Tag Archives: Peter Jackson

A Look Back at 2018 (Part 1)

19 Wednesday Dec 2018

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2018 has been a funny old year – not funny ha ha, however, real laughs have been thin on the ground during 2018 – as the first few months reflected on the strength of movies released during 2017, with late arrivals to the UK such as The Post, I, Tonya, Phantom Thread, and the Oscar-winning The Shape of Water. Otherwise, there was a dearth of good, new movies on our screens and our streaming services. As we moved into the spring, Marvel hit us with the double whammy of Black Panther and Avengers: Infinity War, the latter proving to be this year’s runaway box office success, with earnings of $2,048,187,730 at time of writing. But these behemoths aside, there was little to get excited about, and little in the way of promise for the latter half of the year. It wasn’t until July 6 that thedullwoodexperiment posted its first 9/10 movie review of 2018, Debra Granik’s tremendously moving and visually striking Leave No Trace. Back then it was something of an oasis in a sea of mediocre summer releases, and though Mission Impossible: Fallout bowed later that month and surprised pretty much everyone with how good it was (and garnered this site’s second 9/10 review), there still wasn’t much of a sense that the year would improve. Two movies do not a renaissance make (as it were).

Since the end of July, this site has awarded a 9/10 rating to only ten other 2018 movies so far this year, making a Top 10 for the year a little unnecessary, or indeed, facetious, though one movie did stand out from all the rest: Peter Jackson’s incredible reconstruction of both the lives of, and the footage depicting, the British men who fought during the First World War. They Shall Not Grow Old is an amazing blend of technological prowess, emotive imagery, and historical remembrance. No other movie had the emotional impact that this stunning documentary provided, and one of the most surprising aspects of its release was the way in which it was overlooked by UK movie magazines such as Empire, and even Sight & Sound (more focus was afforded Jackson’s involvement with Mortal Engines; how ironic is that?). The tide has begun to turn in the last couple of months, and with December heralding the arrival of a clutch of movies looking to be serious awards contenders over the next couple of months, the year has effectively rallied, and even Netflix, that paragon of haphazard programming, has outdone itself with the release of movies such as Orson Welles’ The Other Side of the Wind, and Alfonso Cuarón’s Roma. But while there’s a sense that there’s better still to come, for us here in the UK, any movies that fit that particular bill won’t be seen until 2019 (or at all in the case of the majority of foreign language movies), which does seem to leave 2018 a little bit stranded. An argument for same-day worldwide releases perhaps?

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They Shall Not Grow Old (2018)

16 Tuesday Oct 2018

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D: Peter Jackson / 99m

Four years ago, Peter Jackson was approached by the 14-18-Now organisation to make a thirty minute documentary on the First World War to mark its hundredth anniversary. The only proviso was that he use archival footage held at London’s Imperial War Museum. Jackson readily agreed but realised that the surviving footage would need to be restored in order to present the best possible version of the movie he was going to make. In the end this meant a long, painstaking process that involved cleaning up the material, correcting a variety of frame rates to today’s standard of twenty-four frames a second, and then both colourising it and converting it into 3D. With recordings of World War I veterans conducted by the BBC during the Sixties making up the soundtrack, They Shall Not Grow Old (a transposition of the quote by Laurence Binyan), is a stunningly immersive and emotive experience that brings the so-called “Great War” to life in a way that has never been seen before. The application of modern technology gives the documentary an immediacy that’s both powerful and, in places, quite profound. And thankfully, what was meant to be a thirty minute piece, has been expanded to nearly a hundred minutes; and Jackson doesn’t waste a single one of them.

The movie doesn’t begin with this new, remastered footage. Instead, we see old, damaged images of servicemen walking past a static camera, and it’s a little jerky, and either a little faded or too bright, but it’s what we’re used to seeing. But as the movie progresses, the images begin to improve. Black and white gives way to colour, the 3D becomes sharper and more pronounced (though without becoming distracting), and the footage itself takes on more and more detail. What emerges is a compelling visual exploration of a serviceman’s life on the battlefield, when fighting and at rest, and from the time war was declared and men – and especially teenagers – rushed to take up arms, to the Armistice and the problems they faced when they returned home. Jackson tells the story of the war from the perspective of the British (naturally), but also makes room for the Germans, and the similarities between the men who fought on both sides. There’s footage of British and German medics working side by side to save the injured and the dying, and examples of the lack of ill will shown to German captives. Jackson makes the point very succinctly: neither side knew why they were fighting, and were sympathetic towards, and respectful of, each other.

