Expect the unexpected. The Hobbit: An Unexpected Journey sees many actors from the Ring trilogy return, including Andy Serkis as Gollum.
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“Unexpected” is right, for a couple of reasons. Peter Jackson, the man who brought Lord Of The Rings to the big screen to eardrum-shattering acclaim 10 years ago, is now taking just the same approach to Tolkien’s much slighter, slimmer children’s book The Hobbit. It’s getting expanded into three movie episodes of which this whoppingly long film is the opener.
So Tolkien’s gentle tale is going to be a triple box-office bonanza, occupying the same amount of space as the mighty Rings epic, an effect achieved by pumping up the confrontations, opening out the backstory and amplifying the ambient details, like zooming in on a Google Middle Earth.
The second unexpected point is the look of the thing. Jackson has pioneeringly shot The Hobbit in HFR, or High Frame Rate: 48 frames a second, as opposed to the traditional 24, giving a much higher definition and smoother “movement” effect. But it looks uncomfortably like telly, albeit telly shot with impossibly high production values and in immersive 3D. Before you grow accustomed to this, it feels as if there has been a terrible mistake in the projection room and they are showing us the video location report from the DVD “making of” featurette, rather than the actual film.
There can be no doubt that Jackson has made The Hobbit with brio and fun, and Martin Freeman is just right as Bilbo Baggins: he plays it with understatement and charm. But I had the weird, residual sense that I was watching an exceptionally expensive, imaginative and starry BBC Television drama production, the sort that goes out on Christmas Day, with 10 pages of coverage in the seasonal Radio Times, and perhaps a break in the middle for the Queen’s Speech.
This phrase, incomparably Tolkien-esque in its syntactic neatness and semantic beauty, is also a perfect description for the first instalment in Peter Jackson’s three-part adaptation of The Hobbit, which I now fear is doomed to be referred to as a ‘prequel’ to Tolkien’s fantasy magnum opus.
The Hobbit: An Unexpected Journey barely leaves the driveway. The film lasts for 11 minutes short of three hours, and takes us to the end of chapter six in Tolkien’s original novel, which falls on page 130 of the official movie tie-in edition. That’s half an hour per chapter, or one minute and 20 seconds per page. The work of the sombre Hungarian auteur Béla Tarr, whose grinding tale of apocalyptic poverty The Turin Horse ran to a mere 155 minutes, feels nippy by comparison.
This film is so stuffed with extraneous faff and flummery that it often barely feels like Tolkien at all – more a dire, fan-written internet tribute. The book begins with the unimprovable ten-word opening sentence: “In a hole in the ground there lived a Hobbit.” Jackson, by contrast, starts with an interminable narrative detour about a mining operation run by a team of dwarfs, involving magic crystals, orc armies and details of dwarf family trees that are of interest, at this early stage in what is supposed to be a family film, to almost nobody.
We approach the drama via its mythic setup: the terrifying dragon Smaug appropriates the Dwarf Kingdom of Erebor. The older hobbit, played with maundering geniality by Ian Holm is presented to us; then it’s back in time to meet our unlikely hero, the gentle Bilbo Baggins, younger but still a somewhat donnish, bookish bachelor figure like Tolkien and CS Lewis. He is contacted by the charismatic Wizard Gandalf The Grey — and it’s a pleasure to see Ian McKellen back in the cloak, whiskers and pointy hat, bringing a sparkle of life and fun to the part, and stealing the scene with ruminative little smiles and eyebrow-raisings.
There are explosively dramatic battles, with a lot of 3D plunging from vertiginous heights. But the crux comes with Bilbo’s meeting with the ineffably creepy Gollum, played in motion-capture once again by Andy Serkis. It is a terrific scene, a contest of nerves, a duel of wits, and the one moment in the film where the drama really comes alive and Freeman’s (admirable) underplaying of the role works well against Serkis’s animal paranoia.
And the rest of the film offers an enormous amount of fun, energy and a bold sense of purpose. But after 170 minutes I felt that I had had enough of a pretty good thing. The trilogy will test the stamina of the non-believers, and many might feel, in their secret heart of hearts, that the traditional filmic look of Lord of the Rings was better. But if anyone can make us love the new epically supercharged HFR Hobbit, it’s Peter Jackson.
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