LotR1-FotR-Seq12

[alatar]

The secret of your beauty
And the mystery of your soul
I've been searching for in everyone I meet
And the times I've been mistaken
It's impossible to say
And the grass is growing
Underneath our feet. - The Moody Blues

The Eight run towards the Golden Wood, though only two I presume know what this blossom holds. Anything would be better than the Black Pit, or to be found on the ground with the orcs on the hunt (which, being Morian orcs, luckily enough don’t come out to play in the sunlight). As the troop enters the forest, the background music isn’t the only thing hinting at otherworldliness. Those leaves that fall slowly by make it seem that some time barrier is being crossed. The imagery is colorized to be sure, as indicated in the Appendices, but it still is great to see. It’s like each frame of the scene is “enhanced” and all colors are new and fresh.

Gimli starts expanding our knowledge of the White Witch of Lorien, and that’s starts out okay, but then we have to have the buffoonery that beings here and seemingly never ends. But before I complain more, I’d like to say that the scene is very detailed, and you see the care by which John Rhys-Davies’ costume was assembled. And remember, most of R-D’s acting is through his eyes, as he wears many uncomfortable prosthetics.

Frodo begins to hear a whispered voice in his head, but as it’s Cate Blanchett, I kind of envy him as the voice in my head is myron cope – I’d trade any day.

Anyway, Galadriel continually creeps Frodo out with pop-flashes of her eyes and stating that he is carrying great evil into Lothlorien.

Foxy Gimli nearly walks into an arrowhead, and, okay, maybe he wasn’t paying attention. One cliché in movies that I’ve always found annoying is the ‘limited view’ Gotcha! Most people, even when looking straight ahead, still catch movement in the periphery out about 90 degrees (from the nose). So when something just ‘jumps out’ at actors in a movie, it’s not very realistic, as, unless the jumper is well-hidden, you’d see them coming.

Now I’m just sure someone will harp on this, but before you do, let me explain: Assume that these elves are so well hidden that they can catch a bloviating dwarf off his guard. Was this due to the fact that these are Galadhrim on their home turf? A dwarf is that unaware? But what about when Arwen snags Aragorn? AD&D rules have Rangers being surprised 1 in 6 (and if THAT’s not the last word…). And I assume that the elves did not drop from trees nor are capable of superspeed or teleportation. So my question is, in PJ’s Middle Earth, why are the elves so lousy at fighting, as seen in TTT?

We’ll table (or take off the table, for my cousins) this discussion, but just wanted to point it out.

Haldir notes that Gimli breathes loudly, and the arrogance is perfect – so is the quote. We’re next up on a flet, some time later that evening, and the sparing between Haldir and Gimli is good. Gimli is not a clown, yet we assume he says something uncomplimentary. Aragorn, as will be seen later, acts as the referee – our little Ranger is growing up and becoming a leader! Take pictures.

Haldir channels Galadriel for a moment, and we’re getting so redundant that I wonder if next Frodo will be made to walk to Caras Galadhon blindfolded with a sign, hanging from his neck, that reads, “I bring great evil.” This additional scene helped the bareboned theatrical version, but to waste it on repetitious dialogue? I can almost hear PJ saying, “We wanted to make sure that the audience didn’t forget about the evil of the Ring, and you know repetition works well in commercials…”

After Haldir pronounces judgment, he gets the joy of some words from Aragorn, and the conversation that I ‘hear’ is so silly that I’ll spare you. Almost.

“…And I’ve been traveling for days with four midgets, a dwarf, one of your buddies and some guy who hates me, and I need to get away for a while. If I hear, ‘Are we there yet?’ one more time… Come on, dude, have a heart and let me in. Here, here’s five coppers.”

