#LOTR adaptation

[tathrin]

🎤—Describe the opening scene

Hmm, I have several stories in progress right now, so let's see which one to pick for this...I think And His Hands Ran With Gold And Shadow, because I think that's the one I have going right now that would need the most changes from the way the opening scene is written to how it would best be filmed.

We would start the scene sort of the way The Two Towers does, with a long pan-in across Middle-earth, perhaps starting on the Anduin and then scanning across the dark trees of Mirkwood, over Dale, slowly closing in on the Lonely Mountain.

There would be faint voice-overs from some of the familiar lines we all know and remember, sometimes mingling together half-heard and sometimes crisp and clear, slowly getting louder as we get closer to the Mountain and to the moment of divergence, until at last we reach new lines, a changed scene that we do not see, but we can hear, and infer, and shudder at...

Galadriel: I amar prestar aen...

Elrond: I was there, Gandalf. I was there the day the strength of Man failed...

Frodo: I will do it. I will take the Ring.

Boromir: It is a gift...a gift to the foes of Mordor.

Galadriel: But they were all of them deceived...

Aragorn: Boromir. Give the Ring to Frodo.

Boromir: Gondor has no king. Gondor needs no king.

Gandalf: All we have to do is decide what to do with the time that is given to us...

Elrond: Evil was allowed to endure.

Boromir: Why do you recoil? I am no thief.

Frodo: You are not yourself.

Boromir: What chance do you think you have? They will find you. They will take the Ring. And you will beg for death before the end!

Elrond: The line of kings is broken. There is no strength left in the world of Men.

Boromir: I see your mind! You will take the Ring to Sauron! You will betray us!

Galadriel: And into this Ring he poured his cruelty, his malice, and his will to dominate all life.

Boromir: It is not yours, save by unhappy chance. It could have been mine. It should be mine! Give it to me!

Frodo: No! Let go! Let me go! Noooo!

(sounds of a scuffle; a scream in Frodo's voice; panting breaths; frantic footsteps on crackling underbrush; silence)

Aragorn: Frodo? Frodo!

Samwise: Mister Frodo, no! Look, Strider, he's still breathing! Oh, hurry, he's still breathing...

Aragorn: But Boromir, where is Boromir?

Samwise: Strider, please! (sounds of someone dropping to the ground; rustling cloth; a moan.) Frodo: The Ring...Aragorn, he has taken the Ring. Forgive me, I could not stop him. Boromir has taken the Ring...

Denethor: And so my son returns to the White City at last!

Boromir: Father, I bring you a mighty gift.

Denethor: Can this be? The One Ring—Sauron's Master Ring?

Boromir: Yes, father. Isildur's Ring, returned to Gondor at last.

Denethor: And Gondor will make good use of such a gift, my son...

Galadriel: One Ring to rule them all...

And on Galadriel's last words, the camera swoops down through the enormous double-doors of the Lonely Mountain and inside to the great hall, tall and shadowed and lit by crystal lamps that are not quite numerous enough to drive away the gloom that hangs in the corners of the tall ceiling and around the wide pillars that hold up the weight of the mountain.

On the throne in the center of the hall sits Gimli, dressed so regally that we can barely recognize him, with heavy beads of gold and gems braided in his beard but, crucially, no crown upon his bare head. A few other dwarves mill around, some by the throne and others lining the walls; it is clear that court is being held, but that it is an ordinary day of no especial significance. Perhaps a few proposals or orders are issued as we pan in for some establishing flavor; their specific content does not matter, because the focus of the scene will be on the slight scuffle by the door as the dwarven guards step aside to admit a handful of ragged, filthy, half-starved looking Men from Dale who drag in four struggling, bloody, wounded elves draped in heavy chains. The Men shove the elves to their knees before the throne, a line of dwarven guards in front of them with others gathered close behind; there will be trouble, and no escape, from either the prisoners or their captors.

Gimli looks bored—a cover for his misery—barely interested, until...he sits up a little in his chair, a look of horror growing behind his beard as the camera draws in closer to him. Then we switch to see the elves he is staring at, three of them with dark hair and one of the two in the middle a pale golden-blonde. Cut back to Gimli, who is gripping the arm of his throne with one white-knuckled hand, on which rests a heavy golden Ring adorned with a thick gem that catches the light and glimmers brighter even than the crystal lamps.

Gimli whispers so quietly that the audience can believe that none of the dwarves are standing near enough to hear him: Not like this. He closes his eyes, swallowing hard as though to fight back tears.

