Original themes, symbols and motifs in the film

[IronParrot]

This is NOT a discussion of how the film relates to the book. This is an analysis of things that are strictly within the context of the film. If you want to talk about the book, go somewhere else.

This thread is my valiant attempt to create a thread where people can critically analyze the themes, motifs and symbols in the Peter Jackson film of The Lord of the Rings without once tying things into the book. It can be done, although it will be painfully incomplete until the final installment is released. Think of it as a refuge for people who are sick of "What's your favourite ___?" and "___ wasn't in the book" and (God forbid) "Legolas is hot", and want to discuss the film as an independent entity.

I'm going to kick off the discussion with something that I think really deserves to be mentioned: the cinematographic progression throughout the movie. I particularly mean this in terms of colour timing, which (as one can discern from the DVD interviews) was a process to which Peter Jackson and Andrew Lesnie really devoted themselves.

Colour symbolism seems to play a huge part in the movie. As we all know, the theme of nature and technology that is present in Tolkien's - BZZZT! sorry, I broke my own rules. As I was saying, one of the major visual motifs throughout the film is the destruction of nature to make way for industrialization. You can see this directly incorporated into Saruman ordering Orcs to rip down the trees, and how the lush green landscape of Isengard when Gandalf arrives is vastly transformed into flaming chasms of forgery that glow a bright orange.

Green = trees = nature; orange = fire = industry. The Shire and Isengard in the beginning of FOTR: very green, very lush and colourful. But as the film progresses, vegetation everywhere gradually becomes more and more faded. Amon Hen has plenty of green grass, but it's not nearly as bright and shocking as that of the Shire; in fact, the DVD segment on colour correction shows Boromir's death as an example of where they faded the colours, toned down the contrast and generally made the environment slightly less appealing. By the time you get to the fields of Rohan, the grassland is very brown and yellow compared to the foothills of the Shire, as if it had the life sucked out of it: which, of course, is what Saruman is busy doing at that very moment. Even Ithilien, for all of its nature that is left intact, is slightly bled of its life as the allies of Mordor march across it.

At Helm's Deep, hardly any green is to be seen at all. By the time you reach the siege of Isengard, there is a sudden return to shocking green: the protected natural sanctity of inner Fangorn unfolds and extinguishes the flames. The visual palette springs to life once again.

There are some very fine visual touches to be found all over the place. For example, it was only in my most recent viewing of The Two Towers that I noticed the ominous flocks of crebain heralding the impending siege of Helm's Deep in the late afternoon before the battle. Also note how often, when we see to the Uruk-hai, there is a recurring shot of their heavy metal boots trampling something representative of nature. The Elven brooch comes to mind; after Pippin drops it, it is quickly trampled underfoot. There is also that shot in FOTR when the Fellowship is paddling down the Anduin, we cut to a log in the woods, and our first sign of the approaching Uruk-hai is a boot coming down on that log with a decisive clang.

What other observations have other people made about the film? Have you noticed certain patterns in the composition of various shots and sequences? Any other sort of visual symbolism that strikes you?

[Lizra]

I have noticed and mentioned the "shoe/boot" thing before! I found it to be sort of funny, but good! The first good foot bit is the nazgul's horse's hoof and totally black evil razor sharp footwear. Also the sharp cutting black boots in the Bree "bed stabbing" bit! Yep, the fast running, foliage stomping Uruk feet make you nervous! I haven't seen TTT enough to catch any "foot business" there. Is there any as blatant as the "evil feet" in FoTR?

I am such a "non movie" person in general, I'll have to think hard about this thread!

I can think of the obvious differences in music, the beautiful, choral music of the elves, and the brash doomsday sound of Isengard. I see a "hope and lack of hope" issue. There is always hope with the good side (Gandalf and Galadriel, also Sam), and an "accept your fate mentality" with the bad ( Saruman, Sauron, and poor Boromir). Duh....I'm not to hot with this kind of stuff!

[Black Breathalizer]

Andrew Lesnie's cinematography and Peter Jackson's unique style of camera work combine to give the films a very distinctive look and feel. When you add Howard Shore's inspired soundtrack to the mix, the result is something very special.

Iron Parrot mentioned the ominous flocks of crebain at Helm's Deep in TTT. I always thought the bird flying out of a nest built in the eye of one of the Kings of the Argonath in FOTR was a rather inspired little addition, particularly since you get the feeling the bird was distrurbed from its nest by the camera flying by.

[G'broagfran]

The most striking use of color to me was used in the opening battle sequence in Fellowship. I noticed it myself but the extended DVD has a brief sound bite by Peter Jackson about how he wanted to give these scenes an ancient look by uses pale and faded colors. These scenes are my favorites so far, they appeal to me even more than the Helms Deep scenes for some reason, maybe because of the stunning presence of Sauron actually engaging in melee.

[Lizra]

So the Council of Elrond yellow is a manipulation! I remember Rian complaining about it also, I always think that scene is a bit too "golden".

[cassiopeia]

Since we are talking about color, Moria very distinctly lacks color. Digital grading was very important in post-production. I can't remember the exact number, but I think they said that about 90% of the film had been digitally graded.
Another thing I like about the FOTR (I can't remember TTT as well as I have only seen it twice) is the fellowship theme interspersed throughout the film. It is a beautiful peice, and really emphasises the themes of friendship and loyalty.

