“On The Lord of the Rings we had actors in prosthetics playing the orcs, and I was always a little frustrated by that. If I could have afforded it then, I would have much preferred to have all the orcs CGI. Now, in The Hobbit, I can.”
A few months ago, The Hollywood Reporter revealed that as of March 2014, the budget for Peter Jackson’s latest epic – three films based on J.R.R. Tolkien’s 1937 children’s fantasy novel The Hobbit – was $745 million. It’s the most expensive trilogy of all time, costing around $500 million more than Jackson’s last massively successful go-round with Tolkien’s work – those triumphant, absorbing, lived-in adaptations of The Lord of the Rings novels. After seeing the final Hobbit installment, The Battle of the Five Armies, in a packed theater over the holiday weekend, I have no doubt that every penny of that budget was used to make these movies look great. Unfortunately, you can’t finance feeling.
TBOTFA picks up right where The Desolation of Smaug left off, with that titular dragon feeling over it after a far-too-long dwarf fight and laying waste to the vaguely Celtic people of Laketown. It’s a gorgeous and harrowing sequence, with Jackson capturing the grand terror of the dragon’s every swoop, both from above the town and in the thick of its clogged and scorched canals. But before you can relax and honestly hope for a stuck landing, the dragon (77-year-old spoiler alert!) is killed by Bard the Guardsman (Luke Evans). Only after the amber light elegantly leaves its body in midair does the film’s title appear.
You’ve gotten your Smaug, now prepare for the slog.
The rest of the film transforms the last five chapters of Tolkien’s book into a battleground strategy manual. It makes good on its title for sure, with the armies of dwarves, elves, men, orcs and deus ex machinas turning each other into CGI slurry for a huge chunk of the running time. There are stunning visuals here; Jackson does not deserve the “video game” taunts. But he’s blinded by pixels. The patience, warmth and good humor of the underrated An Unexpected Journey are nowhere to be found; characters have no time to talk, let alone develop enough to get us invested in them. As a result, those looking for any kind of message from these movies leave with some paper-thin bullshit. Tolkien taught us a simple, poignant lesson – if you don’t lose sight of what’s truly valuable in life, you’ll be stronger than kings. To do so on film would require some quiet, reflective moments, however.
So instead of letting his universally beloved main character Bilbo Baggins (the perfect and wasted Martin Freeman) steal screen time from the worms from Tremors, Jackson invents the character of Alfrid Lickspittle, the toady to the King of Laketown and sentient insult to our intelligence who spends TBOTFA being cartoonishly cowardly and greedy, pushing old ladies and then dressing up like one to avoid battle (which is funny in 2014, apparently). Instead of letting Bilbo actually have a conversation with Thorin Oakenshield (Richard Armitage), the newly crowned King of the Mountain struck with “dragon sickness,” the character can only come to his senses after a (terrible-looking) CGI hallucination sequence involving a floor of molten gold quicksand or whatever. Instead of having Bilbo do anything, we watch Bard save his “Da!”-yelling kids over and over and over again, because FAMILY. We learn about Legolas’s dead mom, because FAMILY. We hear the warrior-elf Tauriel talk about nothing but love and dudes, because WOMEN’S ISSUES=HALF-BAKED TWILIGHT-TYPE SHIT.
When filming The Lord of the Rings, Jackson had to get creative to avoid blowing his budget. He had to lean on his actors and his script-writing partners. He had to shoot miniatures and build sets and use old camera tricks to make us believe that Ian McKellen was three times taller than Ian Holm. His passion and ingenuity were all over those films as a result; he was Sam carrying Frodo up the mountain. On The Hobbit, with that blank check staring him in the face, he felt like a King. His trilogy that started with such heart has ended in a haze. The dragon lives.