This reviewer’s biggest quibble was with a single sexual innuendo that Jackson and company managed to slip into the dialogue, which was entirely at odds with the soaring spirit of Tolkien. The new film may offend Tolkien purists with additional Lord of the Rings players who were not part of The Hobbit - Legolas the elf is here, and we see a passing mention of the dwarf Gimli - as well as the invention of an entirely new character, the elf-maiden Tauriel, whose part in the story significantly alters the plot from the source material. Whereas Tolkien originally wrote The Hobbit, or There and Back Again, as a work of juvenile fiction with an uncomplicated storyline and lighthearted mood, Peter Jackson’s second of three movies based on the book is a sprawling epic with complicated backstories, nuanced characters, and a brooding, high-stakes mood more in keeping with Tolkien’s larger and better-known sequel, The Lord of the Rings (including Jackson’s film adaptation).Īccordingly, as we saw in the first Hobbit movie, Jackson and his collaborators have elected to retain many characters from Lord of the Rings - Frodo, Saruman, and Galadriel, for instance - who played no part in The Hobbit. But New Zealand director Peter Jackson’s latest cinematic tour de force, The Hobbit: The Desolation of Smaug, is undeniably a very different story than its simple, warm-hearted literary source material. Tolkien’s shade might think about the latest big screen adaptation of his fantasy corpus set in a fictional Middle Earth of elves, hobbits, orcs, and rings of power. Article audio sponsored by The John Birch Society
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