Rings of Power Review: Skillbox Media's Opinion and Analysis

Contents:

• The process of creating "The Ring of Power": from idea to implementation
• What are the characteristics of the created characters?
• Reasons for the failure of the series
• Which of Tolkien's works have been adapted for the screen?

On August 29, the second season of The Lord of the Rings: Rings of Power premiered on the Amazon Prime platform. And in July, we celebrated the 70th anniversary of the release of J.R.R. Tolkien's key book. This is a wonderful opportunity to discuss hobbits and the mysterious rings.

In this article, we will discuss the following topics:

• The series was born from a long and meticulous development process. The idea began to take shape during the scriptwriting stage, when the writing team worked to create a unique plot and develop the characters. This was followed by numerous meetings, discussions, and edits to achieve the desired result.

  It is important to note that casting also played a key role in the creation of the series. Open auditions and casting calls made it possible to find actors who were perfect for embodying the envisioned characters. After this, filming began, which took place in various locations, adding realism and depth to the narrative.

  Editing and post-production were the final stages, where the final product took shape. Music and sound design, created specifically for the series, helped to emphasize the atmosphere and emotional weight of each scene. As a result, thanks to the combined efforts of everyone involved, the series was able to hit screens and capture the attention of viewers.

• What are its similarities and differences with the original plot?
• The main difficulties that the "Rings of Power" series faced lay in several key aspects. Firstly, it did not meet the expectations of fans of the original work. Many viewers expected to see a more in-depth development of the world created by Tolkien, but the implementation of this expectation was far from ideal.

  Secondly, problems with the characters also became noticeable. Many of them did not receive the necessary depth and development, which led to a lack of emotional connection with the audience. Viewers often felt that the characters acted unnaturally or their motivations were not sufficiently justified.

  Furthermore, the writing decisions and narrative structure drew criticism. At times, the plot lines seemed confusing or illogical, which detracted from the overall experience of the story.

  Finally, the visual style and special effects, while high-quality, didn't always compensate for shortcomings in other areas, leaving viewers with a feeling of incompleteness. All of these factors combined negatively impacted the reception of The Rings of Power and sparked heated debate among fans and critics.

• Besides the trilogy created by Peter Jackson, there are many other works inspired by Tolkien's work. For example, one can note the animated film "The Tales of Tolkien" and the full-length animated film "The Hobbit," released in 1978. Also worth considering are various documentaries that explore the life and work of the writer, such as "Tolkien: Return to Middle-earth." Another interesting option is the film adaptations based on his works, including the series "The Lord of the Rings: Rings of Power," which offers a new take on the world of Middle-earth.

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The process of creating "The Rings of Power": from idea to implementation

After the release of the trilogy created by Peter Jackson between 2001 and 2003, the appearance of new adaptations of Tolkien's works became almost inevitable. There had been previous attempts to bring his work to the screen, but this trilogy served as a kind of starting point, like Bilbo Baggins' birthday: a striking event that launched a whole chain of subsequent adaptations. Ten years later, the less successful Hobbit trilogy was released, and then the world of Tolkien-based films entered a lull that some might describe as a "Watchful Peace": outwardly calm, but mysterious and perhaps dark forces are gathering their ranks, preparing to disrupt this peaceful existence.

In 2017, the Tolkien Estate put the film rights to Tolkien's works up for sale. This attracted the interest of several television companies. HBO proposed creating a simple new version of The Lord of the Rings, while the Netflix team planned to produce several series about the adventures of various characters, such as Gandalf and Aragorn. This initiative reportedly "caused considerable discontent" among the heirs, who were likely expecting something more in keeping with the spirit of the original than similar Marvel-style superhero projects.

In this competition, Amazon emerged as a clear leader: the company's representatives not only declared their intention to carefully preserve "Tolkien's legacy," but also presented a compelling financial argument. As a result, the film rights were sold to the Jeff Bezos empire for an impressive $250 million. According to rumors, the corporation's founder himself was actively involved in the negotiations, as he is an ardent Tolkien fan and dreamed of creating something as epic as Game of Thrones. The project's expected budget exceeded a billion dollars, making it the most expensive series to date.

