THE SNOW QUEEN and FROZEN

I'm taking a bit of a break from the usual movie-talk and thought I would focus on a certain book, one that's been filmed a few times.

I've always admired the work of Hans Christian Andersen, a writer of classic fairytales whose work often had a very dark and melancholy feel.  As his middle name suggests, he was quite religious, and it shows in his work, which adds something to it.  While his stories feature supernatural creatures: witches, trolls, mermaids, etc, he also makes regular references to God and the Bible.  This adds an extra layer to his stories: every struggle is between the Divine Good and Profane Evil, and the wicked seem all the more creepy.  For example, in THE LITTLE MERMAID, the titular character must get the prince to marry her as only by being married in God's church can she attain an immortal soul.  This surreal story element adds an epic scope to an otherwise small scale fairytale.

[His religiousness is a bit ironic though when you consider one his most famous short stories THE EMPEROR'S NEW CLOTHES.  That story is one of the most perfect unintentional metaphors for organized religion ever conceived].

One of my favorite novellas of all time is Andersen's masterpiece THE SNOW QUEEN, a haunting story published in 1845 with a creepy atmosphere.  It has been filmed several times and there's a new Disney adaptation, entitled FROZEN, in the works for later this year.  But no film has ever successfully conveyed this lovely piece of writing, which has one of the best opening lines to a story ever: "Now then, let us begin. When we are at the end of the story, we shall know more than we know now: but let us begin."

The novella starts off with a prologue that is pretty much irrelevant to the body of the story, and it's even cut out in some versions.  The story starts off with a wicked creature (depending on the translation, sometimes it is a sprite, other times a troll, but in the edition I had as a kid, it was actually identified as the Devil), creating a mirror that distorts everything and magnifies the evil and bad qualities in things.  His pupils of little devils love this creation and use it to distort everything, eventually taking it high into the Heavens, to distort the face of God himself.  However, they laugh so hard in their mischief that they drop the mirror and it falls to Earth, shattered into thousands of pieces, floating adrift, ready to enter the eyes and hearts of unsuspecting humans.  Of course this little story is reminiscent of a Biblical parable, a sort of Garden of Eden for magic creatures, a Book of Genesis for this new Bible Andersen has written for us, and its vivid imagery haunted me as a kid.

Then the main story starts.  We are told of two children named Kai and Gerda who "were not brother and sister; but they cared for each other as much as if they were."  One day, Kai's grandmother (strong matriarchal figures are a motif in Andersen's work) warns the children of the evil Snow Queen, a beautiful but cold and emotionless witch, white as marble, who lives in Lapland and is the queen of all snowflakes.  Soon enough, Kai, under the influence of shards of that evil mirror from the prologue entering his eyes and heart, is approach and seduced by the Snow Queen, who takes him up in her sleigh, and promises to make him her prince.  Yes, NARNIA fans, C.S. Lewis based his White Witch character on Andersen's Snow Queen!

The rest of the story is Gerda's quest to find Kai and right away, you've probably noticed a role-reversal.  We have a girl rescuing a male-in-distress, and furthermore, pretty much every major character in this story is female.  Gerda, the Snow Queen, and the grandmother are the major players.  Along her quest, Gerda encounters various female companions including a Princess, the Lapland Woman, the Finland Woman, and probably the character in the story with the most personality, the Little Robber Girl.  Eventually Gerda reaches the Snow Queen's palace in the freezing snows of Lapland, having lost her shoes and traveled barefoot.  Outside she is confronted by an army of hideous snowflakes (or, depending on your translation, it may be Satanic demons), but she overcomes them by kneeling and saying the Lord's Prayer.  Again, I may not share Andersen's religion, but I find the way he weaves it into an otherwise supernatural story to be oddly effective [By the way, the topic of how I react to a work of art with contrasting religious beliefs will be the topic of an upcoming blog entry].

Now, unfortunately, we reach the biggest flaw in the story: it doesn't have much of a climax.  The Snow Queen happens to have left Kai all alone in her empty palace when Gerda arrives, so she simply runs up to him and hugs him, breaking the spell, and he spells the word ETERNITY, which frees him.  Bah!  Even as a kid I was very underwhelmed with that and always thought a confrontation with the Snow Queen needed to be there.  Well, the story seems to completely forget about her as the children leave the palace and begin the trek home.

In these final paragraphs, the story stops being literal but turns to heavy metaphor as the children appear to walk all the way home, arriving back at their hometown and the grandmother's house who reads to them from the Bible, and we realize this whole story was a damn metaphor about growing up.  You may have noticed how the entire story has made use of the passing seasons.  Kai is abducted in the winter, Gerda sets out for him in the spring, we are told it is already autumn by the time she meets the Princess, arriving in Lapland it is again winter, the children leave Lapland again in spring weather, and finally arrive home in the summer.

And that leads into the final passage of the story, which is one of my favorite pieces of writing ever!  Of course it changes a bit, depending on your translation, but I've copied it below.  If you've ever seen my film HAVANA IN BUSHWICK, you might have picked up on one reference to THE SNOW QUEEN.  Thematically, the two stories couldn't be more different, but for the film's closing voiceover narration, I borrowed a little bit Andersen's ending.  And so I conclude this blog with Andersen's original text:

"...as they entered, they remarked that they were now grown up. And Kai and Gerda looked in each other's eyes, and all at once they understood the old hymn. There sat the two grown-up persons; grown-up, and yet children; children at least in heart; and it was summer-time; summer, glorious summer!"

