kathy in the book, if I recall, after Frodo has the ring taken from him, he pretty much just falls down in a heap and Gollum cavorts himself off the edge. Frodo fighting for the Ring was a wee bit upsetting--I'm invested in cute-rumpled-Frodo, sue me, Evil!Frodo isn't as pretty for me as one would hope--but it makes more sense that two beings that have given themselves over to the Ring would fight for possession.

Sam's "Don't you dare let go", said in that no-nonsense, I'm-giving-you-an-order voice--damn shame I was out of Kleenex by that point.

No to the first one; it wasn't even filmed. Yes to the second one.

I can live with that. Thanks for the information.

Entertainment Weekly's new issue is the Entertainer(s) of the Year, and guess who's #1? Yes, the cast from Return of the King!! Very cool.

Kathy, thanks for quoting that Mippin exchange. NOT. Now I'm all squiggly again.

Dom just totally sells that line, and like I said, Merry's paleness is so obvious--he's completely freaked over the danger to Pippin.

To lighten up the tone and quote a certain wizard: "Hobbits!"

WRT the choreography at the end, you should never ever do in the movie what they did in Bored of the Rings, and it got perilously close. But honestly, I rewrite that scene for Tolkein a bit too.

I've been reviewing all the inconsistencies in the movies with some diehard Tolkeinites, and don't really need to share them here. But we all agreed that we belong to the Church of Tolkein, and learned how to live and behave as people from how the characters comport themselves, and a lot of that was lost in the translation to screen. As a key point, my non-fan friends that went to the Trilogy thought that the Rohirrim were morally ambiguous, due to running the wild men off their land, and that the orcs were equal to the heroes for being willing to die for a cause and trying to bring about the time of the orc (vice the Age of Man).

Going back to the discussion point we talked about upthread ( about whether Frodo failed or succeeded in his quest ) I've since realized that my theory wasn't original. In one of JRRT's letters, he states in no uncertain terms that the task of destroying the Ring was an impossible one and that Frodo’s success was in his pity for Gollum.

In one of the History of Middle Earth books, there's a great quote from Gandalf about Frodo and Sam: ""... I name before you all Frodo of the Shire and Samwise his servant. And the bards and minstrels should give them new names: Bronwe athan Harthad and Harthad Uluithiad, Endurance Beyond Hope and Hope Unquenchable." This was reflected so well in the movie, I thought!

Also to do with tone:

GANDALF: "I will not say do not cry for all tears are not an evil."

Oh, Merry/Dom was brilliant there. He'd definitely become very aware of the import of everything, and couldn't even lie or waffle to be reassuring.

"I will not say do not cry for all tears are not an evil."

At which, me = WAAAAAAAAAHHHHHHHHHHH!!!!!

And t snif Big Gay Gandalf told me it was okay.

There's a great review of RotK at efilmcritic.com, from a local Chicagoan who is an excellent film critic. Some great quotes:

It’s astounding to take in how many characters and story threads there really are to this series. Just reacquainting yourself with each name, can you honestly say there isn’t one you don’t care about?

...Take note action-conscious filmmakers out there –- you want to hold an audience’s breath? Hold the shot. Don’t cut away.

...I want every voting member of the Academy to hear me as I steer you toward the nomination you must contribute to the cause. It is the one element who, in his own way, has managed to bring something extra to every single film and that’s Sean Astin. His Sam is the heart and soul of a trilogy already bathed in it. We love him for what he stands for and how admirably he follows through on it. Nearly every tear shed in Lord of the Rings is somehow connected to Sam’s actions. The first name read for Best Supporting Actor this year should be Sean Astin.

...Return of the King is epic filmmaking in the achievement scales of Ben-Hur, Gone with the Wind and Lawrence of Arabia. It’s Shakespearean in depth, David Lean in scope and told with the grace of Capra, Spielberg and Zemeckis. Cecil B. DeMille would have to look at The Lord of the Rings and go “now THAT is an epic.” Peter Jackson has shot into the echelon of the all-time great directors with Return of the King, which stands alone even with the backup of prologues preceding it. It’s certainly a culmination and one built-up in stature by Fellowship and Two Towers, but after watching the credits roll a final time on this trilogy, I think you’ll agree that this film bows to no one.