but will he miss you? ;-) |
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The whole Bombadil episode is where LoTR teeters on being another Hobbit or becoming (as it does) "All Quiet on the Eriador Front". Its a typical folk tale motif, the episodic crisis of which the Hobbit is chiefly composed, instead of the more sustained novel narrative LoTR becomes.
I love it even as I cringe a bit because Tolkien perhaps is demonstrating, gently, there's another world out there with layers of power, good and evil, on the doorstep of the Shire.
By book six the grind is unbearable, but in book one Tolkien gives his listeners a break. No travelling wounmded, just two quick threats and two quick fixes. Its like a DM with four beginners, buildig in a
deus ex machina in case they stick their heads into the trap, and some +1 swords for them all afterwards. Maybe he's remembering the demanding audience of his children "too boring daddy less ashes, more adventures!"
The whole question of omitting Celeborn is an important one. We enjoy Tolkien I feel because the sheer love he pours into the detailed backstories, rather like the Iliad does. A change like Glorfindel out and Arwen in damages the story for this reason. If Arwen had been a developed character instead of an occasional pop in, if the relationship had somehow been sparked with life, it might have created a new plot element, but Jackson just waved her around from time to time (and frankly I feel the actor was crap, with a weird chin to boot) so she fell flat IMHO.
Illogical or poorly executed changes like that kick a hole in the boat of the narrative. In contrast I disliked Jackson's Eomer but it managed to work: Urban is made to play a wooden cutout of a prince, not the lively, perceptive and heroic character of the book. However the actor was skilled enough to project courage and held a place with his cut down (and misinterpreted) role well enough that it doesn't poison the characters around him. Jackosn takes away his horribly transfor5mative line "Death, death death!" and gives it to Theoden, making the old king a suicide essentially, two silly choices. As with Eomer, the botched version of Theoden (too young, too foolish, so inconsistent "where was Gondor?" but then "Rohan will answer!" wtf? why? WHY? Coz limp dick Aragorn gave him an unwashed look?) is saved by a decent actor making him persuasively brave, and the damage doesn't spread.
To me the active/passive/cut&paste Arwen (I mean where was she when the Westfold fell? Lost her horse?), an incomprehensible mess, is meant to be in a fated love affair with anxious Aragorn who doesn't want to be King, but still wants the promised queen? Its jarring, it makes no sense. Why does Boromir admire this quailing (but occasionally mean) drifter? There's literally no reason for him to love Aragorn by the time he dies.
Galadriel, rejecting the West and remaining with the noble Celeborn, and determined for now to make a place in Middle Earth, is not some loose cannon. Shes the senior member of her house bar perhaps Gil Galad, wit the fate of her remnant folk, and her allied Sindar kin in her hands. This is not a loner or an adventurer. I think in the Second Age she's what Elrond would become thousands of years later, one of the Wise. If they include a scene where she gazes into a pool and says "if only I could see the future in this..." I'll probably have an aneurism. But maybe I just won't watch it.