The Hobbit: An Unexpected Journey (2012)

Directed by: Peter Jackson

Written by: Fran Walsh, Philippa Boyens, Peter Jackson, & Guillermo del Toro

Based on the novel by: J.R.R. Tolkien

Players: Martin Freeman, Ian McKellen, Richard Armitage 

Setup: A comfortable Hobbit (is there any other kind?) reluctantly embarks on a quest with GANDALF (yeah, GANDALF) to reunite a pack of dwarves with their home under a mountain, along the way fighting inept talking trolls, orcs, and a ridiculously fast frame rate.

Review:  Having been a fan of The Lord of the Rings Trilogy in my youth (I’m still in youth… my “youthier” youth) I could not help but be excited to see this film based on J.R.R. Tolkein’s first novel about Hobbits (ergo prequel to the world renown film and book trilogy).  After a 9 year absence, Peter Jackson was returning to Middle Earth for a whole new trilogy of movies featuring appearances by many of the original cast and a brand new  “High Frame Rate” (HFR) method for displaying movies.  All of this information being provided months prior to the film’s release, it seemed as though none of it could go wrong.  Imagine my surprise when, despite the fact that this is a very enjoyable ride, all of this previously stated attributes were a large part of what did go wrong.

Now I may be unfairly cynical here; while it takes place in the same world, The Hobbit is much more of a children’s adventure rather than a fantasy epic (some may be surprised to find the book was written before LOTR).  Regardless of these differences and expectations, the tale of Bilbo Baggins is portrayed in exciting and entertaining fashion.  One could use the word “lighter” when comparing it to its sequel trilogy, as characters and situations exude much more humor than it’s predecessor.  This is all welcome for the most part, but with the updated setting trading magic and sometimes utter ridiculousness for the vitality and true suspense seen previously, shoddy shallowness does surface at times.

Still, production values are wonderfully high with beautiful effects and music as should be expected from this crew (and Howard Shore, back to continue scoring duties for Middle Earth). I also cannot deny joy in seeing connections between movies, as well as effective casting overall (looking at you Martin Freeman) and return of characters like Gandalf (Ian McKellan, providing a continuation of his award nominated performance).  While the story doesn’t exactly match the epic nature we might expect from experience, it certainly does provide joy and satisfaction.  

Ahem…now as I’ve decently laid into the story and movie on their own, it’s time to delve into the aforementioned problems I cannot ignore.  While the HFR version (film shot/displayed at 48 frames per second, when the normal rate is 24fps) was only released in supposedly one-third of the total theaters (probably due to negative word of mouth from early test screenings), it is also the rate that Peter Jackson intended for the film.  It may not upset me so much if it was meant as an experimental alternative but as it is, and even though he had the best intentions for vivacity and realism, the display I saw felt exactly like a high definition broadcast of Fantasy Masterpiece Theatre (if there can be such a thing).   It may lean more towards a certain form and idea of “reality”, but completely lacks in verisimilitude.  In essence, this term “reality” is subjective and open to many other factors besides visuals.  Regardless, the irony is palpable due to the fact that this vivid display only takes me further out of any “reality” attempting to be portrayed (this based on the idea that HFR was purposed for “reality”).  It may be that we’re too used to the 24 fps standard of the last 100 years, or that we just cannot visually process the greater amount of data provided.  Either way, 24fps gives a movie the “filmic” quality that makes it a film, displays verisimilitude, and doesn’t give a forced feeling of excessive speed (seriously, watch the characters in actions scenes; it looks like they’re being fast forwarded). 

But perhaps I’m being unfair; the new frame rate is not the be-all and end-all of the picture (no pun intended), and neither is the fact that much of the discourse tries too hard to connect with the previous trilogy (even to a slightly awkward extent with forced cameos).  Overall, when you avoid these factors (and the slight doubt that this story and method will work through two more films) The Hobbit stands alone as an entertaining journey with a identifiable lead character and theme; confidence can happily overtake comfort.   

Just make sure you check it the way God intended.

Tidbit: Guillermo del Toro is credited as a writer on this film, but also worked as director during an extensive pre-production.  However when studio and budget issues delayed production, he reluctantly left to pursue other projects.  Makes one wonder what he could’ve brought to the table…

Drink of Choice:  Taking place in Middle Earth, one must imbibe in the local libations.  Therefore I recommend Barliman’s Best, ale served in pints at Bree’s Prancing Pony Inn 

Oh… I forgot we’re not really in Middle Earth (and the characters are far from Bree anyway).  Better go with Mead, which apparently Dwarves love and it exsists on this Earth.  Any Mead should do; all are generally produced with a mixture of honey and water.