All the elves kneel, some struggling slightly and some staying stoically still, and their heads are bowed, but as Gimli stares and as the camera of his eyeline pans in closer, focusing in on the blonde one, his head comes up and the audience can see Legolas's face, streaked with blood. There is no recognition in his cold eyes as he stares back at the dwarf on the throne.

"A fine tribute," Gimli says, his voice ringing out strong but hollow in the echoing hall. "Tell the Men of Dale that they have earned their people four months of triple rations in addition to the gold-price on the heads of these elves."

The bedraggled Men lift their heads, grinning with joy and relief. Dwarven guards step forwards to take charge of the prisoners and the Dale Men back away, murmuring gratitude to the Lord of the Mountain for his generosity. Some of the dwarves stare at the elves through narrowed eyes; others eye the Dalemen with either pity or distaste. Some confer quietly among themselves, so used to these sort of things that they aren't even worth watching any longer. A few (one of whom we will later meet as Mólin; it is important that he be seen to be part of this scene, although he should not have too much focus put on him yet, to telegraph ahead of time that he is a Notable Character) watch Gimli closely, curiosity or suspicion glittering sharply in their eyes.

"Have the elves taken to the cages," Gimli announces, in his bold and hollow ruler's voice. Then his regal tones break a little, and he says, "Except — except for the golden-haired one."

Legolas's head snaps up, but there is still no recognition in his expression; just a sort of sad, smoldering anger and resignation. The other elves glance at him, then away again, the same grim looks on their bloody faces. One of them snarls at a dwarf who holds her arm, but can do no more than that with the heavy chains around her wrists and ankles and solid dwarven hands holding her tight.

"Take that one to my chambers," Gimli commands, his head thrown back and his voice ringing out boldly across the stone. He curls his lips into a cruel smile that does not reach his eyes. "I will see to his breaking personally."

The elves are dragged away, some struggling and some stoic, by their dwarven captors; Legolas is separated from the others. He holds his head high, his face blank, and does not look back, although two of them turn with miserable frowns to stare at him as they are pulled through different doors.

The Ring on Gimli's hand glitters in a close-up. His fingers are curled into a tight fist.

"Oh," Gimli says, making his voice light, "and heat water for a bath as well; the elf is all-over filthy with blood, and I will not have him defiling my rooms any more than can be helped."

Several dwarves chuckle with varying degrees of sincerity (Mólin is not one of them). Gimli holds his smile long enough for all the elves to be pulled away through the doors that lead deeper into the Mountain.

Then his smile fades to a bleak look of horror and he sinks down heavily into his throne.

We close-up on the Ring again, and see blood dripping from his hand from where he has gripped it so hard that the band has bitten through his skin and broken it.

Then we end with a long-shot of Gimli on the throne in the shadows, the other dwarves at a bit of a distance now and out of focus and looking to their own conversations, leaving him looking very very alone.

End Scene.

Technically I suppose it still opens the same, after the opening...but because we're doing a canon-divergent AU, I think it works best to establish what the divergence actually is, in broad-strokes at least, before the story itself starts. And since TTT has already established this style of opening with voice-over exposition/reminders, it seems the best way to go about it here too I think.

Granted, we could ostensibly actually cut in to show some of those scenes here too, the way they do with Gandalf battling the balrog...but I think it's stronger if we don't actually show anything in this case. Also because we don't want to then segue into Gimli having a dream or flashback, so the cut would be somewhat awkward — but also I just think it's got more weight, in this case, without actually being able to see what happened.

Just make everyone listen to some familiar lines, and then gradually realize that that part isn't the same, oh no...

[paintedcrows]

Holiday Classics

Been thinking about Ford watching the 70s Animated Lord of the Rings Movies... (companion comic to this post!)

[theladyeowyn]

You have my sword.

[farosdaughter]

Emily Brontë, Wuthering Heights, Chapter IX

[buttered-milky]

Alright so u know the scene where Smaug opens an eye under the treasure and it’s all the party can see of him bc he’s sleeping under there.

This is what sand boas look like. And they burrow under the sand and are ambush predators. And they are reptiles. Like Smaug. Do you see where I am going with this

Thang. Smaug. If you even care

[overthinkinglotr]

People always say “Thorin could never retire in the Shire because he has to be King” — and I think the funniest way to handle that plotline would be for Bilbo to convince Thorin to eliminate the monarchy.