But while the visuals are the movie’s “main attraction” as it were (and rightly so), where Jackson truly excels is in the decision to use those recordings from the BBC. So much detail is present in these remembrances that almost every single one of them sheds light on the emotions and feelings and opinions of those who fought. These voices from the past vividly illustrate the hopes and fears that were felt at the time, and they remind us that initially, many thought the war would be an adventure. There’s humour too, a reminder that these men couldn’t allow themselves to be overwhelmed by the nature of their situation in the trenches. And then, as if these recollections aren’t enough, Jackson goes one step further: he gives voices to the men in the archival footage through the use of lip reading experts who examined the footage and worked out what was being said. Now this footage comes complete with an audio track that would never have been heard otherwise. It’s disorientating at first, but the effect is incredible: combined with the colour and the increased detail of the image, it’s as if we’re seeing contemporary footage, and not imagery that’s a hundred years old. Jackson has done something extraordinary: he’s made the past look and sound as real as the present.

Rating: 9/10 – for some, this may prove to be Peter Jackson’s finest work (yes, even better than The Lord of the Rings trilogy), and on many levels it is; a triumph of technology plus a philosophical approach to the material that focuses on the men who fought rather than the reasons for their fighting, this is hugely impressive, and a powerful reminder of the human ability to endure and/or overcome the worst of adversities.

The Hobbit: The Battle of the Five Armies (2014)

23 Tuesday Dec 2014

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Hobbit The Battle of the Five Armies, The

D: Peter Jackson / 144m

Cast: Ian McKellen, Martin Freeman, Richard Armitage, Orlando Bloom, Evangeline Lilly, Ken Stott, Lee Pace, Luke Evans, Aidan Turner, Dean O’Gorman, Graham McTavish, Cate Blanchett, Hugo Weaving, Christopher Lee, Sylvester McCoy, Stephen Fry, Ryan Gage, Billy Connolly, James Nesbitt, Ian Holm, John Bell, Mikael Persbrandt, Manu Bennett, John Tui, Benedict Cumberbatch

Angered by the attempt to kill him, Smaug (Cumberbatch) leaves the Lonely Mountain and the dwarf city of Erebor to wreak his vengeance on Laketown and its people. As he lays fiery waste to the doomed town, Bard the Bowman (Evans) seeks a way to defeat the dragon. With the aid of his son, Bain (Bell), Bard succeeds, but the town is in ruins. With winter fast approaching the inhabitants of Laketown look to Erebor and the promise made by Thorin (Armitage) when he was aided by Bard. But Thorin is in the grip of dragon sickness, his mind fixed on protecting the gold in the mountain, and he refuses to give the people of Laketown shelter; instead they are forced to take refuge in the ruined town of Dale.

Inside Erebor, Thorin’s madness worsens with the absence of the Arkenstone, the jewel that ensures his position as king of the dwarves. It transpires that Bilbo (Freeman) was able to take the jewel during his encounter with Smaug, but he fears giving it to Thorin. Meanwhile, the woodland elves, led by Thranduil (Pace), arrive in Dale with supplies for the humans and with the intention of reclaiming some jewels that are owed to him by Thorin’s forebears. Bard attempts to reason with Thorin but the dwarf leader refuses to yield. With an army of Orcs led by Azog the Defiler (Bennett) almost upon them, Gandalf (McKellen) arrives in time to provide support for the human-elf alliance.

Bilbo sneaks out of Erebor and gives the Arkenstone to Thranduil. One last attempt is made to avoid bloodshed but Thorin is adamant he will have war. With the arrival of a dwarf army led by Thorin’s cousin Dain (Connolly), a battle between the dwarves and the elves begins but is interrupted by the arrival of Azog’s forces. The dwarves and the elves and the humans all join forces against the orcs, while in Erebor, Thorin is on the brink of being completely subsumed by madness. And to make matters worse, Legolas (Bloom) and Tauriel (Lilly) discover that there is a second army of orcs heading for Erebor as well.

Hobbit The Battle of the Five Armies, The - scene

And so, in true George Lucas/Star Wars fashion, we come to the end of the journey – in the middle of it. Heralded as the “defining chapter” this is the movie that Jackson needed to get right above all the other Hobbit movies. Everything has been a prelude to this, the linking chapter in a six film series that has come to define fantasy movie-making on an epic, unprecedented scale, while always retaining a true sense of what’s most important: the characters. Whatever your thoughts on the idea that two movies would have been better than three, what can’t be disputed is the care and attention that Jackson and co-scripters Fran Walsh and Philippa Boyens (with additional input from Guillermo del Toro) have taken in their efforts to bring Tolkien’s short novel to the screen.

