In Defense of “Filmamir”

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Madeleine Cassier
Producer
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If you happened to read my previous post, “In the Shadow of ‘The Ring’,” you know I’m not the biggest fan of Tolkien. And, if you haven’t read that then, well, now you know: Tolkien and I don’t get along. But Peter Jackson and I? We have a much better relationship. Sure, his films can be overlong and easily criticized as “indulgent,” but there’s no denying he did something amazing with his film adaptations of The Lord of the Rings. In a time when fantasy was not selling well onscreen, Jackson undertook what could be lotrtwotowersconsidered one of the biggest and most ambitious film projects in the history of the business, to craft what would ultimately become both a critically and commercially successful fantasy film trilogy. With an overall budget somewhere around $300-million, The Lord of the Rings film trilogy grossed a grand total of almost $3-billion which, when unadjusted for inflation, makes it the bestselling film trilogy of all time. Not only that, the films walked away with a combined 17 Academy Awards; the third film, The Return of the King, currently sits in a 3-way tie with Ben-Hur and Titanic for most awards won for a single film.

But on a more personal note, Jackson made me actually enjoy Tolkien’s trilogy. Shocking, I know. But, as with any adaptation — especially of something perceived as a “classic” — there have been many controversies over the various adaptive changes from books to films within Jackson’s cinematic trilogy. One in particular even garnered its own, ire-filled name amongst purist detractors: “Filmamir.”

“Filmamir” — or, the film version of Faramir — as portrayed by actor David Wenham, represents one of Jackson’s greatest deviations from the source material: a combination of imagination and a need to balance the pacing of the storytelling within the cinematic trilogy. Faramir’s storyline, therefore, especially within the Two Towers film, is largely the invention of Jackson and the three other screenwriters.

And, quite frankly, not only do I like the change, but I think it improves upon the original material.

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Worldbuilding: A Look at the Empty Spaces

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Akhi Pillalamarri
Head Web Content Contributor
Twitter | Website

 

During this most recent Thanksgiving vacation, my brother and I ended up watching parts of the Lord of the Rings and Hobbit trilogies on television. This is not an uncommon occurrence; we’ve immersed ourselves in the beautiful scenery from Middle Earth countless times.

While watching the third Hobbit movie, Battle of the Five Armies, this time, I happened to notice and remark on something that always struck me about Middle Earth: it is, for the most part, a vast and empty place. While there are some settled regions that give us either a stately (Gondor) or cozy (Shire) vibe, settlements are few are far between, and the breathtaking beauty can be quite lonely. Unlike in the real world, where there are people and tribes everywhere (like Rohan), the settlements of this world, like Bree and Dale, are few and far between.

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