Bilbo has lived all his life in the Shire, where they elect their main leaders in a democratic system. Thorin is the first king he ever meets. Bilbo would initially think monarchy was very storybook-like and fantastical, like the things he’s read about in tales from distant lands…..but he would quickly find the reality of monarchy underwhelming, baffling, and annoying. Thorin/ Thranduil/Bard would make Bilbo decide that all monarchies are terrible. Being a king makes you self-important, haughty, greedy, and warlike. Kings are too powerful and use that power to fight over utter nonsense. They’ve got no one to keep their stubbornness in check. He would come to decide that the Shire really did have it right by holding elections.

I’m imagining a scene where Thorin dramatically confesses “I suffer under the burden of my duties; heavy is the head that bears a crown” and Bilbo flatly responds “don’t be king, then. >:/Elect someone else. If your people don’t want you then they won’t choose you! Im very tired of this whole affair and I wish I were back in the Shire, where folk are more reasonable >:(“

Thorin is enchanted by the strange foreign Hobbit custom of “elected leaders.” He has never considered this as a possibility. Overwhelmed by the Hobbit’s wisdom after the Battle of the Five Armies, Thorin converts his kingdom into a democratic republic and retires from public life.

This causes a domino effect. Other kingdoms across Middle Earth are inspired by Erebor’s example, and band together to reject their monarchical systems. Revolutions ensue.

Thorin’s consort “Bilbo Baggins,” known only as “the dwarf-king’s advisor who first set off this wave of revolutions,” becomes one of the most controversial and reviled people in all of Middle Earth. Bilbo becomes a figure of mythic proportions, loved by the democratic republicans and despised by the royalists, each of which invents their own wild legends.

To the democratic republicans “The Great Baggins” is glorified as a great warrior sent from Valinor to restore the long-forgotten wisdom borne out of The West— he snaps his fingers and with a poof of smoke he washes away all the old corrupt systems of the world, just as the Valar washed away Numenor.

But to the royalists, “The Mad Baggins” is a scheming shadowy monster who crawled up from the deep places of the world to burn the very foundations of Middle Earth to the ground; he’s a monster more powerful and terrible than a dragon or a balrog, who threatened Thorin into submission and brought the world into chaos. he snaps his fingers and monarchies collapse in a puff of smoke.

Meanwhile elderly Bilbo grumpily putters around the Shire with Thorin, mostly oblivious to all of this.

[evi-anxiety]

Extremely hot take but Rings of Power is a good show and I'm sick and tired of people hating on it, I will defend this show with my life

[abigmessofablog]

I'm sure I'm probably not the first person to note this but the reason so many works derivative of The Hobbit and The Lord of The Rings fails to capture the magic of those works is the lack of the hobbityness

Tolkien was, obviously, entirely aware of he common fantasy and fairytale tropes he was playing off of and they're present in his work (placing the proper king on the throne, elves and dwarves, main character who's hesitant to start his heros journey, dragons, ext) but if need be, these elements will be sidelined to emphasize the Hobbitish philosophy about the importance of comfort and good food and so on and so forth. (Thorin's death speech, Frodo's "I can't recall the taste of food, nor the touch of grass" ext)

Warning; super long, barely readable meta rant written at 2AM below

I've seen people say in any other story, Aragorn would be the main character of LOTR and I can agree with that but I'd argue you can kinda say the same thing about Thorin. Aragorn has his whole "rightful king" plot not dissimilar to how Thorin has his "reclaim the homeland, fight the dragon" plot. In the movies our emotional involvement in Aragorn and Thorin gets beefed up a little as they get some more brooding to the both of them. Aragorn gets his angst over his ancestry, Thorin is taken more seriously (ie: his updated, much more dramatic introduction giving him an air of mystery vs his book introduction, movie Balin's speech about his loyalty to Thorin, the treatment of the whole "gold sickness" thing, Thorin's speeches being taken seriously rather than being lovingly made fun of by the narration, ext) You can easily see a version of these stories where these two kings are the main characters of the story but they aren't! but neither of these characters are our main characters. Frodo and Bilbo are, respectively. And Frodo and Bilbo are simple hobbits with simple likes and the desire to live their simple shire life before getting dragged into adventure by the narrative.

