think the first part is the best.
Almost exactly a year later, I added a third entry, based on the release of The Desolation of Smaug: “Is Tauriel more powerful than Eowyn? and other questions we shouldn’t have to ask.” By this point I felt that the project had considerably strayed in directions that betrayed Tolkien’s source material. As the title implies, I felt that the modest “prequel” film had also begun to swell inordinately and threatened to overshadow the fine trilogy that the filmmakers had made earlier.
These problems are even more evident in the final installment.
To be sure, there are some impressive shots and scenes in the final film. In the opening sequence of Five Armies, Smaug’s flights over the town and his confrontation with Bard are the most impressive parts of the scene, and the dragon’s death is appropriately enough its high point, both literally and figuratively. The overhead shot of his lifeless body drifting downward, seen against the inferno that he has created, is one of the best of the film (see top). It recalls the marvelous shot of him at the end of Desolation, emerging from Erebor covered in the coating of molten gold that the Dwarves had hoped would kill him and rising into the sky as he effortlessly shakes it off.
Some of the later shots in Erebor are wonderful as well. (See the image at the bottom.)
The climactic confrontation between Thorin and Azog on the frozen lake has been widely praised. It’s a complete invention of the filmmakers; there is nothing like it in the novel. It contains many lovely shots which, I must say, provide a welcome change from the crowded battle scenes. The lake is introduced as Kili and Fili creep along its edge, hoping to reach the summit of Ravenhill, where Azog had been located as he commands the battle. (See top of this section.)
The confrontation itself contains many impressive compositions, both as the two competitors circle each other and later as Thorin, mortally wounded, watches the Eagles swooping as Azog’s corpse lies in the foreground.
Surely one of the film’s best scenes is the one where Thorin, driven nearly mad by his obsession with the treasure, wanders on the solid-gold floor left behind by the failed attempt to kill Smaug by flooding him with molten gold. We see him wander over the floor as a hallucinatory vision of Smaug slithers through the gold below him (left). Finally Thorin imagines himself sinking into the gold 9Right), an overhead shot that echoes the one of Smaug’s death at the top of this entry.
Another very different high point is Bilbo’s arrival back at Bag End only to find himself presumed dead and an auction of his effects going on. No doubt fans were looking forward to seeing this scene from the book, and it delivers considerable humor as well as poignancy once Bilbo gets inside his nearly empty house and replaces the portraits of his parents on their hooks.
Gaps and missed opportunities
Some things that one would expect to see in the film are simply not there. In the opening framing scene in Unexpected Journey, the elderly Bilbo remarks that the little trunk in which he has stored the treasured objects from his adventure still “smells of troll.” In Unexpected Journey we see the Dwarves bury treasure in trunks, so that it may be collected later. In Five Armies, we see Bilbo carrying his trunk on his journey as he nears home. Yet we never see him and Gandalf return to the scene of the encounter with the trolls and dig up the treasure. In the book, they do so and agree to divide the loot. Why bother to place such emphasis on the trunk and show Bilbo taking it home with him if the story does not include him retrieving it on the way back to Bag End? We last saw the trolls’ trunks two films ago, and surely at least a mention of their retrieval would remind those unfamiliar with the book where Bilbo got this rather large piece of luggage. Surely at least in the extended version a minute or so could have been spared from the overextended battle scene.
As to gaps, the big battle at Dol Guldur ends with Saruman telling Elrond to take the weakened Galadriel back to Lothlorien and “Leave Sauron to me!”
This is one the largest dangling causes in the film, and yet it never comes to anything. In between the Hobbit and LOTR films, Saruman seems to have come under Sauron’s sway, but there is no indication as to how that might have happened. Causes that dangle need to be taken up and explained.
More generally, fans have complained that Bilbo often seems to be missing from his own story.
The original novel is told almost entirely from Bilbo’s point of view. There are only a few scenes where he is not present, and his personality gives the book considerable unity of narrative tone. In Martin Freeman, the filmmakers found the perfect actor to portray him. It is a pity that Bilbo has to cede so much of his screen time to Azog and Bolg and Alfrid and even Tauriel, pleasant though she is in some ways.
The expanded edition
As with all five other parts of this serial, Five Armies was released in an extended version. This added 20 minutes, as compared with 13 minutes for An Unexpected Journey and 25 for The Desolation of Smaug. (For a list of which scenes were extended or added to all three parts, see here.) In the two previous parts, the additions were mainly more conversations and characterization. In Desolation, for example, the brief scene of Gandalf, Bilbo, and the Dwarves visiting Beorn were significantly expanded. In Five Armies, however, much of the extra footage expanded the already lengthy battle scene. There are some pluses and minuses in this new material.
Fans of the book were particularly annoyed by the elimination of the funeral of Thorin, Kili, and Fili, and a short but touching scene of the Dwarves and Bilbo grieving over their bodies was restored. This scene establishes that the Arkenstone, the cause of so much strife, has been returned to Thorin and will rest on his body, thus wrapping up the question of what ultimately happened to it.
