- It’s reasonable to assume that in today’s film industry, companies are seeking franchises.
- Solo movies and television series are no longer regarded safe bets.
- The Marvel Cinematic Universe, Harry Potter, and Star Wars have all been astronomical hits.
It’s reasonable to assume that in today’s film industry, companies are seeking franchises. Solo movies and television series are no longer regarded safe bets; instead, every new release should be part of a trilogy or cinematic universe, concentrating on the forest rather than the trees. The Marvel Cinematic Universe (and its counterpart the DC Universe), Harry Potter, and Star Wars have all been astronomical hits for their studios and everyone is now anxious for a piece of that franchise pie. But, it’s probable that none of these franchises would exist today if not for Peter Jackson’s original trilogy of The Lord of the Rings films, which are still watchable today and are the originators of the contemporary blockbuster trilogy made in a totally different way than these new kids on the neighbourhood may. Now that Warner Bros. is planning to return to the Middle-Earth setting for new films, it’s difficult to picture them reaching the same degree of distinctive excellence that the original trilogy established for the series.
‘Lord of the Rings’ Shows Appreciation for Its Setting
When one of the first big trailers for Spider-Man: No Way Home was published, one sentence sparked outrage among fans. As well-known supervillain Otto Octavius (Alfred Molina) reveals our main cast his name, one of them chuckles and inquires about his’real’ name. The statement isn’t particularly rare in the MCU, but it highlights a recurring issue: characters constantly act like movie characters. Characters can be overconfident in their surroundings and skills, and as a result, the audience doesn’t truly buy when anything important happens since it’s usually cut short by some self-aware joke that reminds them they’re watching a movie. If the audience is unable to become immersed, they will not care as much as they would otherwise.
Lord of the Rings recognises this, and it always treats Middle-Earth with a degree of care and attention that other big-budget films seem to lack. The idea may appear ludicrous at first (all evil is magically confined in a little golden ring in a community of “leaf” smoking, heavy-drinking farmers), yet there is not a single joke at the cost of the tale in any of the three films. The ring is a serious business, and by implication, Sauron and his forces of evil are as well. When our heroes are attacked by Ringwraiths, the picture is engulfed with evil chanting and choirs. If the Hobbits are apprehended, they will face death and servitude. Because the wraiths and Sauron are never made fun of, the audience comes to appreciate their existence. There’s a genuine palpable suspense in the sequence where a wraith appears to have discovered our four hobbits behind a root. You could find yourself, like the others, holding your breath. That kind of immersion has a lot of clout; the film is going into your skull in the greatest manner conceivable.
The movies successfully communicate not just dread to their audiences, but also the majesty of the site itself. The awe-inspiring landscapes of New Zealand give Middle-Earth the splendour it deserves, and every region feels dripping with history and a true feeling of spaciousness. The films also portray grief effectively, allowing for genuine misery when necessary. The audience is left in that vacuum when things are genuinely dismal. There are no quips or jokes that can save them from this sensation.That’s not to suggest there aren’t any jokes; they’re simply strategically spread out so that they don’t stomp on another emotion the viewer should be feeling. Even Merry (Dominic Monaghan) and Pippin (Billy Boyd), the Fellowship’s closest comedic relief figures, have dramatic moments and vital roles to play in the story’s events.
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