Speaking in Tongues at the Lonely Mountain

Certainly, I'm not the only one who walked into the theater this week to see The Hobbit: The Battle of the Five Armies with mixed emotions, including anticipation, curiosity, and sadness at the thought of this being the last film. Having seen Peter Jackson's approach to Tolkien in the first two Hobbit movies I was somewhat prepared--but not totally--for the way he closed the trilogy.

Mr. Jackson's Hobbit is not your mother's Hobbit (or in some sense, even J.R.R. Tolkien's). The characters, the setting, and the plot are there, but the theme, the emotional import, the direction, and the tone have all undergone a sea change. Knowing the great love fans of Tolkien have for the original material (I share the feeling), I think it was risky for Mr. Jackson to take the road he took. If you come to the last film expecting a warm farewell to beloved characters, I think you'll come away baffled. Rather than sticking to the agenda of beguiling children's tale, the last film in particular seems to me to have outgrown its genre. Personally, I wouldn't take a kid to see it.

I'm guessing many fans are shaking their heads and wondering why this had to happen. Considering what the book is really about--a company of adventurers in search of treasure and territory who run afoul of enemies and end up fighting over it all--I wonder if there even was a way to keep the tone light without seeming at least a little disingenuous in view of the world we're living in. Is there a day that goes by when we don't read about territorial disputes, ambition, and the bloody consequences that ensue when they aren't held in check? In the real world, none of this is good news, so why would it be in a movie? Still, we seem in some ways very far from Middle-earth here. It is more as if the film is really about something else.

My sense of the three Hobbit films is that the first one is closest in tone to the book, with all the bonhomie and excitement of a shared adventure as the companions set out on their quest. They actually do have some claim to the territory and treasure they're seeking, they seem like good fellows, they have a wizard on their side, and Bilbo Baggins, a hobbit of unimpeachable character, falls in with their plans. He is undoubtedly reluctant at first but more from a sense of the inconvenience and bother of it all than from any moral concern. The companions meet some nasty enemies, fight their way out of tight corners, and display a becoming sense of loyalty and courage.

It's in the second film that the moral ambiguity really surfaces. Elves and dwarves are revealed to be at one another's throats; greed and antagonism make the entire enterprise seem less noble than it did at first. Even Bilbo, who now possesses the ring of power without fully understanding its effects, discovers in himself an unexpected viciousness. In Lake-town, to which the company eventually makes its way, a self-serving leader lords it over the population. In the end, the dwarves' efforts to recover Erebor awaken the dragon, a consequence everyone seems to have expected without considering the danger this might pose to the innocent inhabitants of Lake-town.

In The Battle of the Five Armies, the strain shows most tellingly in the disagreements among the members of Thorin's company. Thorin angrily asserts that someone is hiding the precious Arkenstone from him; he's actually right, but his bitterness over this assumed betrayal begins to consume him. The mayor of Lake-town abandons his people to Smaug's wrath and dies, smote by the falling dragon, creating an opening for Bard to take over. When Bard comes to Thorin to demand Lake-town's promised share of the treasure, Thorin goes back on his word--nor will he share any of the treasure with the elves, who also have a claim. While the elves and the people of Lake-town prepare to battle with the dwarves, the orcs and their allies show up, forcing alliances to shift again as the erstwhile enemies prepare to battle a common foe.

This is pretty much in line with the book, but the battle itself is much less sanitized than in Tolkien's handling of it. There is great courage shown in the battle, and there is also a sense that some enemies, like the orcs, are truly dangerous and must be stopped. The fighting itself is fierce and bloody. In the end, several of the company die in a nasty and protracted fight with the orcs on top of Ravenhill, including Thorin. The effect of the finale is not so much heroic as disheartening.

By this time, I was not so sure the dwarves had done the right thing by returning to Erebor or that much had been accomplished aside from some people getting richer. Who was having a good time on this quest? (Nobody, by now.) The ring of power is now abroad in the world, the company is diminished both in numbers and moral standing, many lives have been lost, including that of Kili, the sweetest and most valiant of the dwarves, and the certainty of more war looms on the horizon. Of course, this all leads to the War of the Rings, a contest in which the moral certainties seem to be much clearer than they are here.

I wonder what that trilogy would look like if Mr. Jackson were making it now instead of a few years back, but fortunately it's already been done. The Lord of the Rings depicts the hero's quest as a way to conquer one's own shortcomings and to sacrifice for the common good. The battles are not only with one's enemies but with one's self, and we need that kind of story, even more so than this kind. The Battle of the Five Armies shows the tragedy of war, its senselessness, and the too frequent result that it leads to more war. The film also has a marked sense of suspicion about the uses of power. Even a seemingly "good" figure like Galadriel is transformed by it. (Actually, I found her to be the most terrifying thing by far in the battle to vanquish the Nine and can only think that was the intention.)

The Lord of the Rings deals with the results of events enacted in The Hobbit and shows the good that can come when disparate parties realize they must overcome their differences to preserve what's good and useful in their world; as depicted by Jackson, it's the more optimistic of the stories. It's ironic that The Hobbit, which comes across as something of a lark in its original form, has become more somber than The Lord of the Rings on film. Perhaps Mr. Jackson is trying to point out the difference between a quest based on the desire for wealth and advancement and one in which the key theme is sacrifice and endurance.

In my essay last year on The Desolation of Smaug, I talked about my sense that the film's characters sometimes played more than one role and that that fluidity was in tune with the ideas of James Hillman, who believed that we all play multiple roles in life. I had an even stronger sense of that happening in this film. When Smaug attacks Lake-town, we see Tauriel looking up at the dragon from the boat in which she is escaping with a curious smile. A strange thing perhaps, unless (just for an instant) Smaug represents something other than an enraged dragon. Or is it rather that Tauriel herself is someone other than she appears to be?

In another scene, the rather horrifying battle on Ravenhill, the orc Azog pauses for an instant with an almost kindly smile. There are several instances like this throughout the film, in which a different personality unexpectedly appears in place of the one you were just looking at, causing a bit of discontinuity, a shift in energy. What you thought was happening a moment ago then seems to be called into question. I read last night that even Peter Jackson used a double in his own cameo scene, so that from one angle, you're seeing Peter Jackson, and from another, you're seeing a stand-in for Peter Jackson. I don't know if that was merely a coincidence or if it says something about what's going on in the film.

To what end, you may wonder? The effect is jarring, and I confess to being mystified. If the purpose was to demonstrate that a character can have more than one side, I'm sure Mr. Jackson could have handled it with more subtlety and conviction. In the end, I was left with the feeling that I no longer knew who the characters were or what they represented. It was a little bit like the film had been made in a foreign language and translated awkwardly, so that the lips were moving but didn't match the words being spoken. That's surprising for a director of Mr. Jackson's ability.