Showrunners John D. Payne and Patrick McKay put forward the idea of ​​​​creating a prequel that would be dedicated to the events of the Second Age, taking place more than three thousand years before the plot of The Lord of the Rings. During this period, the Dark Lord Sauron manipulated the Elves, encouraging them to create the Rings of Power, which led to his near-total domination of the world. Ultimately, he suffered a temporary defeat under the blows of the Last Alliance of Elves and Men. However, this concept has a certain peculiarity. Tolkien did not write a separate work dedicated to the events of the Second Age. However, brief references to these events can be found in The Silmarillion and in various drafts of the author, which were edited and published after his death by his son Christopher. In The Lord of the Rings, to which Amazon acquired the rights, this plot line is touched upon only briefly, in the Appendices to the text. Peter Jackson, meanwhile, provides a brief overview of the events in his film adaptations in a five-minute prologue. Amazon, however, intends to unfold this story over five seasons. In this regard, The Rings of Power is more reminiscent of House of the Dragon than Game of Thrones, as it lacks a solid literary foundation and has considerable freedom for creative interpretation.

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What are the characteristics of the created characters?

The situation turned out to be quite controversial – it seems Sauron himself has become a source of conflict not only in Middle-earth, but also within the series' creative team. Viewer reactions were also mixed. After the project's premiere on Amazon, the platform restricted reviews on its site for 72 hours, and rumor has it that negative ratings have begun to be removed from IMDb.

Amazon claimed the launch of their new project was the most significant event in the history of streaming, and interpreted all negative reviews as an expression of hatred from conservative Tolkien fans who were unhappy with the creators' inclusive approach. However, according to alternative data, only 37 percent of US viewers completed the final episode of the first season, and social media discussions focused on more than just the cast. Expectations for the second season were varied, but the first three episodes suggest that it continues to tread the same winding paths as its predecessor.

The main character of the story is the elf Galadriel. In this work, she has not yet transformed into the wise and sad Lady we know thanks to Cate Blanchett's performance. Galadriel, played by Welsh actress Morfed Clark, is presented as a young and energetic elven warrior. Her portrayal is reminiscent of something like Xena the Warrior Princess, and there's nothing particularly negative about that.

John Tolkien himself noted that she possessed a "true Amazon nature" and sought to "know the boundless horizons and rule them—at her own discretion and in her own right." Even her middle name, Nerwen, translates as "Maiden-Man." Thus, Galadriel seems an ideal candidate for the role of a powerful female character. However, contrary to her image as a strong woman, this Amazon, referred to in the series as the "commander of the northern armies," reveals herself to be capricious and arrogant, disdainful of all of Middle-earth. It's clear that the creators sought to showcase her youthful exuberance and impulsiveness, showing her path to emotional maturity and the ability to control her emotions. However, frankly speaking, Galadriel looks like one of the most unattractive characters in this story.

According to Tolkien, Galadriel is one of the most ancient and One of the most revered Elven figures in Middle-earth, and at the beginning of the story, she was over three thousand years old. This is not considered young at all, even by Elven standards. At the same time, in this interpretation, she appears to be the same age as her nephew Elrond, played by Robert Aramayo, with a short haircut reminiscent of the characters in Trainspotting. The question of age in this context is quite confusing. Galadriel was actually born before her king, Gil-galad, and the Elven craftsman, Celebrimbor, who actually created the Rings. However, both characters appear significantly older than her. Gil-galad, played by Benjamin Walker, resembles a disgruntled British sales manager struggling through middle age.

Celebrimbor was played on screen by Charles Edwards, an undoubtedly talented actor known for his roles in Shakespearean productions. However, his character looks quite elderly, and he himself plays the image of an old man who is not quite aware of what is happening around him. The image of an elderly elf is not unexpected; Círdan, played by Olivier Award-winner Ben Daniels, appears in the second season. Considered one of the oldest elves, his appearance fully meets expectations, and the character himself seems like one of the most successful casting choices.

