LotR2-TTT-Seq14

[alatar]

Where is the horse and the rider?


Aragorn floats down the river, and it’s lucky for him that Númenórean blood begets so much buoyancy. The SS Aragorn runs aground. He sees a vision of Arwen and suddenly she’s there, playing lifeguard of the Valar. Didn’t Arwen also send some Valarian grace Frodo’s way? Is she giving away her immortality, bit by bit, and so later will appear almost human? Interestingly in this fairy tale it’s the princess’s kiss that brings the knight out of a death-like slumber.

It’s a horse! Not the heavy footfalls of those of the black ridden by the wraiths, but of a horse of a completely different color. The horse nudges Aragorn as if to say, “Wake up! Wake up before I have to kiss you again…” It’s Brego, the horse that Aragorn freed from Théoden’s service. How nice and fortuitous! Brego lies down so that the injured Aragorn can get into the saddle. You can see that this stunt took a lot of practice…it’s not easy getting actors to do what you want all of the time .

Brego takes Aragorn back to Helm’s Deep. You might consider that the horse is actually angry with Aragorn, and so takes him to a very dangerous place.

“Thanks for letting me go, big guy. I’ve been chased all over the countryside by wolves and wargs, had only grass to eat and there’s not an oat to be had. And I almost hung myself on that rope you left dangling around my head. You’re going to Helm’s Deep, buddy, and if Eowyn’s leech craft doesn’t kill you, those Uruks will.”

Well, at least now I can fret a bit less as the future king has returned from the paths of the dead. And I thought that Aragorn was a goner. The way this movie is going, maybe we’ll see Boromir at the end of all thing? Note that I wasn’t big on the whole 'lose Aragorn' departure from the text. It’s not that interesting, and it’s not like PJ didn’t have any source material from which to pull. Anyway…

It’s back to visions of Arwen.

Elrond tells her that it’s time to go. He speaks in Elvish (Sindarin?); she in Common. The sundering has already begun. Elrond wants her to go and he begins to make his case. Aragorn will not be returning. There will be multiple attempts on his life, both overt (the orcs, wargs and Uruks) and covert (the stew, Brego, Gimli’s humor). We’re even sending a host of relatives with Haldir to do him in, just in case.

Arwen’s counter argument is that there is still hope, meaning that she’s in love’s dreamy world that no logic/rationality can penetrate. Or a dream within a dream.

Elrond continues and tells her that even if every dream is realized that in the end it’s still going to be a bitter hell on Middle Earth. No hyperbole there. And isn’t the bitterness of which Elrond speaks more in regards to his relationship with his daughter? Or is he afraid of being the laughing stock of Valinor for all eternity? “Hey Elrond! Where’s your daughter? Oh, that’s right. She left you for some horse-kissing human. Ha ha!”

We see the words of Elrond take shape, seeing the funeral of the Elessar. As Arwen looks upon her beloved the kingdom passes by. King Aragorn is entombed; still Arwen stands by, mourning her love. Later she walks like a sad shadow under trees no more lit by sun nor moon.

Elrond continues as tears fall from the elf maid’s eyes. He’s made his way into her heart, and she affirms her love for her father.

In Elvish.

Arwen will go into the West, forsaking both love and Shadow. The elves start their journey to the Havens and I can’t help but think that this is some fraternity rite of passage. It’s odd that Elrond stays behind, and maybe that was the selling point for Arwen. “Father, I will go into the West, that is…if we can take separate ships as your long droning is driving me crazy!”

The wide shot of Rivendell, when the Elves with their swinging lanterns are crossing the bridge is cool as there is only one light in the Last Homely House on those eastern shores.

The future looks black.

[Elladan and Elrohir]

Incidentally, this sequence actually gives us a view of Arwen in her role from the book, though I'd say it's been overstated. In "The Tale of Aragorn and Arwen," we are told that Arwen "watched over him from afar in thought," or something like that. Can't provide the exact quote right now.

Ah, the pinnacle of King ThinElrondgol! I hadn't noticed the significance of what language Arwen uses in this scene, though; thanks for pointing that out, alatar.

The vision of the dead Aragorn is absolutely brilliant, even using the phrasing of the book. I love it, though I don't love how Elrond uses it.

The best part, of course, is when Elrond manipulates her by saying, "Do I not also have your love?" There's a loving father for you.

So off she goes, accompanied by Figwit, who is probably Elrond's choice for her as a husband.

The real reason Elrond stays behind is that he's got Galadriel on hold.

[Boromir88]

I don't mind the inserted scenes between Aragorn and Arwen. As I think it's good to show the "love" between the two of them. What would audience think if Arwen was in the first movie, is non-existant and he's spending his whole time wiht Eowyn, then suddenly he denies her and marries back with the Elf chick? I think the Arwen and Aragorn scenes throughout the movies, "the dreams," actually intensifies the love triangle between Aragorn, Arwen, and Eowyn. Something that would not have been as good, if Arwen was non-existant until the end of ROTK.

With that being said this horse scene and Aragorn off the cliff I absolutely despise. This is just senseless Hollywood at it's best. It doesn't add anything vital too the movie. And as we all know my biggest complaints against PJ is additions that don't contribute anything towards the movies.

I hear a lot of times when us bookies complain about something not being in the movies, the typical response is "You can't have a carbon-copy of the book. Stuff has to be cut out." And to tell you the truth, we all know this, Tolkien knew this and knew that in movies you have to cut out parts. And in rebuttal to "there's not enough time," I will say "How about the time Jackson misuses?" This being one of several examples. A useless scene as there's no need to have Aragorn fall off a cliff, the time taken up by this could have been used elsewhere.

[Elladan and Elrohir]

I don't think it's as simple as "Well, PJ has to cut stuff to make a movie of reasonable length." That's part of it, but he also has to make changes, and even in some cases additions. Because, obviously, you can't directly translate a book to film, and make it work. I used to think you could, but after hearing what Philippa Boyens has had to say, I now think differently.

That's not to say that I think the Aragorn-goes-off-the-cliff addition is great and should have been done the way it was. But I definitely think you can make an argument that this accomplishes some key things in the film. It deepens Eowyn's affection for Aragorn. It empowers Arwen to actually be able to do something significant in the film, which is important because Arwen stands for hope in this movie, and hope is one of its biggest themes. It provides a more dramatic way for Theoden to learn of the coming of the hosts of Isengard. There may be other reasons as well.

Again, I'm not saying I like it or agree with it. I'm just saying that there are reasons within the context of the film, and I can at least partially understand why they inserted it in there.

[Essex]

excellent point on the language Arwen uses Alatar - I also never noticed the change before

excellent shots of aragorn trotting back to helms deep on Brego - very arty shots I must say so!

no much more to add to alatar's good intro other than the music as Arwen leaves Rivendell is my favourite piece in the trilogy. I really thought they would use this piece heavily in ROTK, but alas no.

And Mr Shore didn't play this titbit in his live performance either. Ah well, you can't have everything.

PS sorry I'm so late adding to these discussions, too much time spent on the Outpost Gallifrey forum when I've had time over the past 6 months or so............