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How Accurate Are Rings of Power From Tolkien's Book Fans

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met for the first time Lord of the Ring when i was 6 years old. peter jacksonof crossing of rings was the first movie I saw in the theater and I had to stay up late on the first night to see it. The only reason I was there in the first place was because her mother read her book in her 70s and it literally changed her life. Go check it out for yourself. I think she was pleasantly surprised and somewhat impressed by her, but my 6-year-old self was completely mesmerized. The meticulous world-building and expansive landscapes began to open up the “secondary reality” that Tolkien created in his books, and it was a pleasure to return to the theater for the next two years to see what happened. I couldn’t wait. What happens next.

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when you finally get through Lord of the Ring When Hobbit As I read the books, I began to understand why they became so popular.Even in the film, no matter how vast it was, good and evil, friendship, loss, and the desire for home were all his The depth of the story ofI read Silmarilion For the first time in middle school, I was touched by the tragic backstory of how the grand glory of the First Age fell into its final loss, leaving only its shadows at the time of the Third Age.

For years, I wondered what Tolkien himself would have thought if he had lived to see the film. I came to a conclusion that should have been obvious. He would have hated them.

Tolkien’s letters are interspersed with his commentary on the drafts of the screenplay that have arrived. The script itself was problematic in many ways, but he also gave the impression that he would have been unhappy with almost any adaptation of his work. Humphrey Carpenter Himself, Tolkien considered his story “unstageable” and did not really expect his book to actually film well. Christopher Tolkien The man who probably knew Tolkien best confirmed this idea later, as he said that Jackson’s film “watered down the book by making it an action movie for 15- to 25-year-olds.” .

If I’m correct in my assessment of the movie series, which has won a total of 17 Oscars, including Best Picture in 2003, Tolkien was almost certainly displeased, too. Lord of the rings: Ring of powerBut to be fair, he probably hated almost all adaptations of his own work. It was a gorgeous display of cinematography and beautifully scripted scenes that drew a whole new generation of audiences back to the original story, including . With that in mind, let’s see what the series does with Tolkien’s canonical work. Let’s see where we deviate, where we fall short, and where we ultimately succeed.


Rings of Power is working on a shorter timeframe

Perhaps the biggest problem with the series is what is likely the root cause of some of the adaptive choices: Tolkien never wrote a book that focused on Second Age events, and the production has no rights to the book, in which he Did it Write about it best.Materials listed in the text and appendices of Lord of the Ring, but provides a surprisingly detailed account of many events of the Second Era. What results, then, make for an interesting question of canonical material: what can it be gleaned from? Lord of the Ring About Second Age and how is it different from what we find in other sources?

One of the difficulties posed by the adaptation was the decision to wrap up the thousands of years of Middle-earth’s history into a much shorter time frame than Tolkien allowed. On the one hand, it was made to prevent human lives from passing by like ephemera and elves from remaining unchanged, but that choice also included compressing the Second Age timeline and making sure that sequence was not as silly as it was. It comes with a corresponding problem of confusion: the impact of events and individual storylines on the plot as a whole.

RELATED: ‘Lord of the Rings: Ring of Power’ showrunners balance fan expectations

Gilgalad has too much power and authority

Indeed, one of the most important issues of the series, when it comes to canon, is that of Gilgalad (Benjamin Walker) authority. Simply put, Gilgalad would not have had the power, ability, or right to direct the elves to Valinor or give them passage there. did not have permission to give. Moreover, the elves had already been given the opportunity to return to Valinor at the end of the First Era. For those still in Middle-earth at the start of the series, decided It’s clear that the desire to return to Valinor is not yet burning.

Further issues with Gil-galad’s permissions can be found in Arondir’s (Ismael Cruz Cordoba) story. Gil-galad is officially the High King of the Noldor, but not all elves are Noldor. The elves of Tirarad are more like sylvain elves not under Gilgalad’s control. Different groups of elves had separate power structures, so the idea of ​​Gilgalad having authority over other groups of elves is imaginary to say the least.