Dispensing with the traditional prologue that shows previous events, The Battle of the Five Armies picks up directly after The Desolation of Smaug and throws us into one of the trilogy’s most exciting action sequences, as the dragon vents its wrath on the unfortunate Laketown. It’s a bravura piece of movie making, each burst and eruption of flame so convincingly rendered it’s hard to believe that most of the action has been created in a computer. With Smaug’s death it’s full speed ahead to the climactic battle that involves dwarfs, men, elves, orcs and eagles. It’s a fast-paced, often relentless movie, tilting headlong from one skirmish to another, barely pausing for breath, and yet able to maintain an emotional intensity that other fantasy movies can’t even begin to come near. It also shows Jackson near the height of his directorial powers – that honour goes to The Lord of the Rings: The Return of the King (2003) – firmly in command of the material and assembling it all in a way that looks far too easy.

Jackson’s decision to make The Battle of the Five Armies the shortest of the Hobbit movies is a wise one, making it a more immediate, thrilling experience, but still with that depth of emotion that we’ve come to know and expect from each trip to Middle Earth. The relationship between Bilbo and Thorin is this movie’s finest flourish, so adroitly handled and acted by Freeman and Armitage that their scenes together are capable of making the viewer hold their breath. The added romance between Tauriel and Kili (Turner) is perhaps more perfunctory but is still touching enough to warrant its inclusion. In truth, the whole cast excel, with McKellen, Armitage and Evans the standouts in a movie with more than its fair share of superb performances. It’s been said before, but Jackson has created such a vivid world that even when he introduces creatures that very closely resemble the worms from Tremors (1990), they still feel a part of Middle Earth. This attention to detail, this “world building”, is what separates these movies from all the rest. And of course, there’s the action, inventive, compelling, and wonderfully choreographed for maximum effect. It’s impressive stuff – as you’d expect – and full of horror, humour, seamless CGI (unless, for some reason, it involves Radagast the Brown), and stirring feats of physicality (Legolas vs Bolg). But best of all, and after all has been said and done, and the battle is over, Jackson treats us to a wordless scene between Bilbo and Gandalf that is perfect in its simplicity.

With an ending that blends effortlessly with the beginning of The Lord of the Rings: The Fellowship of the Ring (2001), the movie also doesn’t outstay its welcome, but mostly because this isn’t the end of an era, but the opening chapter in a much grander tale. As such its shorter running time is to be applauded; though don’t be fooled, the movie packs so much in it’s a masterclass of concise plotting and scripting. Some fans may still complain about the treatment of certain characters – Beorn (Persbrandt) has even less to do here than before – and the similarities between the Battle of the Pelennor Fields and this one are self-apparent, but all in all, Jackson’s adaptation of The Hobbit has been a success. To those who say The Hobbit trilogy is less dramatic or satisfying than The Lord of the Rings trilogy, it should be mentioned that they are very different “beasts”, one originally intended as a children’s novel, its follow-up more for older audiences. What Jackson has done is to keep the essential ingredients of the novels and expanded the material around them to make one long story albeit in two sections and with sixty years between them. It’s still a staggering achievement and worthy of as much high praise as can be doled out.

The same can also be said for the movie’s crew, including director of photography Andrew Lesnie, production designer Dan Hennah, and composer Howard Shore (and not forgetting the sterling work of second unit director Andy Serkis). These and the thousands of other people who have worked on the movies deserve some kind of reward for their efforts.

Rating: 9/10 – a rip-roaring, spectacular action movie to wind up the trilogy, The Hobbit: The Battle of the Five Armies is guaranteed to put a smile on the face of fans, and reassure those doubters that Jackson had made a mistake by manipulating the novel into three movies; but take heart anyone who thinks they’ve seen the last of all things Middle Earth, there’s still an extended edition of the movie to come.

My Top 10 Movies – Part Six

25 Saturday Jan 2014

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The Lord of the Rings (2001-2003)

Lord of the Rings Trilogy, The

D: Peter Jackson / 558 mins

Cast: Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin, Billy Boyd, Dominic Monaghan, Orlando Bloom, John Rhys-Davies, Sean Bean, Liv Tyler, Christopher Lee, Cate Blanchett, Hugo Weaving, Andy Serkis, Karl Urban, John Noble, David Wenham, Miranda Otto, Bernard Hill, Brad Dourif, Ian Holm

I know, I know, this is a bit of a cheat, three movies for the price of one and all that, but how can you possibly separate the greatest trilogy ever made?

There have been enough superlatives heaped on Peter Jackson’s finest hour(s), and while I’m tempted to add to the pile, I’m going to restrain myself and keep to the personal aspect that makes these movies mean so much to me.  And besides, everyone already knows how brilliant they are (sorry, couldn’t help it).

My first encounter with J.R.R. Tolkien wasn’t via The Lord of the Rings or even The Hobbit.  It was through a friend of mine who was into fantasy art; at his home one day he showed me a picture he’d drawn of a wizard (you can guess which one).  He told me the wizard was one of the main characters in a book he’d read.  He handed me a battered copy of The Hobbit and advised me that if I was going to read it I ought to be prepared for it to be a bit child-oriented.  And me, being a 14-year-old with ideas of being older in my outlook, declined his kind offer and went home instead with the first issue of a new sci-fi magazine called Starburst.

