«« Previous Page Next Page»»

THE ESSENCE OF EVENTS

Peter Jackson's Adaptation of "The Fellowship of the Ring"

There is only one character in Jackson’s FotR who is not present in some form in Tolkien’s text. This is Lurtz, leader of Saruman’s Uruk-hai, sent to capture the Ringbearer and kill his companions. It was cynically commented before the film’s release that Lurtz exists only to provide a character who can be marketed as a tangible monster-type villain, immortalised on posters, and given away as a plastic model free with a Burger King kids meal. To an extent, this is true. Lurtz has little screen time and his name is never mentioned in dialog. Were it not for merchandising reasons, he would undoubtedly be credited simply as ‘Uruk-hai number 1’. However he does play a pivotal role in the film's conclusion.

Modern audiences come to the cinema expecting to see monsters both spectacular and horrific. This Jackson ably provides, with the Balrog and Sauron himself impressive in their demonic CGI glory. However, even with groundbreaking special effects, there is still the need for a tangible villain on a more human level.

Understanding this, Jackson has brought Saruman to more prominence in the film. Christopher Lee is an ideal choice for this role, giving the character a menacing and commanding screen presence. However, as with many of Lee’s screen villains, he plays the role with such charisma that a part of you secretly wants him to win. Here, Lurtz is a useful device, representing Saruman’s evil literally made flesh. Not evil cloaked in smooth words and convincing argument, but animal savagery, red in tooth and claw.

In the novel, the fall of Boromir is described in only the vaguest detail, in the memories of a half-conscious Merry, and the dying words of Boromir himself. This gives Jackson the latitude to interpret this scene in a way which best serves the flow of his film. The impression built up in my mind from Tolkien’s text was of Boromir caught in the crossfire from many orcs while defending the two young hobbits. Perhaps this was Jackson’s original intention, but filmmaking is a fluid process, and scenes evolve from page to screen to accommodate the available resources. This normally involves making concessions for a lack of time or money, but sometimes valuable opportunities present themselves unlooked for.

This was the case when Jackson hired Lawrence Makoare, the Maori actor underneath Lurtz’s prosthetic visage. Jackson and crew were so impressed by Makoare’s performance that the writers substantially extended his part, commenting that ‘the power and strength (he) gave Lurtz is as real and frightening as we could possibly have wished for’.4

He does indeed do a fine job in the role. With no dialogue other than his oath to Saruman, and with his face obscured by latex and fangs, Makoare conveys contempt for his enemies, and a savage enjoyment at the suffering of his victim. And Boromir is without doubt a victim here, and not an opponent.

The death of Boromir is a difficult scene to get right. If he had simply been wounded by the stray arrows from a few faceless orcs, the audience may have been inclined to feel ‘serves him right, the dastardly traitor.’. By creating a well-crafted villain, who so obviously enjoys seeing Boromir suffer, the audience despise him and in turn, feel sympathy for Boromir.

In The Two Towers, we are given considerable insight into the attitudes of the Uruk-hai who capture Merry and Pippin. This detail unfolds over an entire chapter with lengthy dialogue as the factions argue. Lurtz’s time on screen is brief, but with little more than a few grunts, he effectively conveys the essence of what Tolkien describes.

Top ««Previous Page Next Page»»

Soon to be published by the Tolkien Society