Shaw must make decisions for Tolkien

Another problem with adaptations in general is that in order to bring the product to the screen, the series needs to make decisions about areas that Tolkien himself did not reach final conclusions about. One is of oak origin. In much of his writings, Tolkien considered the possibility that the orcs were twisted elves, but they constantly struggled with their origins, their free-will status, and their eventual fate. , he seems to have shied away from the idea that orcs are fallen elves, but that’s a point of uncertainty the show will likely explore, so Tolkien himself will have to make decisions he wasn’t sure about. .

Another such point is in Miriel’s character (Cynthia Addai Robinson). Her authority was eventually usurped by Farazon (Tristan Gravel), she led Numenor to its ultimate destruction, but in one version of the story she fought against his disastrous tendencies and in another she supported him. there is.

Tolkien’s character build and voice are hard to imitate

One of the narrative’s more complicated problems is that it treats many beloved canonical characters as protagonists, and the portrayal of those characters is strangely different from the canonical version established in the text. may differ. He seems almost willfully ignorant of the dangers of his realm, which he actually guarded against most of Sauron’s threats. Galadriel (Morphid Clarke) can be recklessly smug and single-minded about her revenge. Of course, there is something to be said for “boosting character.” Their character arcs would end up in more familiar territory. A vision of texts and trust that they will end up in the right place.

Writing is another element of the show that has its ups and downs. Tolkien had a very distinctive writing style, a way of capturing cultures, histories, and epochs in the way his characters spoke and the rhythm of his narration. He was an Anglo-Saxon professor and linguist who understood the nuances of the English language better than anyone else. But while writers recognize the beauty of Tolkien’s prose, they often struggle to recreate it. It can be successful, but it can also look lofty and unnatural.

Rings of Power successfully captures thematic elements of Tolkien’s work

On the other hand, there are many touches made by the show that are almost perfectly executed and largely in line with Tolkien’s themes and writings. in the center. It’s one of the most distinctive elements of Tolkien’s story, and it’s well-executed, as are the themes of the value and strength of true friendship.

There are also touches that could perhaps even enhance the world Tolkien created, capturing Tolkien’s world better than Jackson’s film. This series focuses entirely on the problems Orcs have with traveling during the day. , emphasizing the fact that doing so is physically painful. Regarding the orcs, there were also criticisms that there was too much CG, but the depiction of the orcs in episode 3 was excellent. They also found a lovely way to meditate on the elven perception of time in Tolkien’s world.Owain Arthur) and Elrond (Robert Aramayo).

The show shows the majesty of Middle-earth and its culture

Another area where the series has made notable achievements is the visualization of the big cities in Tolkien’s books. Taking the darkness of Moria and turning back the clock to reveal the greatest glory of the Kingdom of Khazad Dum made for one of the most stunning visual sequences in any adaptation, and Numenor’s reveal was just as good. The beauty of Lyndon, the reverence for the Dwarven Kingdom, and the crumbling nobility of Numenor are visualized in stunning detail.

But perhaps their greatest achievement lies in the way the series constructed many beautiful Tolkien moments not written by Tolkien himself. Nowhere, but it fits perfectly with Tolkien’s comments about the importance of music to the dwarves and their loving devotion to their handiwork. increase. Mountains clearly indicate where not to go, and the dwarves will one day break that rule.

This also happens in Arondil’s storyline, especially Episode 3. Tolkien’s work can be haunted by his experiences in the trenches of World War I, and the trenches and blown-up land of Tirarad in that episode effectively recall a sort of medieval no-man’s land. let Earth. Also, there may never be a more Tolkien-esque moment than an elf crying and apologizing for having to cut down a tree.

And it’s probably this last point that best sums up what the series has done so far. Elrond points this out when he speaks of Galadriel being healed of her grief in Valinor. and Aronda interacts with the same idea as he sees the world around him crumbling and decaying. It shows a basic understanding of Tolkien’s themes that are done with it, and is truly admirable at its best moments.

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