A year later, Ralph Bakshi’s version of The Lord of the Rings was released but I didn’t see it.  My friend the artist did and he thought it was quite good but he also mentioned it wasn’t the whole story.  I thought, “what’s the point of that?” (not knowing then of Bakshi’s plan to finish the tale in a second movie).

And then, in 1981, two things happened that brought me into the fold, so to speak.  My girlfriend at the time was reading The Lord of the Rings and would spend whole evenings working through it; she thought it was “the best book” she’d ever read.  She asked me to read it but I was still hesitant (I was working my way through Dickens at the time and fantasy fiction wasn’t high on my (slightly pretentious) list of genres to  read).  And then on March 8 (a Sunday) the BBC began broadcasting a radio adaptation of Tolkien’s novel in thirty minute episodes that had me glued to my stereo every Sunday for the next twenty-five weeks.  I read the book in between episodes, keeping up with the adaptation.  By the time the broadcasts ended on 30 August I was a Tolkien fanatic.  Now I read The Hobbit, and The Silmarillion.  I raved about the books to anyone who might listen, and later tracked down Bakshi’s movie on video (not as bad as I thought it was going to be; the live-action based animation is actually quite visually arresting).

I re-read the books, revisited the radio adaptation when it was re-broadcast in hour-long episodes in 1982, and generally looked upon the whole mythology that Tolkien had created as being one of the most incredible literary works I’d (eventually) come across.

Lord of the Rings Trilogy, The - scene

When it became clear in the late Nineties that a large-budget adaptation of The Lord of the Rings was being planned, with Peter Jackson at the helm, I felt a mixture of anticipation and trepidation.  First of all, it was going to be a live action adaptation, and even though Jackson’s Heavenly Creatures (1994) had proved he could direct something with a bit more depth than say, Braindead (1992), I still had my doubts.  As the scope of the project became known, the more I wondered if, and how, Jackson was going to pull it off.  And over three movies!

Now, thirteen years on, and with Jackson giving us The Hobbit as well, we all know I needn’t have worried.  The Fellowship of the Ring was like the best Xmas present anyone could have.  Its mix of the intimate and the grandeur of Middle Earth, and the level of detail, along with the sheer excitement of the action sequences made for one of the most rewarding cinematic experiences of my whole movie-going life.  In the first two weeks of its release in the UK I saw the movie three times.  When The Two Towers was released a year later, I was itching to see it, especially after watching Fellowship‘s extended version the day before (Jackson’s idea to give us longer versions of each movie on home video was a stroke of genius).  I came out of seeing The Two Towers overwhelmed and buoyed up by the emotional depth that infused the movie, and by the sheer spectacle of the Battle of Helm’s Deep (I couldn’t see how the Battle of the Pelennor Fields could be any better or more exciting; what did I know?).  The following year passed too slowly, waiting for The Return of the King to be released.  When it finally did, I can remember hearing the opening music and feeling a shiver run through me.  Please, Mr Jackson, please, I remember thinking, please have got this right.  And did he.  The Return of the King was an incredible achievement, a massive undertaking in its own right, and the culmination of a saga that had built to this monumental, emotionally-charged conclusion with barely a (hobbit) foot out of step along the way.  (And to those people who feel the movie should have ended with the coronation of Aragorn, the movies have always been about the characters and their journeys; to not see them make their farewells and re-take up their lives would have been a disservice to both them and the audience.)

The Lord of the Rings trilogy remains a phenomenal achievement, with stand-out performances – who can forget Gollum’s schizophrenic argument with himself in The Two Towers? – stunning location photography; a script that never lost sight of the emotional cores of its characters; confident, breathtaking direction from Peter Jackson; special effects that served the story and didn’t overwhelm things; and most of all, the creation of a wholly believable world where all this could happen.  But again, it’s the emotional element that makes the trilogy work, that keeps all of us who fell in love with the movies coming back time and time again, to revisit Middle Earth in all its glory and grandeur.  For many years, a friend and myself would take a day out to watch the extended versions right through, revelling in being able to spend time again with old friends such as Samwise Gamgee and Gimli, son of Glóin.  This trend has (sadly) lapsed in the last few years, but as an added memory to the original, wonderful experience of seeing the trilogy unfold over three magical Xmas’s, it’s easily the next best thing.  Going back to Middle Earth is, in its own way, a little bit like going back home after a long journey away…and what would Frodo and Sam say to that?

Rating: 9/10 – a stupendously impressive piece of filmmaking, bold, inventive, gripping, and with an emotional intensity few fantasy movies ever manage; just as there is only One Ring, Jackson’s enduring achievement means there is only One Trilogy.