Paul Watson, Campus Carrier Editor-in-Chief
Smaug only redeeming quality of “The Hobbit”
With less-than-stunning visual effects and unexceptional writing, “mediocre” is the best adjective to describe the second installment in Peter Jackson’s “The Hobbit” trilogy.
“The Desolation of Smaug” continues the story of Bilbo Baggins (Martin Freeman) as he and a ragtag bunch of dwarves, led by Thorin Oakenshield (Richard Armitage), continue to make their way back to the dwarves’ homeland, in order to reclaim it from Smaug the dragon (Benedict Cumberbatch). They make their way through drastic landscapes, from dark forests to lakeshores, meeting new friends and enemies along the way.
This installment seemed to devote its entire special effects budget to perfecting Smaug, who admittedly was a beautiful creation. However, nearly every other instance of heavy CGI seemed to be on the same level as the original “Lord of the Rings” trilogy which, though it was cutting edge at the time, was released a decade ago. Some scenes even let us peer into the very being of Bilbo Baggins, or at least let us examine every particle of makeup on his face.
As Jackson creates more adaptations of J.R.R. Tolkien’s “Lord of the Rings” saga, it becomes evident that he is using the novels as a foundation and building onto them, something nearly every director who makes adaptations does. With that in mind, I tried my best to divorce myself from the novel when viewing the film, accepting the presence of Azog the Pale Orc, Legolas, Tauriel and even the forced, awkward romance between the last two. Yet there are some scenes from the book that I deem almost sacred, and if Jackson were to translate them into film, they would need to be done correctly.
Bilbo’s ascent to the canopy of Murkwood Forest is one of these scenes. In the novel, the gang has been traveling through the forest for a long while in stifling, utter darkness. They are lost, scared, exhausted and near ready to simply give in to the forest. As a hobbit, Bilbo longed for the sun more than the dwarves, as they normally dwelled beneath the mountain. When Bilbo finally breaches the canopy to the fresh breeze, the dazzling sunlight and the sea of butterflies that found refuge in the canopy, Bilbo knew there was hope, that there was redemption. It is one of the most beautiful scenes in the entire novel.
Yet after only being in the forest for a few minutes and being seemingly unaffected, Jackson’s Bilbo spends less than 30 seconds in the fresh air before coming back down; it’s as if the scene was a throwaway plot point.
The most redeeming aspect of the film was Smaug’s dialogue, largely untouched from the novel and spoken with such command and intensity by Cumberbatch. It is his final line, “I am Fire. I am Death!” as he flies towards vengeance, that draws us back into the trilogy, yearning for the next film.
If you want to see every part of the trilogy in theatres, be sure to catch it before it’s too late; otherwise, a DVD viewing will work just fine.
Rachel Yeates, Campus Carrier Copy Editor
Period crime drama impresses
With much care and precision, Christian Bale ushers each hair of his opus of a combover into place. And so begins one of the best movies of winter break, “American Hustle.”
Just as Bale is nearly unrecognizable beneath his falsely thinning hair and prosthetic beer belly, his character is unlike any he’s played before.
The love affair of Irving Rosenfield (Bale) and Sydney Prosser, played by the fantastic and versatile Amy Adams, frames David O. Russell’s latest drama. In the heat of the seventies, Rosenfield, a decievingly bright con-man, and Prosser, his true love, mistress and business partner, become caught up in a scheme to take down beloved mayor Carmine Politio (Jeremy Renner).
Bradley Cooper skillfully portrays the off-kilter, immature and, at times, frightening FBI agent Richie DiMaso who is behind the plan. Irving strikes up an ill-fated friendship with Polito and, between shady dealings with the mafia, has to deal with his fiery and inquisitive wife Rosalyn who is played, with perfect energy and emotion, by Jennifer Lawrence.
When relations between Irving, Richie, Rosalyn and Sydney become twisted, the operation with the mayor hangs in the balance. But this film is much more than twisted romantic relationships: the plot is fascinating and unpredictable; the cast plays off of each other perfectly and looks right at home in ridiculous seventies attire (somehow Adams’ jaw-dropping necklines and Cooper’s painstakingly arranged curlers work); and director David O. Russell manages to convey themes of love and loyalty in nuanced and intriguing ways without coming across as heavy-handed. An expertly selected, classic seventies soundtrack accompanies the action and serves to complete the viewer’s submersion into the time period.
Overall, I would definitely recommend this movie. It is a well-paced, well-acted authentic period drama that is sure to have you both laughing and glued to the edge of your seat.
Madi McEver, Campus Carrier Entertainment Editor
Timeless classic revisited
If you are looking for a heartwarming film to brighten the last dreary days of winter, look no further than Disney’s “Saving Mr. Banks.” Nominated for several awards, it has been hailed as one of the greatest movies of this season.
Directed by John Lee Hancock, the film stars Tom Hanks as Walt Disney and the dynamic Emma Thompson as P.L. Travers, author of the beloved Mary Poppins book that inspired the original film. The plot follows Disney as he pursues the rights to create a film adaptation of Travers’ novel. Travers makes it clear, on more than a few occasions, that she is adamantly opposed to this adaptation, and is unyielding to any form of bribery that Disney has to offer.
As Travers interacts with the writers and composers working on “Mary Poppins,” it becomes evident that her unwillingness to help Disney goes far deeper than her suspected selfishness or hatred for animated films. Thompson does a fantastic job portraying this less-than-enthusiastic writer, and dazzles the audience with her spot-on portrayal of an ever-changing spectrum of emotions.
Intertwined in the story are flashbacks to Travers’ childhood, which give great insight into some of her writing. These flashbacks are set in early 20th century Australia, and vividly portray what Travers’ family was like. I found myself completely engrossed in her life, experiencing every emotion along with her younger self. These tender moments were nothing short of perfect. You will laugh with the characters, cry with them and feel as if you are a part of their small family.
Besides enjoying the film as a standalone piece, I was fascinated by the way that it intertwines with the iconic “Mary Poppins” film. I have loved every song in this paragon of musical fun since I was very young, and it was interesting to learn how the songs came to be, as well as a little bit about the men behind the music.
There was nothing that I did not like about “Saving Mr. Banks,” and I would highly recommend it, even to those who are not fans of the original “Mary Poppins.” Without a doubt, this film will rekindle your fondness for a childhood favorite and give you a “behind the scenes” look that cannot be found anywhere else.