The FotR await their doom, no one happy about their current predicament. Boromir, who again I like more than you-know-who, consoles Frodo over Gandalf’s death. His betrayal later is even darker as here the two sit in the trees of Lothlorien and he seeks to help his brother Frodo. You just have to like this character, as played by Sean Bean, and PJ has made me appreciate Boromir more than I did when reading the books. Sure, he’s a warrior and not in the class of his brother or Aragorn, but he’s a common man who understands simple common things. There’s no air about him – ya, he may boast and brag – but he’s one of us, not some king on a throne or some distant elf-dating one-note.

After a change of mind (and three gold pieces and a pair of Rivendell-made earplugs ), Haldir leads the eight to Caras Galadhon. Like the walls of Moria, I wasn’t really impressed – it’s just a clump of trees.

As they enter the city you hear the otherworldliness in the chanting voices. It’s definitely not Rivendell, but that wasn’t totally elven, as is this place. PJ may have had a time putting this chapter to film, as how do you film Eden? It’s like portraying a 3D world in 2D – some things just don’t translate. Still…Not that I hated Lothlorien – the EE version is much better than the theatrical – but I got the feeling that we’re going to meet aliens, as in Spielberg.

We meet the Lord and Lady of Light. Does Frodo see them this way, or does everyone? Merry’s face may have answered that question. Cate Blanchett was a good choice for the Queen of the Golden Wood. She’s beautiful - not young, like Arwen appears, though not old. And her voice is deep and just so…I don’t know. Authoritative?

And there’s that guy she’s standing by, whoever he is… Celeborn, like Elrond, starts rattling off, and he seems a bit mechanical. Whatever – I’m still looking at Galadriel. Did you notice the sparkle in her eyes? It’s noted somewhere that when they filmed Cate, they used a light-thing with a bunch of little white lights attached, unlike when filming any of the other characters. You’ll see, if you look, white sparkles in her eyes, whereas in the other characters you may see only one sparkle. Once someone points it out to you, you can’t but help look for it.

But back to Celeborn. Was that the first question on the theater-goer’s mind? Did the Eight reach Lothlorien in complete secrecy? Whoa - I just can't wait for the answer...

Legolas states that the creature that Gandalf faced down was a 'Balrog of Morgoth'. Cool that.

And like in the book Galadriel probes each of the eight with her eyes. In Gimli I see reflected love; in Boromir fear. The Queen tells them about hope, about the quest hanging in the balance, then starts to send them off for some R&R. As she does this, she has a few special words for Frodo, and we end with a shot of her eyes, which in this shot are not attractive. Back on the ground, we see Legolas doing that elven 'catwalk' walk, and as the scene started, his twin did the same on one of the tree bridges. Didn't like that, as to me the elves aren't being portrayed as otherworldly, but shallow and two dimensional - CG - or something. At least Haldir appeared to be living and breathing.

As the elven choirs sing Gandalf to his rest, Gimli relaxes and Aragorn oddly enough sharpens his sword. That's out of place, as here there is peace and no need to prep for war. And why wouldn't he hand it off to some elf geek that for the last thousand years or so studied sword sharpening? Sam gets his two cents in about Gandalf's fireworks, and that's a little gem.

Why does Aragorn slug Gimli? To this day I haven't been able to figure out why, though surely it makes sense to others.

And now we have Aragorn counseling Boromir on taking some rest. Mr. Swordsharpener, the psychiatrist, is in the office.

Boromir's reveals his heart, and it is touching. This is not some evil man, waiting in the wings for a chance moment to seize the Ring. Here is a soul that stands on an edge, a precipice, and is not sure which way leads back home. Boromir seems to be torn; does he sacrifice his father and the realm of Gondor or reach for the Ring, sacrificing his honor and heart and all the ideals for which he has lived. PJ makes Boromir so much more sympathetic, as does Sean Bean. Reading about his passion is one thing, seeing Boromir struggle in the land between good and evil is another.

There go I.