However, Celebrimbor, a relatively young elf and a craftsman at the peak of his powers, still retains the ardor and naivety that allowed Sauron to deceive him. The choice of Edwards for this role raises confusion and surprise.

The role of Sauron was entrusted to Australian actor Charlie Vickers, who first appeared in the series "Medici." At the beginning of his appearance, he does not reveal his true identity, but appears as a man named Halbrand. This technique is unique to Tolkien's work, but it's not a serious problem.

In Jackson's film adaptations, Sauron is depicted as a giant in black armor, and later as an eye perched atop a tower. However, in the literary works, he appears as a powerful fallen angel, a cunning wizard, and a shapeshifter, capable of assuming a variety of forms, including attractive ones. Only later does Sauron lose this ability, forever remaining terrifying. This gift could have been the basis for a series, allowing Sauron to penetrate various realms, creating a veritable web of cunning and intrigue beyond the imagination of Littlefinger and Jaqen H'ghar. The role could have been played by not one, but several actors, perhaps five or even ten. But, unfortunately, the role is played only by Charlie Vickers, who, like in an operetta, changes costumes and wigs, transforming into a cunning villain who constructs ingenious traps. In the first season, having acquired the appearance of the friendly Halbrand, he looked more welcoming, but at the same time inspired fear.

In In the prologue of the second season, Sauron, having assumed a new guise, briefly appears as Jack Lowden, familiar from his roles with Morrissey and Nikolai Rostov. In this episode, however, he resembles a hobbit, unexpectedly delivering an inspiring speech to the orcs.

This plotline, however, can be seen as one of the positive aspects of the series: the creators sought to present the "dark side" not as a simple embodiment of evil, but to imbue it with deeper motivation and psychological complexity. Sauron shares with Galadriel his hope that they can "save Middle-earth together," a statement that, according to Tolkien, is not entirely false: "...his virtue (and the cause of his downfall) was that he loved order and regularity and hated confusion and senseless friction." Sauron was convinced that only he could bring peace to Middle-earth, even if it meant using orcs and their weapons. The orcs fare quite well: thanks to Weta's superb makeup and costumes, they look genuinely terrifying yet convincing, unlike the rotting half-zombies portrayed by Peter Jackson. Their leader is Adar, an ancient elf who fell into the clutches of the dark forces and became the progenitor of the orcs. He is the one who opposes the pragmatic Sauron, who views the orcs as mere cannon fodder, while Adar strives to empower them and create their own country. He is truly a champion of the oppressed in a world of darkness!The series is certainly not limited to elves and orcs: in the first season, viewers were introduced to nomadic proto-hobbits, the island kingdom of the Númenóreans, the dwarven kingdom of Moria, and the southern settlements that would later become Mordor. The second season added the inhabitants of the eastern land of Rhun, led by a mysterious dark mage whose identity remains a mystery; the Treemen-Ents, voiced by Jim Broadbent and Olivia Williams, also appeared on the horizon. However, it all looks rather uneven: the hobbits and dwarves look quite convincing, while Numenor, which should represent the true Atlantis of Tolkien's universe, a majestic and proud civilization, seems somehow awkward compared to Gondor, as shown by Peter Jackson.

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Reasons for the series' failure

The main problem with this series is not the casting or its visuals—given the allocated budget, it's hard to achieve truly poor image quality. It also doesn't matter how strictly the canons are followed: a work created "based on" the original has the right to experiment and introduce unconventional solutions, even if purists disagree. However, one thing it definitely cannot tolerate is a poor script. There were indeed reasons for concern here: Payne and McKay were not widely known until this point, and their work on Star Trek Beyond and Godzilla vs. Kong remained in the shadows, as their names did not appear in the credits. Thus, the Amazon project became their first significant independent experience.