I do genuinely like that in the Hobbit movies Bilbo gets to decide to go on the adventure by himself instead of getting unceremoniously shoved out of the house by Gandalf. It gives him more agency and we get the fun adventure that is supposed to take Bilbo out of his shell. Thats the message most people took from the story (ie "the world is not in your books..." I love this message/interpretation as much as anyone to be clear. I'm very guilty of loving my "Bilbo stays in Erebor" fanworks) but it is worth noting that Bilbo returns back to the Shire after his adventure and he gets the big speech about how more people should value the simple things in life before Thorin dies. Bilbo positions himself as sort of an unconventional hero by modern standards. Bilbo gets out of his situations more often than not through his wit and cleverly talking his way out of it rather than any displays of strength. He talks his way around Smaug, he cheats at his game of riddles with Gollum, he stalls the trolls. Bilbo wasn't even awake for the big climatic battle that gets turned into a climax for one of the movies. Bilbo, while getting braver more capable and more accepting of the situation, is still a hobbit! He wants his home and hearth and if he is dragged on an adventure, he will very loudly let you know about it. Frodo is similar in the sense that his strength doesn't come from any physical strength but from his ability to shoulder the horrors™ and then accept help from the people around him (mainly Sam) because he shouldn't have to shoulder the horrors™ alone. Again, the entire time Frodo is going on his adventure he's thinking about how much he'd rather be home. Sam sort of acts like this beacon of what the home represents and he’s the only thing keeping him emotionally stable and tries to comfort him through keeping him tethered to those memories of home. There’s the obvious scenes where Sam straight up tells Frodo to imagine home but there’s also just things like Sam cooking and insisting on making sure Frodo is fed (please note that sharing food is basically the universal signal for closeness, domesticity and the idea of a family unit. Think Norman Rockwell) or them turning their traumatic events into stories that they (again mostly Sam) expect to tell to their family and friends in a very domestic setting and then have those stories be passed down in the “Samwise the brave”, “Frodo wouldn’t have made it far without Sam” scene

You can also use this theme to sort of track the change in tone between the two stories. Bilbo's craving for the simple comforts of a warm meal, his bookshelves and a comfortable are played for jokes a few times, it's ultimately validated by the narrative. Frodo's drive to get back home is ultimately very melancholic and downright heartwrenching and when he can finally go home, it's not the same. In Bilbos case this change is sort of implied through the way Bilbo is treated very differently and treated like the neighborhood crazy guy by his peers post-adventure and this is played for laughs mostly but with Frodo it's outright stated and it is played completely straight. He's been so traumatized, so changed by his journey that he's simply not the same person he was when he left and he struggles to enjoy the aspects of the home that were previously used as an attempt to comfort him. Hence, “the Shire has been saved, but not for me." And he ends up leaving the Shire for good. As much as we know Tolkien hated the war allegory, it does bring to mind a soldier coming back home with severe trauma.

I feel like so much of this is lost in works that try to emulate LOTR and The Hobbit because of the simple fact that action sells much better. I mean, that's why the third hobbit movie is called "The Battle of The Five Armies" isn't it? There's also the want for grimmer, darker stories, since so many people view those as more "realistic" Maybe it's just the result of more cynical creators and audiences who want to watch more of the killing the dragon and cool battles with the big armies and less of the writing about trees and the value of home. I dunno I'm tired

[iseathegalaxy]

"bilbo had a set of mithril rings that thorin gave him. [...] I never told him but its worth was greater than the value of the shire"

get out. now.

HE GIFTED HIM A SET OF MITHRIL RINGS

MITHRIL. RINGS.

out. now.

[madame-helen]

[retellingthehobbit]

When Winter comes, the winter wild that hill and wood shall slay; When trees shall fall and starless night devour the sunless day; When wind is in the deadly East, then in the bitter rain I'll look for thee, and call to thee; I'll come to thee again!

Together we will take the road that leads into the West, And far away will find a land where both our hearts may rest.

[nowandforalways]

Today I'm thinking about how playing Frodo Baggins is a thankless job in much the same way Frodo actually carrying the Ring was.

Like, when people talk about performances in LOTR adaptations, they talk about Sam, they talk about Gollum, they talk about Gandalf and Galadriel. All these characters that have iconic lines and big flashy moments of greatness or bravery or twistedness that let the actor show off. Frodo doesn't have any of those. What Frodo does have is the arguably harder job of making something external that is almost entirely internal, and, in most adaptations, having the most to do, just from a time-on-stage/screen/microphone perspective. But this never seems to get acknowledged and that's always kinda weird/interesting to me. I suppose people just respond to the big heroic/heartwarming/menacing moments, and not so much to littler moments of the same kinds. In the musical, in one of the dialogue breaks in "Now And For Always", Frodo says to Sam "It's not me they'll remember, you know". And that's funny because even if Sam tries to fight that in-universe with the finishing of The Red Book, it consistently ends up being true in a meta sense.