Aragorn is neither as passionate nor compassionate as the Steward's firstborn. And you see Boromir reaching out to his brother, his liege - not King yet, but that too will come. Show me where dishonor or evil lies in this character? Though he is ailing, sick with the ring’s bite, he still reaches for his brother Aragorn. And think about it - a few minutes ago he was dissing Lord Aragorn in Rivendell. Just goes to show ya what a well-thrown sword can do for a relationship.

Elf feet leave prints in the grass.

Galadriel, walking like a typical elf, shimmers by. Assumedly Frodo is called, and so he follows her. How PJ resisted having Frodo kick the sleeping Pippin is beyond me - oh wait, we’ll save that kind of humor for TTT. Anyway, Frodo catches up with the daughter of Finarfin as she reaches her magic birdbath.

Just for a moment, and pretty silly, but what if the mirror were a hot tub?

Galadriel fills the silver basin with water after asking Frodo if he'd like a looksy. Here she seems a bit alien and scary, like she has the goods on you and is just playing you out a bit for her own fun. After a moment of doubt the mirror begins to show clips from the movies. There's Legolas, signifying what I have no clue. Sam and Pip give a look like they're awaiting Frodo. Then we're back in the Shire - under new management - and someone must have left her curling iron plugged in while out dancing at the Green Dragon. We see hobbits in chains, and Sam is whipped. They are being led to the mill. Grist or gristers, I'm not sure, but it's not good.

But why is Sam there, as if the Ring were recovered, surely Sam wouldn't make it back to the Shire? And if this is a variation of the past, well, short of a wormhole opening up, who cares? But I guess the message is that life could get bad for the hobbits, and we needed to see a hobbit that we know in chains and pain. Except for Pip, who might have elicited cheers.

And now that Eye's back, and it's sucking the chained Ring right out of Frodo's shirt. Frodo seizes the Ring and falls back/is flung back from the mirror. Galadriel states that she also saw the Eye, and Frodo is terrified of the Eye, or more likely Galadriel. And after she lets on that the fate of Middle Earth is on his shoulders, you might think that Frodo is starting to like that Eye thing better than his elvish friends (first Elrond and now Galadriel).

Galadriel drops a clue in, "He will try to take the Ring!" Again, as mentioned in a previous thread, is anyone NOT sure to whom she refers? And though Cate continues that the Ring will destroy the members of the Fellowship, I have my doubts and have stated them on this thread. No one else even seems interested in the Ring. And here, in the movie, if Pip hasn't made a play for the Ring, no one will.

Finally, Frodo turns the table on Galadriel and offers her the One Ring.

And Galadriel's voice is no longer perfect. Cate adds a verbal shudder as the Queen is tempted. And then she drinks a cup of testosterone and goes She-Hulk. Wow! Well done, and though the evil Galadriel is still attractive (“all will love her…”), her eyes show the demon inside (“and will despair”). Then poof! The vision passes, as does her temptation, and she returns to the elf maid that she once was...well, close enough. She states that she passed the test, remains herself and will fade away.

Frodo is still freaked out. Wise gentle soul Gandalf doesn't want the Ring, Frodo is chased by Farmer Maggot's dogs, black horsemen pursue him, he has a really bad time in Bree, he's stabbed, then has to endure the verbal bludgeoning of Elrond, has to take the Ring again, Frodo is almost frozen, is almost eaten by a garden squid, is stalked by his uncle's nemesis, is attacked by orcs and speared by none other than a cave troll, gets chased by a First Age fire demon, is interrogated by elves then shown by these same new friends that the Shire will be utterly destroyed if Frodo makes any missteps, and when he tries to get off of this train of pain and place the Ring in more competent hands (wasn't that why Galadriel warned him about Boromir, to lower the Ring's selling price?), the elf Queen becomes a scary witch-demon-being.

I'd have stayed in my Bag End bed.

Note that Frodo would have had more success giving Galadriel the Ring if he were to have bent down on one knee and stated that he'd invested "two month's salary" in their relationship. At least that's the way it works in commercials...