[analyveth]

yeah, it's like 90%.
the team have seriously advanced the boundaries of cinematography with the digital grading. i think someone said on the dvd how when boromir finally dies they reduced the saturation of colour in his face, and you can see the progression of frodo's character simply in his face as we go through the films, like the 'greyness' of skin that increases through ttt, and the prominance of his veins.
it's impressive how many processes can enhance an actor's performance, and all the themes themselves, it all combines so well. i imagine the digital graders ended up having a lot of fun in post production!

[Lizra]

So, it seems LoTR is green (I'm thinking of packaging AND the themes mentioned in this thread) TTT seems to be brown. (My TTT valentines were brown, also the program Elvet sent me from TTT museum exhibit was brown) I wonder what color theme RoTK will have? Blue would be nice, but I could see crimsom working also. Any ideas?

[azalea]

Maybe it will be silver/ white with blue accents.

[Elfhelm]

Here's another recurring pattern to kick around - missing people found alive.

TTT starts off reminding us that Gandalf fell fighting the Balrog, later he is found alive, of course. Merry and Pippin, seized by Orcs, thought dead after the Rohirrim slew all the Orcs, but Gandalf says they are alive. Theoden thought near death is restored, which is kind of similar. Aragorn falls off a cliff, even his closest companions give up hope, but he returns to the joy of all. Eomer is banished but he returns triumphantly with Gandalf to save the day.

And here's another - the word "hope". Look at how many times the word hope is used, and how it is used and by whom. I don't think anyone has called Aragorn by the name his mother, Gilraen, gave him (Estel), but as you observe the use of the word hope you can see that it centers on Aragorn. You can even see the actors think hopefully or hopelessly. You can see hope die in Eowyn's eyes when she thinks Aragorn is dead.

"I gave Hope to the Dúnedain, I have kept no hope for myself." -Gilraen (oops does that break the rule?) hehe

[IronParrot]

In terms of light and darkness, there are two shots in FOTR that strike me every time.

The first is Frodo's revival in Rivendell: his face - and then the whole scene - slowly fade in from white. White, as we know, has all sorts of archetypal notions of purity attached to it; the connection to Frodo being healed is obvious.

The second is after the entrance to Moria is sealed: we then have total darkness, broken only by Gandalf's light. Until they reach Balin's tomb, this is the only source of light for the Fellowship. In effect, the "darkness of Moria" was indeed complete, without any sort of ambience that renders everything at least vaguely visible, like what you see when you turn out the lights at night.

[Lizra]

There's the apple thing....but that might just be comedy!?

Quiz...name all the apple bits. (Do they all involve Merry?) The fireworks stealing, leaving Bree with Strider, reuniting with Frodo at Rivendell.....anymore?

[Lizra]

I like the "sunlight" moments, but they did seem a bit "enhanced". The bursting out of Moria is harsh, even painfull (reality?) and very dramatic. The sunlight (and contrast of shadow and bright, yellow-white light) in some of the faces during the gift giving at Lorien is interesting. It could be the sugestion of "high noon", but seems to be something else (IMO). Also this "natural" lighting is very strong in Gimli's face when he is reflects on his gift when in the boat with Legolas. There's a bit of that flooding sunlight in Gandalf's face in the Shire. The light of the elves is rather obvious, the elves leaving the Shire, Arwen at the ford, Elrond at Frodo's bedside, and of course the elvish dieties of light (or whatever!) Galadriel and Celeborne. Oh, Gandalf the White is coming, where's my sunglasses!

[IronParrot]

Good observation about the apples. Maybe it's similar to how oranges foreshadow death in the Godfather trilogy.

[Lizra]

Ummm, please go off topic here and refresh my memory on my other favorite film, (Godfatha!) Of course, Vito makes the orange "scary smilie face" for his little grandson, right before his stroke in the garden of staked tomato plants. What other orange/deaths are there?!

[IronParrot]

I was halfway through writing down all of the instances of oranges I remember from The Godfather, but then I found a page that does a much better job (and points out a few I haven't caught before):

http://www.jgeoff.com/godfather/oranges.html

I think this is a good example of a nifty director's touch that could only be done on film, and is a worthwhile addition in adapting the source novel.

[Lizra]

I think that's a bit silly, you know...."Paul is dead!" There are lots of oranges (fruit in general) as props, and there is certainly lots of death in The Godfather, but other than Vito and the smilies, I think the death/orange association is a stretch! There is something with Merry and the apples, not much, but a little something. Thanks for the link!

I noticed last night, when Merry and Pippen knock Aragorn on his back in the EE of FoTR, right before the Crebain fly over, an apple rolls out of Aragorns pocket? Oh!......what do all the apples mean!

[azalea]

It means that something's about to fly overhead!
Fireworks
Another apple (well, flying into head)
Crebain
Oh, the one in Rivendell doesn't fit that though. you know I had never noticed that one. Is he holding it when Frodo comes out?

[Lizra]

He's chomping it!

[SamwiseGamgeeOTS]

wOW......I've never even noticed these things....i feel bad now...maybe 'tis a sign that the hobbits are getting too fat!