It's unclear what exactly prompted Jeff Bezos to choose this project, but the series' script clearly faces problems that can be classified as the most basic. At times, it seems reminiscent of a schoolchild's work. For example, in the first season, Galadriel unexpectedly jumps from a ship into a boundless ocean, and then, as if nothing happened, swims across what appears to be a significant portion of that same ocean. This is just one of the most striking examples. The characters sometimes seem unaware of the reality around them: the master smith Celebrimbor, for example, has no idea about alloys and forgets to put on an apron when working at an open forge, and to visit the dwarves, he sets out on a long journey on foot, without changing his attire.

The Númenóreans decide to send a detachment of horsemen across the ocean to fight the orcs for two and a half villages, the existence of which they previously did not even know. This dilutes the authenticity of Tolkien's world, turning it into something toy-like. It should be noted that such an approach would likely have displeased the author himself, who placed great emphasis on maps, distances, and the time his characters spent traveling. Tolkien claimed that his Middle-earth was not simply a fictional universe, but a real world located in the mythological past of our civilization.

The characters' movements sometimes seem inconsistent. Galadriel, who displays eccentricity, Celebrimbor, who is not known for his intelligence, and Gil-galad, who is irritated, seem to not quite understand what they expect from each other and from themselves.

The conflict of interests, which could have been more complex and multi-layered, is reduced to a simple squabble—in other words, the noble elven lords begin shouting at each other like reality TV contestants. A variety of techniques are used in the process: from pompous quotes to melodramatic facial expressions and prolonged pauses. You can even sharply turn away from your interlocutor, continuing to speak without looking at them. Although objects are not used, some do jump into the waterfall, and, as a rule, choose the deepest part. Payne and McKay seem to have no other way to pit characters against each other and emphasize the importance of what is happening, other than raising their voices and adding romantic elements.

The screenwriters, remembering Tolkien's passion for epic motifs, created dialogue, especially for the elven characters, in a stilted, pseudo-archaic language. This style seemed unparalleled in real speech, as no one had ever spoken like this. Phrases like, "The unknown empties the mind. Do not fill it with guesses" echoed that spirit. Furthermore, the text contained metaphors that seemed lifted from popular quotation sources. The culmination of these linguistic experiments was a parable explaining why a ship can sail while a stone sinks, which became the subject of ridicule in numerous memes.

In the prologue, Galadriel's brother narrates the story, and she, seemingly inspired by his words, also declares, "Sometimes, to find the light, one must face the darkness." The Númenóreans formulate their thoughts more simply: "The sea is always truthful!"—a phrase that has already become popular. And the enigmatic Stranger, who is most likely Gandalf, expresses his ideas quite bluntly. "I am he who is on the side of good!" — he says.

Another way to engage viewers is through the abundance of quotes from Peter Jackson's adaptation of The Lord of the Rings. The show's creators believe such references will instantly win over fans. For example, when Stranger says, "Always follow your nose," we immediately remember that these are the words of Gandalf. And the scene in which the hobbits Nori and Poppy hide from mysterious enemies in the bushes is an exact copy of the episode when Frodo and Sam hid under their cloak at the gates of Mordor.

When the elven rulers join hands with rings, it is clearly reminiscent of the scene from the prologue of the trilogy. Such small details may raise a smile at the beginning, but when each episode turns out to be saturated with such references, it is truly striking.

Which of Tolkien's works have been adapted for the screen?

YEAR OF RELEASE: 2024

IN THE GAME: Brian Cox, Miranda Otto

On December 13 of this year, a full-length anime film called "War of the Rohirrim" will be released. The action takes place 260 years before the events described in "The Lord of the Rings". The plot centers on the story of the ninth king of Rohan, Helm Hammerhand, who was destined to become the name for the famous gorge Helm's Deep. In this place, Helm will defend his lands from the invasion of the Dunlendings. A new character was created for the animated film - Hera, Helm's daughter. The role of Helm will be voiced by Brian Cox, and the narrator will be Miranda Otto, known for her role as Eowyn in Peter Jackson's trilogy. Philippa Boyens, the screenwriter of the original trilogy, also worked on the script. The project was directed by Kenji Kamiyama, who previously worked on the anime "Ghost in the Shell: Stand Alone Complex."