But, as stated above, Frodo's feeling a little helpless, and here I can sympathize. Note that he's not whining, just saying that he can't do this alone - but you get the sense that at least he will not stop trying. And that's the difference between hero Frodo and the whining childish Frodo Baggage.

Galadriel shows her Ring to Frodo, and tells him that possession of a Ring makes one alone. Who was that guy she stood near before? Whatever. Then she tells Frodo that it IS all up to him, that if he can't do it, there's no other that can. Frodo should be able to believe this from what he's seen of ME's high and mighty, as they all go to pieces when there’s work to be done. More hero Frodo is demonstrated. He's afraid, but has a duty - a job to do. That's not the Frodo that we saw previously on the way up to Caradhras, or Weathertop, or at the Gate pool. Frodo doubts, but Galadriel reassures him with a line that I don't remember if it's in the books or not. Again, as some other poster noted, Frodo's hand clasps the Ring.

I will do this deed.

We're back to Orthanc for some orc biology. Saruman talks up his creation, stating that HIS orcs are better than that other guy's orcs. The elvish stock information is a bit confusing, and this to0 was discussed elsewhere. If elves do not come from mud, then why do orcs? Saruman doesn't provide much information, but I don't hear anything stating that the Dark Powers created a new race, but perverted one already in existence. You can breed a really mean dog, but you still need to get the puppies in the usual way. Why did PJ want these orcs to be mud-born? Does it make their deaths more palatable to the audience, especially in light of Gandalf's words of wisdom in Moria?

Anyway, we get to see what happens when you give Uruks a can of paint and no brushes. "You were supposed to whitewash the walls, you idiots!" The smaller orcs prepare their larger brothers for war. One appendix states that the Uruk armor was to be somewhat light, for speed, and protective of the front of the creatures only, as they would not retreat and would always face their enemies. Saruman sends his small army off with some rousing words, and some special instructions for Lurtz. “Bring me some hobbits, unspoiled, and a side of fries and a large Pepsi.” They run off in search of the Eight Walkers. And as they have farther to travel, it actually makes sense, in the movie, that they leave their HQ before the Fellowship leaves the Golden Wood.

Back at the Naith, the Fellowship receive gifts from their elven hosts. All eight get the stylish and functional cloaks – which thankfully get used at least once. There’s the very cute joke about lembas, and I actually laughed at the hobbits’ chutzpah.

As the troop prepares to travel down the Anduin, they and we get an update on the present situation. Orcs to the left, orcs to the rights, some coming up from behind and more fun down river. Luckily, with most of ME’s dark forces arrayed against him, Aragorn gets an official “I visited Lothlorien” commemorative blade that will tip the scales back in his favor.

Finally, after enough words, the Fellowship casts off and starts their journey downriver in three small but exceptional canoes. Legolas remembers his gift, a new Galadhrim bow. Just the perfect present for our deadshot orc assassin. Much - and maybe to much – will be made of his newfound toy. Merry and Pippin get daggers – used, but maybe we’re to assume something there – and we know that Merry’s will play a big part later in RotK. And hopefully Pip finds not only his courage but a clue as well. Sam receives some hithlain rope, then shows poor manners by asking another boon. Was Sam cute in asking for a dagger? He’s a farm boy, not a warrior, and so it didn’t work well for me.

The scene between Gimli and Galadriel is excellent. Why PJ demotes Gimli to a clown’s role later is beyond me, as here is the serious thoughtful side of Gimli that I enjoy. We have to wait a moment to find the end of that beauty and beast tale.

Aragorn already received his gift in Arwen, and so no green glass for him. Grammy Galadriel (did I get that right?) has some words for her future grandson-in-law. Aragorn wishes that Arwen left ME, as, being a guy, knows that that plays well with the family. We’ll note that later we never see Aragorn leading Arwen off to the Havens at the start of the Fourth Age. But anyway, Galadriel lets Aragorn know that he will either become King or crash and burn – not that that’s too prophetic, as Aragorn can only wed Arwen if he is King, and so what other options are there?

