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Grr. Return of the King makes me angry.
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<blockquote data-quote="Umbran" data-source="post: 1884730" data-attributes="member: 177"><p>No, I think I am the one not being clear. Let me try again...</p><p></p><p>The problem lies in one of the differences between film and literature. In a work of literature of length, you don't have a single climax. You have, in fact need, multiple climaxes. In LOTR, the greatest climax is (perhaps arguably) the destruction of the One Ring. Then, given some time and slow prose after that, the reader is ready for another, smaller climax in the Scouring. It works (for some) in a written work of length.</p><p></p><p>Film doesn't have the same luxury. Films are but a few hours, fleeting by comparison to the time it takes to read the written work. And that brings up the problem.</p><p></p><p>The destruction of the One Ring must be one of the climaxes of the film. The event is important, the most important of the age. You cannot understand why the hobbits go through the trials, and understand the changes they've undergone, unless it is made important, and that makes it a climax point. You cannot notably reduce the emphasis of that point - it is built too strongly into the plot and character development.</p><p></p><p>Having done that, anything else would be a letdown. I'm sorry, but dramatically the Scouring simply isn't as strong, because it isn't as important. Yes, it means a lot to the hobbits, but if you set it and the One Ring side by side, as they must be with a film's time constraints, the Scouring loses in the eyes of the audience. </p><p></p><p>I simply don't believe the best of spin doctors could change that, and still have the characters be plausible. I'm sorry, but it is in the nature of the beast that is film.</p></blockquote><p></p>
[QUOTE="Umbran, post: 1884730, member: 177"] No, I think I am the one not being clear. Let me try again... The problem lies in one of the differences between film and literature. In a work of literature of length, you don't have a single climax. You have, in fact need, multiple climaxes. In LOTR, the greatest climax is (perhaps arguably) the destruction of the One Ring. Then, given some time and slow prose after that, the reader is ready for another, smaller climax in the Scouring. It works (for some) in a written work of length. Film doesn't have the same luxury. Films are but a few hours, fleeting by comparison to the time it takes to read the written work. And that brings up the problem. The destruction of the One Ring must be one of the climaxes of the film. The event is important, the most important of the age. You cannot understand why the hobbits go through the trials, and understand the changes they've undergone, unless it is made important, and that makes it a climax point. You cannot notably reduce the emphasis of that point - it is built too strongly into the plot and character development. Having done that, anything else would be a letdown. I'm sorry, but dramatically the Scouring simply isn't as strong, because it isn't as important. Yes, it means a lot to the hobbits, but if you set it and the One Ring side by side, as they must be with a film's time constraints, the Scouring loses in the eyes of the audience. I simply don't believe the best of spin doctors could change that, and still have the characters be plausible. I'm sorry, but it is in the nature of the beast that is film. [/QUOTE]
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