A few additions provided explanations for plot points, as when Gandalf visits Radagast’s home after being rescued from Dol Guldur and receives Radagast’s staff to replace his own–thus confirming fans’ speculations about where he got the new one. (See above.)
Whence came the giant rams on which Thorin, Kili, Fili, and Dwalin ride up Ravenhill? Now we learn that they were the mounts of part of Dain’s Dwarf army.
By the way, I’m puzzled by the Hobbit film’s the obsession with using odd animals for transportation: Thranduil’s elk, Dain’s hog, other Dwarves’ rams, and Radagast’s bunny sled. The only one that comes from the book is the habit of orcs riding wolves and wargs, though we do know from LOTR that Dwarves don’t like riding horses–but Elves certainly do.
The one quiet conversation that was added has Bilbo talking with Bofur (in a track entitled “The Night Watch”). Bofur strongly hints that Bilbo would be justified if he simply slipped out and returned home before the battle starts, but Bilbo assures him he’s not leaving.
I suppose it’s a nice little reversal in the scene in Unexpected Journey when Bilbo does try to slip out of the cave in which the group are sleeping and go home. There Bofur spots him and kindly wishes him well. He is one of the few Dwarves that Bilbo seems especially to befriend, but it doesn’t really add much. In fact, about half of the Dwarves have been relegated to barely speaking. Some seem to have no audible lines, and some are barely glimpsed. It’s a considerable change from the earlier parts, where the writers took care to give each of them bits of business or dialogue.
One Dwarf’s role is considerably filled out from his relatively brief role in the theatrical edition. Dain Ironfoot, Thorin’s hog-riding cousin, now has considerable dialogue and swings a mighty war-hammer in battle. He is a much more comic character than in the book, which is unfortunate in that it makes him seem an inappropriate figure to replace the serious, majestic Thorin as King under the Mountain.
His salty language, though relatively mild as profanity (calling his foes bastards and buggers), is out of keeping with the language in the rest of the series. There is also some unintended humor as Dain and Thorin are able to pause in the midst of a crowded and chaotic battle to greet each other, exchange pleasantries, and discuss strategy, with the melee conveniently receding to provide them a little safety zone. Their discussion does help us a bit in understanding what is now an even more scattered, confusing battle scene.
Finally, we find out in this longer version how the comic villain Alfrid met his well-deserved end. Attempting to flee with some gold coins he has discovered, he hides on a catapult and inadvertently sends himself hurtling into the mouth of a large troll.
Alfrid, who does not exist in the novel, was a tolerable figure while the characters were still in Laketown and he could interact with the Master. Bringing him safely ashore and making him part of the actions of the citizens as they take refuge in the ruins of Dale, however, was in my opinion a big mistake. Without any justification, he becomes a sort of assistant to Bard. Fans widely expressed mystification as to why Bard and even Gandalf would give him important duties to perform when both should know that he is completely unreliable, foolish, dishonest, and selfish. In general he injects a humor that undercuts the serious nature of many of the scenes. He, like the Master, should have been left to go down with the ship back in Laketown.
Throughout the LOTR and Hobbit series, the filmmakers have pushed the limits of the rating system, always achieving a hard PG-13 label for both the theatrical and extended versions. With Five Armies, they have for the first time crossed the limit and been given an R rating, though only for the extended edition.
I see this as something of a betrayal of the fans, especially families, who have fallen in love with this franchise, sharing the films over many years. The reason for the R rating is probably entirely due to some extreme violence and cruelty. Certainly there is no sexual basis for such a rating, and the mild profanity mentioned above, introduced with the character of Thorin’s cousin Dain seems unlikely to have been a significant cause of the stricter rating.
One particularly disturbing figure is a troll who figures prominently in the battle. He has apparently had all four limbs systematically amputated and replaced with prostheses in the form of giant metal weapons. Moreover, he is controlled by a rider who guides him with reins made of large chains attached to his blinded eye sockets with hooks. While most of the trolls who serve the enemy’s troops seem to do so more-or-less willingly, this one does so through sheer torture. This is all the more disturbing because at one point Bofur manages to gain control of this troll and delightedly uses him as a weapon in the same fashion, directing him with the reins and hooks.
Apart from such scenes, there are numerous new moments where decapitations and amputations are copiously meted out, often in humorous fashion. In one scene Thranduil’s battle elk scoops up eight or so orcs, and the Elven King beheads them all with a single sweep of his sword.
The chariot drawn by large rams has blades sticking out from the hubs of its wheels, and these provide the opportunity for much carnage, as when one cuts off a large orc’s legs and it staggers about on the stumps of his thighs or when a row of trolls are rapidly decapitated as the the chariot bounces past them.