Frodo gets the starglass. As this was omitted from the theatrical version, PJ bet heavily that most people would see the extended movie versions. Otherwise, parts of TTT and RotK make no sense.

Oops! I meant to say even more parts of TTT make no sense.

Frodo gets a kiss and a direct quote from the text. And I like that now, in this scene, that Galadriel is more ‘human’ and not alien. She’s still beautiful and all that, but more in our world.

And finally, we get to hear of the love between two very alien creatures – Galadriel and Gimli. PJ nailed this perfectly, and I only wish that, now and again, Gimli (and even the other characters) could have a moment of serious reflection and expression of something more that just hack-attack-action. When John Rhys-Davies says, “She gave me three.” I could just cheer. This scene is worth the price of the extended DVD version as we get to see Gimli as more than just a short rough axe man, but also his amazement at/pondering of Galadriel’s excessive gift, his feelings and a warming between he and Legolas, who for once isn’t announcing that evil approaches or is shooting something with arrows.

Truly a gem.

But the river moves on, out of the Gore and down south. The Fellowship’s road is clear before them, to follow where the river leads.

At least for now.

[Tuor of Gondolin]

An excellent, and entertaining, post here.
I agree that PJ botched the development
of Gimli. Overall, I thought there was a decline
in the quality and accuracy of the films, as
you have alluded to. I didn't like hyperGaladriel
reacting to the Ring temptation. I would have
preferred a more understated version
(although, paradoxically, I really
liked hyperBilbo wanting the Ring in
Rivendell). In general I find some
of PJ's declared necessary book departures
to be in error and leading more to slapstick.

One big plus for movie FOTR for me is
Boromir, much more likeable and sympathetic
then the book one, although I find very
questionable his even hinting at agreeing to
Aragorn's claims before running the claims past daddy.

One flaw of the films is PJ's making many
characters caracatures (can you say "Denethor"?)
and, of course, beginning here, Gimli.

I did like the way the extended dvd expanded
Celeborn's role and the inclusion of the flet scene.

I thought Galadriel's farewell to the Fellowship, music
and filming was a highlight of the films, although I
wonder if noncatholics/Christians were put off
by a possible reading in of a religious allusion
to Mary here (the pose and costuming, for example,
is quite close to statues of her).

[Orominuialwen]

I wrote an essay analyzing The Mirror od Galadriel for extra credit in my english class last year. (We were studying films and this essay was th e only high point in an otherwise insuffrable class where the teacher compared me to the devil, but that's another story.) Since I think it might be of interest to you, I'll just repost it. Please bear in mind that this essay way written to be read by a teacher who knew very little about LotR, so some things that are obvious to all of us here I had to explain in the essay. All the things in italics are film terms I had to include in the essay. Also, advance apologies for any bad writing quality, as this was originally writtien in the wee hours of the morning.

Beautiful and Terrible as the Dawn

“Instead of a dark lord you will have a queen. Not dark, but beautiful and terrible as the dawn, treacherous as the sea, stronger than the foundations of the Earth. All shall love me and despair”

− Galadriel, The Fellowship of the Ring

These words are one of the pivotal points in the scene entitled The Mirror of Galadriel in The Lord of the Rings: The Fellowship of the Ring, directed by Peter Jackson. They are uttered by Galadriel, played by Cate Blanchett, as she falls under the spell of the One Ring. In this scene, Galadriel, Queen of the Elves, invites Frodo Baggins, a Hobbit and bearer of the One Ring, played by Elijah Wood, to look into her mirror. As he looks into it, he sees his friends turning away from him and the destruction and tyranny that will befall his beloved Shire if his quest to destroy the Ring should fail. Finally, the Eye of Sauron appears. The Ring, which hangs on a chain around Frodo’s neck, slips out from under his shirt and towards the surface of the water that forms the mirror. Frodo falls back on to the ground. Galadriel then begins to speak to him about what he saw. He offers her the Ring, and she is greatly tempted by it. She is transformed and tells Frodo what she will do if she has the Ring, but then she resists the temptation, returning to her former self. She tells Frodo that she too is a Ringbearer, showing him Nenya, the ring of water, which she possesses. The transitions and editing, sound, and camera movement and angles in The Mirror of Galadriel all contribute to the mise-en-scene of the scene.

