As a seasoned gamer with countless hours spent immersed in the rich world of Middle-earth, I must say that “The Lord of the Rings: The War of the Rohirrim” is an exhilarating journey back to a beloved universe. Miranda Otto’s soothing narration echoes like a familiar melody, while Brian Cox’s grizzled Helm Hammerhand feels like a long-awaited addition to the cast.
Miranda Otto, who played Éowyn in Peter Jackson’s popular Lord of the Rings trilogy, narrates a new animated prequel titled The Lord of the Rings: The War of the Rohirrim. Set in her homeland of Rohan 183 years before the events of the trilogy, this animation serves as a bridge between the original films and an upcoming live-action sequel, The Lord of the Rings: The Hunt for Gollum (scheduled for 2026). This anime-style feature aims to entice both dedicated fans and new viewers alike.
The extent to which film producers are committed to maintaining their cinematic universe is demonstrated through the creation of “The War of the Rohirrim,” a script penned by Jeffrey Addiss, Will Matthews, Phoebe Gittins, and Arty Papageorgiou. Notably, this production draws inspiration from Tolkien’s appendices in his “Lord of the Rings” series, focusing particularly on the chronicles detailing the lineage of Rohan’s rulers. (In essence, they are planning to make movies even from the footnotes.)
The story revolves around Hera (Gaia Wise), daughter of Helm Hammerhand, the king of Rohan. The latter is voiced by Brian Cox, whose gravelly, gravitas-infused Scottish burr is so perfect for the role it makes you wonder why he hasn’t been in a Lord of the Rings film before. But things in the kingdom take a bad turn, not surprisingly, when Wulf (Luke Pasqualino, Snowpiercer) — son of Freka (Shaun Dooley), leader of the enemy Dundelings — proposes marriage to Hera, who is not at all interested. In the ensuing fracas, the hot-tempered Helm slays Freka (he didn’t really mean to, but events got out of hand) and banishes Wulf, who, you guessed it, vows revenge.
Following this, Wulf gathers his troops with the intention of overpowering Rohan. In the process, Hera is captured and used as a pawn. A chain of critical confrontations and intricacies unfold, leading to Hera assuming the position of a valiant leader for the resistance against the invasive Dunlendings. The events culminate in an epic clash within the colossal fortress, which would later be recognized as Helm’s Deep.
In this story, the plot development is rather routine and predictable. The dialogues veer towards melodrama, such as when Wulf tells his captive, “Hera, the boy you knew no longer exists. I am the man your father molded me to be.” The characters are also quite one-dimensional, with Wulf portrayed as a stereotypical villain who, upon killing one of Helm’s sons, replies callously, “Let it decay.” Unlike in J.R.R. Tolkien’s ‘Lord of the Rings’ series, these characters are purely human, save for a late entry of a magical character (not the one you’re thinking about), whose voice is provided by an esteemed deceased actor through archived audio recordings.
Instead of focusing on the narrative itself, the visuals take center stage in this production, significantly surpassing Ralph Bakshi’s 1978 animated adaptation of The Lord of the Rings. Director Kenji Kamiyama, known for his work on episodes of the Blade Runner: Black Lotus and Ghost in the Shell: Stand Along Complex TV series, blends a stunning array of 2D and 3D animation styles, such as performance capture, hand-drawn, and CG. The end product is an artistically beautiful depiction that shares striking similarities to the world brought to life by Peter Jackson’s films (Jackson and Fran Walsh are among this film’s executive producers). Notably, the battle scenes are exceptionally well-executed and are best appreciated on the largest premium and large-format screens.
Viewers will undoubtedly enjoy the nods and echoes from previous films, such as reusing Howard Shore’s classic themes and a final tribute to Gandalf. Even those unfamiliar with Tolkien details can savor The War of the Rohirrim for its stunning visuals, epic storytelling, and mythic flair, despite running for 134 minutes (which might seem lengthy, but is relatively brief compared to live-action installments). The fact that many of the film’s creators have worked on the pioneering trilogy by Jackson suggests that this companion piece has been thoughtfully and affectionately crafted.
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2024-12-09 20:24