I watch and write about movies for a living and have been exposed to a great deal of cinematic violence, but such scenes as these seem particularly out of place to me in a series aimed at an audience intended to include young people.
More echoes of LOTR
In the third entry, I discussed what I consider a serious problem with The Hobbit: the tendency to copy so many elements from LOTR.
Most crucially, I think, instead of using these already established characters in Desolation or just sticking more closely to the book, the filmmakers have introduced many new elements that are essentially diminished versions of characters and events in LOTR. That strikes me as a bad idea and perhaps really does betray a lack of inspiration. Already fans of the LOTR films have complained that so many echoes of LOTR appear in Desolation. Worse is to come, though. When people view LOTR as part of a series of six parts beginning with The Hobbit, they will end up seeing things in LOTR as echoes of Desolation. The result will be to rob LOTR of some of its originality and effectiveness.
Take Tauriel. She’s a pleasant, admirable character, with a stubborn, headstrong streak that keeps her from being bland. Evangeline Lilly’s performance strikes me as excellent. A lot of fans worried about her inclusion in the film but came to like her. They seem to see her as blending well into the world of the film. But there’s a reason for that. She does come from the world of LOTR.
Was it really a good idea to add a major character who’s basically a blend of Arwen and Eowyn? Doesn’t she make both of those characters less distinctive?
Similar things happen in Five Armies. Bombur blows a big horn outside Erebor during the Battle, just had Gimli had done to signal the big charge out of Helm’s Deep in The Two Towers (in a more impressive composition).
Yes, one takes place in daytime and is seen in low angle, the other at dawn and from above, but still.
Or take the appearance of the Eagles, which in both films drift out of the bright clouds in the background, their leader carrying a wizard. (Radagast does not appear at all in the book, let alone as part of the battle.)
The berserker troll that butts his head into the protective wall at Dale recalls the similar Uruk Hai with a torch who dived into a drain tunnel at Helm’s Deep, sacrificing himself to set off an explosive and create a similar entryway for the attacking army of orcs.
In addition, there’s the scene of the arming of the men and boys in Dale echoing the one in Helm’s Deep. Or Dale in flames, see from above and looking very like Minas Tirith in a similar situation.
I wish I could give the filmmakers the benefit of the doubt and say that these echoes are attempts to create motifs that would knit the two films into a single, unified tale. That’s not the effect of them, however. Aren’t these just repetitions without any real connections? Why would things so often happen in the same way? Doesn’t it distract from the drama at hand to keep thinking back to when we’ve seen something like this before? Wouldn’t we’d rather be seeing something new and original?
There should instead be more echoes like the one mentioned above, between the death of Smaug above a lake of fire and the scene where Thorin’s hallucinations are staged on a similarly glowing golden floor. That’s the way to create a rich narrative, and that comparison resembles nothing in LOTR–except perhaps the shot of Gollum, also seen from above, falling into the pit of lava. Whether or not the similarity of the two shots in Five Armies were intended to echo the Gollum one, it’s a reasonable comparison to make.
I haven’t yet tried the experiment of watching all six parts straight through, The Hobbit and then LOTR, to see how they work as a complete serial. More than ever I fear that the result will be to diminish LOTR, which is clearly the better of the two by a long way.
Basically I do not think that many of The Hobbit‘s problems result from the splitting of the adaptation into three rather than two parts. Done in service to the original book, it could have worked. Rather, those problems stem from a fundamental mistake made by the filmmakers.
They decided to adapt The Hobbit into an adult story with the same sorts of somber moments and terrors that LOTR contains. I basically agreed with that decision in a previous entry, saying this was now Peter’s Hobbit. But given how far he took all this–with the overextended battles, the urge to interject grotesque humor into serious situations, and the extra characters who turn Bilbo into a supporting player in his own tale–I believe he should have done what Tolkien did: let the two books (or films) be different. Let one be aimed at children—less violent, simpler, more humor—and the other be aimed at adults.
So what if the two aren’t consistent with each other? Generations have read Tolkien’s two novels and noticed that they are essentially in different genres and simply accepted that. The problem has been compounded by the fact that so much that happens in The Hobbit is copied so closely from LOTR. Now that we have every bit of the second trilogy, I’m afraid I must conclude that yes, this Hobbit is chubby but also off-balance and padded.
My “A Hobbit is chubby” phrase refers to the fact that Tolkien’s Hobbits are all to some degree chubby. This is not the case with three of the four main Hobbits in LOTR, nor is it true of Bilbo. Still, given the controversy over the added length of the film adaptation, it was impossible to resist the reference.
Although much has been made of the idea that the two trilogies are the same length, in that they are three parts each, it’s worth pointing out that the extended version of The Hobbit (8 hours 52 minutes) totals an hour and a half shorter than that of The Lord of the Rings (11 hours 22 minutes). Over such a span it may not seem like much, but it’s the equivalent of a shortish feature film.