The transitions and editing in The Mirror of Galadriel contribute to the mise-en-scene of the scene. The use of mostly match cuts helps make the fluid feel of this scene. The shots all follow each other in chronological order, with few cuts that leave out time in between shots, making this a scene almost completely in “real time.” Many optical devices are used with the images Frodo sees in Galadriel’s mirror. The images dissolve from one to another, and they seem to waver, with ripples on the surface of the water. When Galadriel is tempted by the Ring and tells Frodo what she will do with it, a series of jump cuts go between the changed Galadriel, the Ring lying in Frodo’s palm, and Frodo’s face. In the beginning of the scene, the shots are relatively long, but as the scene progresses, the rhythm gradually changes. The shots become shorter and shorter, thereby building tension, until Galadriel is tempted by the Ring. After this, the rhythm slows down again as the shots become longer, releasing the built-up tension.

The sound in The Mirror of Galadriel contributes to the mise-en-scene of the scene. There are many diegetic sounds in the scene, both external and internal. The sound of the waterfall when Frodo and Galadriel arrive at the glade where the mirror is located can be heard by both the characters and the audience, creating a tranquil mood. The sounds of a light breeze and nighttime animals can also be heard. As the scene progresses, these background sounds fade away, and the dialog and Galadriel’s pouring of water into the mirror become the only external diegetic sounds until Galadriel undergoes her transformation at the hands of the Ring. At this point, the light breeze becomes a much stronger wind, which can now be heard, and thunder rumbles. After Galadriel returns to her normal self, the trickle of the waterfall can again be heard, although much more quietly than before. Frodo experiences many of the internal diegetic sounds in the scene. When he looks into the Mirror of Galadriel, he hears sounds accompanying the scenes he sees, such as wind blowing in the grass of the Shire, the snarl of an Orc, or the voice of Sauron. He also hears the loud metallic “clank” of the Ring on its chain as he falls back from the mirror. In addition, the mirror itself makes noises itself when it shifts from view to view. There are also many nondiegetic sounds in The Mirror of Galadriel. Music is the most noticeable of these. At the beginning of the scene, there is no music, but as the scene progresses it turns to the soft vocal and stringed instrumental more typical of Lothlorien, Galadriel’s realm. As time goes on, the music crescendos slightly. When Frodo looks into the mirror, the music becomes strictly instrumental, turning into the brass-filled theme key to Mordor just before the Eye of Sauron appears. After a brief pause when Frodo falls backwards, music returns, still instrumental but louder, and gradually builds in volume and tempo, until Galadriel is transformed, when it becomes much louder and transitions to mostly brass, with tympani and gong added. The music diminishes again as she returns to her normal self and the scene draws to a close.

The camera movement and angle in The Mirror of Galadriel contributes to the mise-en-scene of the scene. During this scene, the camera mostly follows the movement of the character the shot is focused on. There are very few shots in which the camera is still and its subject is moving. Most of the camera movement is done rather slowly, generally using a boom. The camera moves at the same speed and in the same direction as its subject. Pans are also fairly common when the subject is moving in one direction on a level plane, as is the use of a dolly or track. Very few zooms are used in keeping with the feel that the camera is moving with the subject. The only exception is when Frodo is looking into the Mirror of Galadriel, where the camera neither moves from left to right nor up and down, but only zooming in and out in small increments, giving the impression that the audience is looking through a window of sorts. Most of the shots in this scene are at or close to eye level, although there are some exceptions. Galadriel is generally shown at a very slightly lower angle than Frodo, who is shot at a slightly higher angle. This illustrates how much more powerful Galadriel is as Queen of the Elves than Frodo, a lowly Hobbit who is far from home and uncertain of his path. This difference is accentuated when Galadriel is transformed by her desire for the Ring. She is shot at a very low angle, which makes her appear even taller than her normal six feet, seven inches and very menacing. When she returns to her normal self, she is shown at her normal angle: slightly lower than eye level. By contrast, during this period, Frodo is show at a high angle, which makes him seem even more vulnerable than usual.

