The legacy of Under the spell of the Ring, both on the page and on the screen, is huge. The world of Middle-Earth created by JRR Tolkien is one of the most legendary and beloved fantasy universes out there. The original books were published in the 1950s and were considered unfilmable for the next half century. However, when the trilogy of films directed by Peter Jackson was released in the early 2000s, that all changed. Now Jackson’s films are considered one of the greatest film trilogies of all time and an unparalleled cinematic achievement.
When The company of the Ring was released in December 2001, it immediately exploded into a worldwide sensation. Not only was it a hit with most of Tolkien’s die-hard fans, but it was loved by critics and the general public alike. With the release of The two towers a year later, this momentum continued to grow to even greater heights. However, the real top of Under the spell of the Ring came to the screen in 2003 with the release of the last chapter, The return of the king. With a theatrical version of almost 3 hours and 30 minutes, The return of the king became only the second film in history to gross more than a billion dollars at the box office. Now, two decades later, the immense presence of the film is still there. Here’s how the final Lord of the Rings film holds up after 20 years.
How it adapts the book
Jackson’s versions of Under the spell of the Ring are considered one of the best examples of how a book can be adapted to the screen. They do this by striking a delicate balance between an utmost fidelity to the material and also the realization that some things need to be changed when the medium of the story changes. There are essential differences between all Lord of the Rings movies and their written counterparts. This is extremely true with The return of the kingas there are many important characters, moments and storylines that are completely left out of the movie.
A key figure omitted from the film is a Gondorian Citadel Guard named Beregond, who befriends Pippin and Gandalf and plays a vital role in stopping Denethor’s madness to claim Faramir’s life. The actor Ian Hughes was supposed to have been cast as the character, but his role was reduced during the editing process, which led to the character being renamed Irolas in the final cut of the film. Another notable exclusion is the encounters of the Rohirrim with the Drúedain, a gruff people in the woods, on their way to Gondor. However, the most famous sequence for not making it to the final film is the scouring of the Shire.
As one of the last chapters of the book, it describes the arrival of Frodo, Sam, Pippin and Merry home in the Shire. Unlike the movie, where their home is as peaceful and happy as they left it, the book shows that the Shire was not immune to war and industrialization. The four hobbits then stage a revolution of sorts against the invaders who have claimed their land at the behest of the wizard Saruman.
One of the biggest changes to make when customizing The return of the king was about the structure of the story itself. Tolkien’s book was split into two halves, with the first following Aragorn, Legolas, Gimli, Gandalf and co. during their battles in Gondor, Rohan and at the Black Gate. The second half then focuses solely on Frodo, Sam, Gollum and their journey to Mordor, before tackling the wider endings of the story after they reunite with the rest of the Fellowship. The film adapts this so that the two stories are intertwined and the film jumps back and forth between the two.
The story in Gondor and Rohan unfolds on film much the same as in the book, but Frodo and Sam’s is very different. Their story inside The two towers going so far as to follow them through Shelob’s lair and Frodo’s capture by the orcs in Mordor. So even though that point in the story comes in handy The return of the king approaches its third act, which is the starting point for the book. Because of this, Frodo and Sam’s journey through Mordor is described in much more detail in the book. Their journey home gets the same treatment, as the book pretty much follows them every step of the way.
How does the movie hold up?
The reputation that The return of the king cannot be stressed enough. It is widely regarded as the best movie in the world Lord of the Rings trilogy, and features many of the series’ most iconic moments. From the prologue depicting Sméagol’s finding of the One Ring, to Éowyn’s confrontation with the Witch King, the numerous great war speeches of Aragorn, Gandalf and Théoden, and of course the ring’s devastating climax, there are countless incredible and memorable stories. sequences found throughout the film.
It was a massive success at the box office and an award darling throughout the 2003-2004 awards season. It was famously nominated for 11 Academy Awards, winning them all, including Best Picture, Director, and Adapted Screenplay. It remains a huge draw to this day, which is why it’s being re-released in theaters so often.
It feels silly to even ask if it deserves all that praise. Of course it does. The return of the king is everything it was meant to be, delivering a cinematic experience that defined its time. From a story perspective, the movie is an epic wrap up of all the stories and characters that viewers had fallen in love with over the previous two installments. It does more than just hold the landing. It ramps up the drama and emotion of its story until the audience is literally on the edge of their seats, after which the movie stays on the landing for about four consecutive runs. Talk about a victory lap.
In general, Jackson’s cinematic adaptations of Under the spell of the Ring are excellent interpretations of Tolkien’s legendary work. They are the kind of adaptation that can never really be bettered. That’s not to say that no one can ever attempt the core story of the Lord of the Rings books to another medium again, but it would be an impossible task to do better than Jackson did with this trilogy.
The films manage to capture the magic of Tolkien’s work and bring it to life on screen in a way that is respectful of the original work, while adapting and supplementing where necessary. Although there is no Tolkien adaptation, whether that be The Hobbit, The rings of power, or other stories will inevitably make their way to the screen, may one day replicate the sheer brilliance of the original works, Jackson’s Under the spell of the Ring came as close as possible.