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Originally Posted by alatar
Quibble.
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Alatar? Quibble? Surely not!
For me, the cinematic strength of the Battle of the Pelennor Fields, as depicted on film, lies in its logical weakness. It is too structured to be truly credible as a battle – the key events of the battle occur in a particular, well-defined order, rather than chaotically as they would in reality. For example, the arrival of the Southron Mumakil is rather too conveniently timed to follow on from the charge of the Rohirrim. Where were they before? Why did they not arrive with the main force? Even Grond is quicker to the battle than them.
Yet, from the perspective of the film narrative, I think that this works really well as it gives the audience key reference points and each successive event builds on the previous one to create a distinct “story-line” for the battle.
Theoden’s involvement in the battle is a good example of this. It follows on from the desperate moments involving the breach of the Gate, Denethor’s final descent into madness and Gandalf’s (much criticised) seeming defeat by the Witch-King. At this point, all hope seems to be lost. The arrival of the Riders brings new hope and Theoden’s address to them, followed by the charge itself and the scattering of the Orcish marauders, is incredibly stirring.
But then hope begins to fade once more, with each new development building on the previous one to heighten the tension. First, the arrival of the Mumakil looks to destroy the hope brought by the charge of the Rohirrim. But the Riders rally and begin to make inroads against the Oliphauntine host. Then, just as hope is building again, the Witch King arrives to confront Theoden.
This emotional roller coaster, with hope following despair following hope following despair continues beyond this scene, culminating with the arrival of Aragorn and chums (Elvish, Dwarven and Dead).
Now, while I can understand how individual scenes within the whole may give rise controversy (the Witch King’s confrontation with Gandalf and the strange, green, amorphous depiction of the Army of the Dead, for example), each marks a key event in the battle and creates a solid narrative structure which the audience can follow, and which brings real moments of tension and joy.
And some of these moments are captured magnificently, for me, in the expressions on Theoden’s face, each time that he turns to face a fresh challenge – by turns despairing, resigned and determined. For my money, Bernard Hill’s performance really shines in these scenes and is one of the highlights of the battle. Despite, perhaps, a controversially negative introduction, he gives Thedoen a truly and suitably worthy end.
My only real gripes with these battle scenes are the fact that it is occasionally difficult to make out what is happening (although that, I suppose, does add a chaotic feel to it, despite its structure) and the inexplicable absence of the Easterlings.
Oh, and the long shots of the Army of the Dead. But that's for another thread ...