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IMDB RATING: 6.2

YEAR RELEASED: 1978

FEATURING: John Hurt, Anthony Daniels

The first film adaptation of Tolkien's trilogy was made possible by Ralph Bakshi, a master of adult animation, who had long wanted to create an animated film based on The Lord of the Rings. He used the rotoscoping technique, which allowed him to redraw frames from live action, resulting in the orcs and Nazgûl appearing truly terrifying, while other characters look rather comical. The plot of the film quite closely follows the events of the book, but ends on an unexpected note. Despite this, the project proved commercially successful and eventually acquired cult status. Peter Jackson drew heavily from Bakshi's scenes in his interpretation.

IMDB RATING: 5.7

YEAR OF RELEASE: 1980

STARRING: Orson Bean, William Conrad, John Huston

Jules Bass and Arthur Rankin Jr. created an animated film that seemed to complete the narrative imagined by Ralph Bakshi, although they had actually had plans to adapt The Return of the King even before then. The animation work took place in Japan. This version of The Lord of the Rings is a musical; Folk musician Glenn Yarbrough performed vocals, and the most memorable song was the energetic orcish composition "Where There's a Whip, There's a Way" - a true anthem for anyone who works a five-day work week.

IMDB RATING: 6.1

YEAR OF RELEASE: 2009

STARRING: Christopher Dane, Beth Ainsley, Kate Madison

The fan film, which tells the story of Aragorn's parents, Arathorn and Gilraen, was made with a budget of £35,000, of which £8,000 was contributed by director Kate Maddison herself. Filming took place in various locations across the UK, and it is worth noting that the costumes, make-up, and special effects, imitating the style of Peter Jackson's work, are striking in their high quality. In addition, the acting does not leave any feeling of amateurism. The film received positive reviews from both critics and audiences and is currently available to watch on YouTube completely free of charge.

IMDB RATING: 6.8

YEAR OF RELEASE: 2019

STARRING: Nicholas Hoult, Lily Collins, Tom Glynn-Carney, Colm Meaney, Derek Jacobi

The film tells about the dramatic moments of Tolkien's youth: how he was left without a mother and became an orphan, about the friendships that appeared in his life, and about the loss of these friends on the battlefields of World War I. Also at the center of the plot is his love for his future wife Edith Bratt and the beginning of his creative path. The role of the young Tolkien is played by Nicholas Hoult, known for the film Mad Max. This film intertwines real life with fantasy elements—though they are only loosely related to Tolkien's work, their execution is pleasing to the eye.

YEAR OF RELEASE: 1993

STARRING: Pertti Svekholm, Taneli Mäkelä, Jarmo Hyttinen, Jari Pehkonen.

The Finnish miniseries, directed by Timo Torikki, is an interesting combination of elements from The Hobbit and The Lord of the Rings, but focuses exclusively on the Hobbit aspects. The kingdoms of Rohan and Gondor are absent from this production, and the characters have undergone noticeable changes: Boromir looks like a samurai, and Aragorn resembles a biker, which adds to the unusualness, especially considering that the same actor plays Gollum. This dark, unique, and undeniably original performance is both engaging and surprising.

YEAR OF RELEASE: 1991

CAST: Viktor Kostetsky, Georgy Shtil, Valery Dyachenko, Sergei Parshin, Elena Solovey.

In 1991, Leningrad Television staged a teleplay based on the first part of The Lord of the Rings. This recording was long considered lost, but in 2021 it was discovered and brought back to life. The play was based on the translation by Vladimir Muravyov and Andrey Kistyakovsky, so instead of the familiar Aragorn, it features a character named Strider, and Baggins is replaced by Baggins. Interestingly, Watchmen follows the original plot more closely than Peter Jackson's adaptation: in that version, for example, Tom Bombadil appears. The musical accompaniment for the performance was created by Dusha Romanov, a flutist with the Aquarium group. Despite its limited budget and a certain naivety, "The Guardians" is a priceless rarity!