Anyway I suppose what I'm saying is appreciate Christopher Guard, Sir Ian Holm, Elijah Wood, James Loye, James Byng, Louis Maskell, and Spencer Davis Milford or die by my blade.

7/11/24: EDITED TO INCLUDE CHICAGO FRODO

[philtstone]

ironically reflecting the stories' philosophical differences movie arwen & movie chani are both given onscreen agency that they did not have in the books by playing precisely inverse narrative roles that are yet equally integral to the externalization of plot and theme in their respective films in this essay i will

[twicearoundthebend]

Okay so this makes perfect sense in my head but idk if anyone else thinks like this-

In the books, it’s Legolas x Gimli all the way. They’re in love and their round the world trip is clearly their honeymoon. It’s the classic enemies to lovers, rivalry to teamwork (while still making it a competition), Romeo and Juliet but gay and happy.

But! In the movies I very much understand the Legolas x Aragorn vibes. Like- their banter? Top tier. How quick Legolas is to defend Aragorn? That’s his husband. The poster child of best friends to lovers relationships.

Also- the two ships have very different vibes, but I appreciate both. Legolas/Gimli is all about the slow burn, watching their relationship develop from rivalry into companionship, and what that means in relation to their cultures. But Legolas/Aragorn start out close already, and that bond really raises the stakes in dramatic moments

[tathrin]

So obviously there are a lot of things I would have done differently if I had been in charge of Amazon's Rings of Power show. I could go on at length about any of them, but...

One little, little thing I would do?

I would have a cat there, in Eregion. Just in the background of various scenes, nbd, hanging out in the smithy and stuff, meandering around, curling up in Celebrimbor's lap... Not something to focus on: just a little bit of background flavor, you know, show that Celebrimbor is a softy who likes animals, or maybe it's good for the smiths' morale to have an animal around; whatever...

But. I would make sure that the cat is never ever ever seen on screen in any scene that Annatar is in. (Or perhaps sometimes is seen at the start of a scene where Annatar enters later, but disappears from the camera's sight before he arrives.)

You pan in on the smithy, and there's a cat lounging on a cushion on Celebrimbor's desk, as cats do.

Maybe it even bats or sniffs at some of the prototypes/paperwork, you know, normal cat stuff. It's certainly not interested in what Celebrimbor is working on haha. It's certainly not reading the bluprints, don't be silly, stop anthropomorphizing the cat, it's just a bit of set dressing, okay? Obviously.

Scene starts, Celebrimbor does some work, maybe gives the cat some chin-scritches or maybe is too preoccupied to notice it's even there; no big deal. Doesn't really matter. We're focusing on his work designing the Rings, okay?

So, as he works we pan across, the cat isn't there anymore...and Annatar walks over, not having made any grand entrance coming in through the door or anything; just like he's been there all along and now he's coming by for a closer look, how odd that we didn't notice him before! Oh, it's probably just an editing thing, they probably just cut-out his entrance for pacing reasons nbd.

And hey that's funny, you don't see the cat again until he leaves...

No one in the show would ever reference this. No one would, in fact, ever mention or name the cat or draw any specific direct attention to its presence, save perhaps the occasional scritch of its little head in passing. It's not a character, it's just a little cat who hangs out in the smithy. Doesn't seem to belong to anyone in particular. Probably a stray.

(Weird how you don't see it again during any of the final fighting when Annatar/Sauron's busy doing his Endgame Shit, but hey: it's a cat, it's probably just too smart to stick around during all that chaos. No doubt it bolted for safety days ago. It's not like it has anything important that it'd be doing during all that. It's just a cat, for Eru's sake!)

Now, the question is, do we list the cat(s) who played the role in the credits as just "smithy cat," or do we go full wink-and-nudge and give the cat its name?

Either way of course: we'd all know.

[c-rowlesdraws]

SO uh. With the Gollum game coming out (for good or ill), I've had the guy on my mind lately and today I had a terrible epiphany, a breakthrough in the academic field of Weird Little Freak Studies:

look at me. Look me dead in the eyes. This is the same species of guy. They are brothers. If not by blood, than in spirit.

they BOTH throw themselves to their deaths from a height into a traditionally-hot thing (cauldron vs volcano) and, deliberately or unintentionally, bring down some powerful evil villain the heroes couldn't kill!! They're small and unpleasant and have an odd speech pattern! They hassle a white boy for some precious, coveted object:

I don't know what to do with this information and probably you won't, either, but I had to share. My eyes are opened forever