[Man-of-the-Wold]

For me, too, the Theatrical Film-TT goes on the shelf, 'cept for one marathon showing with theaterical FotR and RotK next year.<P>For me, the Wargs, MIA Aragorn & the Coming of Haldir's Special Forces are grating as a Book-lover, even as I do enjoy watching them on Film, and they can be justified as showing things that in the Books are relate second-hand, and the southward march of the Lothlórian Elves does echo (not coincidently in my mind) early JRRT conceptions, as found in HoME XII/XIII, which I know Fran and Phillipa have read. Overall, the middle chapters of Book III are simply conceptualized somewhat differently by the Film but in a generally acceptable way.<P>The failure of the Entmoot to directly resolve to go to war is for me a petty divergence and distraction, which I detest, and which conflicts now in EE-Film-TT with Gandalf's avalanche metaphor and allusion to the rise of the Ents.<P>The Arwen stuff is for me OK speculative background (except for Agent Elrond's whining), consistent with one of the most sublime things in the English language——App. A, I (v), and perhaps, retrospect by JRRT to have done more with that Lúthien-like character.<P>I think the EE largely rescues Faramir, as much as any character, despite the unavoidable simplifications, abridgements, ommissions, compression of time, re-juxtaposition of lines, scenes & places, visually driven renderings, compositing of characters, changes of emphasis, and other such devices to adapt a story to screen.<P>Even in the Book, other threads have pointed out how Faramir's conversion and enlightenment is not quite so immediate or clearcut as some would like to recall. But that is all much too subtle and verbose to be ever depicted on film, except for one based only on Book IV.<P>The EE-script obviously puts the emphasis on Faramir's personal struggles with proving himself to his father, and living up to the standard set by Boromir. This is a lesser subtext in the TT-Book, where the One Ring is subtly much more of a forgotten and secretive matter of lore, anyway. The filmmakers probably wanted to bring out and stress this family dynamic for purposes of the RoTK-Film, as it is much more prominent between Denethor and Faramir, even in Book V, including but not limited to being the source of Denethor's crushing guilt.<P>In any event, the filmmakers deserve to be applauded for maintaining the essential elements from the Books, asserting many key themes and remaining largely true to their spirit. Much more could never be hoped for.<P>Frodo's encounter with the Winged Nazgûl is the one really <B>substantive</B> addition or divergence between Book-TT and EE-Film-TT, in terms of the scenes in question. There are reasons for it, like going to Osgiliath, so that they can show what in the Books we are only told about regarding the battles there. It also reflects, for better or worse the filmmaker's desire to make the most of the special effects that they've created, and their somewhat overwrought drive to dramatize or melo-dramatize everything to the unth degree.<P>This also explains the line about Faramir's life being forfeit, which does not mean he'll be executed, only that that is one possible outcome for his disobeying a standing order. This is not so different from the Book, where we are to understand that Faramir (even if within his discretion) is taking a very tremendous step in exception to the laws and commands for the security of Ithilien. But for the movie, the point is made that much more clearly, quickly and forcefully. And that's Entertainment!