In summary, the transitions and editing, sound, and camera movement and angles in The Mirror of Galadriel all contribute to the mise-en-scene of The Mirror of Galadriel from The Lord of the Rings: The Fellowship of the Ring, directed by Peter Jackson. They truly make the viewer believe that Galadriel is “beautiful and terrible as the dawn, treacherous as the sea, [and] stronger than the foundations of the Earth.”




After watching The Mirror of Galadriel the 15 or so times I had to to write that essay, I couldn't watch it again for months. I was just so sick of it!

[Elladan and Elrohir]

I will repeat what I said in an earlier thread: Lothlorien is the worst part of the three movies. I'm open to argument. That being said, it's not really that bad; the extended edition really makes a huge improvement, and obviously, the final scene, featuring an intense Celeborn, a belly-aching Pippin, and a refreshingly serious look at Gimli, is very well done.

I just don't like the look and feel of Lothlorien. It seems to be far more mysterious and dark than it is beautiful. I do agree with what alatar said about the difficulties of capturing this on film, and maybe the filmmakers went this route on purpose so they wouldn't have to perform the impossible. The music, too -- it's great music, but to me it just doesn't fit the spirit of the book. I guess eerie is the word I'm looking for -- eerie Lorien, eerie music, and a really eerie Galadriel.

The part that doomed this entire sequence for me was the flashing eyes and "Welcome, Frodo of the Shire, one who has seen the Eye!", which was way too spooky for me. I mean, c'mon, Galadriel's undoubtedly the most powerful Elf in Middle-earth, but I don't think she's like this.

Cate Blanchett, of course, is a marvelous actress, extremely well-casted. It's not her fault, even if she did only sign up for the pointy ears.

As we already pointed out on a previous thread, PJ, the master of subtleties, has Galadriel tell Frodo that Boromir will take the Ring. Brilliant work, that. Way to keep up our suspense, Pete. I mean, it does heighten the suspense in one way by letting us in on what's going to happen without telling us HOW it'll happen, but considering that Boromir's struggle with the Ring gets so much screen time, I just don't think it's smart to tell us, "Yep, he loses."

Ah well, this sequence will lead us into the final scenes into the film, which I hold to be a masterpiece of filmmaking. Down Anduin we go, to Amon Hen and Parth Galen, and the doom that awaits us there!

[Essex]

Frodo gets the starglass. As this was omitted from the theatrical version, PJ bet heavily that most people would see the extended movie versions. Otherwise, parts of TTT and RotK make no sense.

Oops! I meant to say even more parts of TTT make no sense.

Just to point out quickly, we DO see this in the standard version - yes, it's been ages since I watched the original, but I remember this from it - it's the only part of the scene giving we see in the thatrical release.

[Boromir88]

Boromir, who again I like more than you-know-who, consoles Frodo over Gandalf’s death. His betrayal later is even darker as here the two sit in the trees of Lothlorien and he seeks to help his brother Frodo. You just have to like this character, as played by Sean Bean, and PJ has made me appreciate Boromir more than I did when reading the books. Sure, he’s a warrior and not in the class of his brother or Aragorn, but he’s a common man who understands simple common things. There’s no air about him – ya, he may boast and brag – but he’s one of us, not some king on a throne or some distant elf-dating one-note.

