With Frodo paralyzed and kidnapped by the Orcs, and with the doors of Minas Tirith definitely broken, the last part of a long film begins, to which, in my opinion, many scenes are left over, and some of those that aren't left over are so forced of staging and direction of actors, who seem directed by another, such as that of Denethor's attempt, totally crushed, to burn his son Faramir alive, interrupted, yes (like so many other scenes), on the other, which is quite better directed, that of the face-to-face confrontation between Gandalf and the Witch King of Angmar, which ends very differently from the novel, and gives rise to the arrival of the Rohirrim, as we can see in The Lord of The Rings: The Return of The King.
It is strange, but what had hitherto been an amorphous battle, in terms of its rhythm and its tension, that every little time collapsed, unable to stand long, once the riders arrived, bring an intensity and an epic that They seemed impossible a few minutes before. The emotion is sincere when King Theoden shouts "Death!" (Death!) For the third time, and the charge is mounted with precision and wild violence. There are some planes in this battle that remain unbelievable, but to those who know something of medieval wars it will seem totally realistic (although some expressed their disbelief), when the horses pass over many rows of orcs. That literally does cavalry cavalry.
It makes no sense to return to Denethor and his madness at that moment, especially when we had so emotionally disconnected from that character. The assembly, I insist, is a calamity. Luckily we return to the fields, and we have the brutal (there is no other word to describe it) charge of the huge combat elephants. Theoden makes the tragic mistake of charging against them head-on, and the massacre is large. Jackson makes the right not to play music, and there are electrifying moments, like when a giant elephant crashes into another, watch online the film to see for yourself.
It is a bit forced, however, that Eowyn can move so easily between so much massacre in The Return of The King, and that with two swords he can do what hundreds of arrows cannot. The camera is too nervous and the details are not well appreciated. The crucial moment in which Eowyn wins, against prognosis, the Witch King, is again split into several assembly fragments. In this way, its narrative power is dissolved. At this time, too, there is a beautiful moment, already commented on Blogdecine, which seems worthy of the best moments of ‘The two towers’.
Eowyn confronts the most powerful Nazgul, who breaks his shield and arm, Jackson, with a bad feeling in my view, fragments the moment and returns with Aragorn and his green ghost troops (by the way, they jump off the ship, and the graphic quality is that of a videogame of the 90s ...). We return to Eowyn, and everything is very washed away. But with the ghosts, we enter the end of the battle, topped by a painful scene in which Legolas, he alone, loads the entire troop on a giant elephant, and the giant himself, without disheveled. Very little imagination, and thus everything ends very soon, and the accumulated tension is undone without an appropriate crescendo.
Returning with Sam and Frodo, in The Return of The King, the scene of the tower of the Orcs is quite successful, although it seems run over and without claw, and like the rest of the film, it does not reach beyond a colorful comic. In the fight that breaks out, Jackson's camera looks more like that of an operator with parkinson's, than that of a shaft director. Thus the rhythm is not achieved, but with a more elaborate and more truthful staging. The segment of the orc tower novel is much richer in detail, and more exciting than this, but here, unlike elsewhere, they didn't want to extend too much, watch now the movie and enjoy yourself.
It is a valuable trilogy, with enough cinema in general, but by no means something as beautiful as ‘Star Wars’, inspired in part by the Tolkian hero’s journey. Jackson may be happy to be the director of this success, which has not a few anthological sequences, and so much effort, and such good actors. Of course, with nuances.