I hope I don't go too far off as I talk about Sean Bean, not just as his performance in LOTR, but as an actor. This is the exact role that Sean Bean is known for. Though he's done other roles, and has done them well, like the Romantic type in his upcoming movie Silent Hill, or your simple good guy, when I think of Sean Bean I think of his as the typical human. He plays the typical human in a lot of his roles, even when he is the "villain" of the movie. Which makes him perfect as Boromir and as to why I think he makes such a great and convincing Boromir.

I'm just going to go off into some of his former movies where Sean Bean plays the villain.

The Island (Merrick): Bean plays the man who created this alternative world, and who is the scientist behind the cloning. But as this movie sets it up, Merrick isn't some evil-mad scientist, but a scientist that thinks what he's doing is benefitting society, and is benefitting life. What he's doing is making the world better, but in all reality he's blinded by his own research.

Patriot Games (Sean Miller): Bean is of course the terrorist after Harrison Ford in the movie. But again, he's not that typical villain, because as we find out Ford had killed Bean's brother. So, Bean just takes his anger down that wrong path of revenge.

Golden Eye (Travelyn): The nemesis of James Bond in this movie. Again, we can sympathise with Travelyn as in his mind Bond left him for dead and betrayed him.

National Treasure (Ian Howe): Here is the clear-cut villain, however his motives are "humanized." First being the friend and helper of Nicolas Cage, but then gets caught up with Greed and the desire for wealth.

Sorry if that's off track, but just showing that Sean Bean is known for these "humanized roles" and why I think we as people can connect with him and makes him especially good for Boromir. He's not necessary this evil-villain, but even in the movies where he does play the villain, his motives are human and understandable. As humans we give into things like Greed, revenge, hate...etc and Bean excels at these roles.

One of the most beautiful lines I think are said in thise part, the exchange between Boromir and Aragorn in Lothlorien. First, the pain that Boromir is suffering as Gondor is failing and he's struggling to find hope for it. But some of the most splendid lines are said:

Have you ever seen it Aragorn? The White Tower of Ecthelion, glimmering like a spike of pearl and silver. It's banners caught high in the morning breeze. Have you ever been called home by the clearing of the silver trumpets?

Though in the books no one says these lines, this is basically word for word of the description we get when Gandalf and Pippin see the Tower of Ecthelion:

Then Pippin cried aloud, for the Tower of Ecthelion, standing high within the topmost wall, shone out against the sky, glimmering like a spike of pearl and silver, tall and fair and shapely, and its pinnacle glittered as if it were wrought of crystals; and white banners broke out and fluttered from the battlements in the morning breeze, and high and far he heard a clear ringing as of silver trumpets.~Minas Tirith

Wonderful insight done by Jackson and putting the description of the Tower we get from the books into the movies.

I do agree with the statement that as the movies progress Gimli's character goes down hill. However, I will say in FOTR I was quite pleased with Gimli's character. There are some instances (here in Lothlorien) and later where he is used for comic relief, but I don't find it bad. I actually find it funny and ment for exactly what it's for, to be funny. His comic relief in FOTR didn't take away from what a dwarf is, or who the dwarves are. But in TTT, we start venturing into undwarvish like characteristics and further downhill in ROTK where the comic relief just isn't funny and is rather annoying hearing Gimli crack a joke or others laugh at him everytime we see him.

As far as Galadriel's gifts are concerned:

Just to point out quickly, we DO see this in the standard version - yes, it's been ages since I watched the original, but I remember this from it - it's the only part of the scene giving we see in the thatrical release.

Just to back up Essex, yes Frodo receiving the Phial is in the regular version, it's the other gifts that are in the extended. Something I've always found funny though, and a question that occasionally pops up is why didn't Boromir get a gift? Is this a slip-up by Jackson or didn't he just really care? Perhaps we're meant to think Boromir ends up taking the Ring because Galadriel didn't give him a gift and he feels left out? I just don't understand why there's not a scene where Boromir receives a gold belt. If you're going to add the scenes where the Fellowship all get gifts, why leave out one of them?