2013 Oscar Predictions

So in light of last night's Golden Globe Awards, here are my predictions for this year's Oscars, which is one of the strangest years in recent history, with no clear front runner.  Alright, here we go:

BEST ACTOR: Definitely Daniel Day-Lewis.  Hugh Jackman is the only other slightly serious contender.

BEST ACTRESS: This seems to be a two-way race between Jessica Chastain and Jennifer Lawrence, and I think Lawrence is the one with the edge.  She's more likeable and just had a great year with THE HUNGER GAMES as well, while Chastain is still slowly getting on people's radars.  Then again, nine-year-old Quvenzhané Wallis might cause an upset, just because it would make a good story.

BEST SUPPORTING ACTOR: I'm guessing Christoph Waltz.  Robert De Niro, Philip Seymour Hoffman, and Tommy Lee Jones all have gotten good notices for their work, but none have the edge here.  And while I liked ARGO a lot, I do not think Alan Arkin deserves an Oscar for his role at all.

BEST SUPPORTING ACTRESS: Anne Hathaway.  Not since Heath Ledger's death has there been such a surefire win!

BEST DIRECTOR: This is the strangest set of nominees ever with not just one snub but three!  I thought Ben Affleck and Kathryn Bigelow were the two frontrunners, with Tom Hooper being a distant third.  Yet with none of these three nominated, I don't know what to think.  Well, Spielberg doesn't need another Oscar while Benh Zeitlin might win just because it would make a good story (and as a representative of my generation, I am supporting him).  So if I have to make one prediction, I'm gonna go with David O. Russell, but this is an open race.  Also, it's very sad that there are no women nominated here!

BEST ORIGINAL SCREENPLAY: This is the second time that Quentin Tarantino and Mark Boal are up against one another, and I think this is clearly a two-way race between DJANGO UNCHAINED and ZERO DARK THIRTY.  I'm going to predict the latter.

BEST ADAPTED SCREENPLAY: I think this will go to ARGO; however, I could also see LINCOLN sneaking one in here, just because Tony Kushner is a Pulitzer-winning writer and so respected.  This one is also an open race.

BEST ANIMATED FILM: WRECK-IT RALPH.  BRAVE got a mixed reception and I think the golden age of Pixar is definitely over.

BEST ANIMATED SHORT FILM: I suspect this might to THE SIMPSONS: THE LONGEST DAYCARE.  It's been a long-running franchise and many might feel it's due for an Oscar.

BEST FOREIGN LANGUAGE FILM: Most likely AMOUR, but A ROYAL AFFAIR is also a contender.

BEST CINEMATOGRAPHY: Why are there no women nominated here?  I'm really disappointed LES MISERABLES isn't nominated.  So I predict LIFE OF PI will win this; it's the most visual of the nominees.  Sadly, it seems Roger Deakins is never going to win this award.

BEST EDITING: ZERO DARK THIRTY might win this due to its grittiness.

BEST DOCUMENTARY: THE INVISIBLE WAR.  It's topical.

BEST PRODUCTION DESIGN: LES MISERABLES will probably eat up all the technical awards.  ANNA KARENINA is also a contender, but not enough people saw it.  I'd also be happy with THE HOBBIT winning.

BEST COSTUMES: Here is where ANNA KARENINA might win, as this always goes to the period pieces.

BEST MAKEUP AND HAIRSTYLING: LES MISERABLES.  THE HOBBIT is also deserving, but others might feel it didn't really do anything new from the previous LORD OF THE RINGS films.

BEST ORIGINAL SCORE: LIFE OF PI won the Golden Globe here.

BEST ORIGINAL SONG: SKYFALL.  Not only is it the best James Bond song since Carly Simon's "Nobody Does It Better," but Adele is a musician with a lot of spotlight now.

BEST SOUND MIXING: ARGO or LES MISERABLES.

BEST SOUND EDITING: LIFE OF PI features the most original creation of sounds.

BEST VISUAL EFFECTS: THE AVENGERS might win as validation for it being the biggest box office hit of the year.

and finally, last but not least:

BEST PICTURE: So last night's Golden Globes would seem to indicate ARGO and LES MISERABLES as the two frontrunners, yet here neither of them have their respective directors nominated.  It could be SILVER LININGS PLAYBOOK, but I see it winning so little else that I don't know.  So, in a year with no clear frontrunner, I'm going to predict LINCOLN, an all-American film!

Top 10 Most Iconic TV Performances

I felt that television-based performances should be ranked differently from film.  Here the actor gets much more time, even years, to really build the character.  So, here they are:


10. Tie between Patrick Stewart and Brent Spiner in STAR TREK: THE NEXT GENERATION
9. Calista Flockhart in ALLY MCBEAL
8. Mariska Hargitay in LAW AND ORDER: SVU
7. David Cross in ARRESTED DEVELOPMENT
6. Bea Arthur in MAUDE
5. Kyle MacLachlan in TWIN PEAKS
4. Jean Stapleton in ALL IN THE FAMILY
3. Derek Jacobi in I, CLAUDIUS
2. Leonard Nimoy in STAR TREK
1. Bryan Cranston in BREAKING BAD

Top 20 Most Iconic Film Performances

These are those wonderful cases where the actor and the part just match perfectly.  Try to imagine anyone else in that role and it just doesn't work.  Here is my list for feature films; a separate list for TV will soon follow...

20. Antonia San Juan in ALL ABOUT MY MOTHER (1999)
19. Shelley Winters in LOLITA (1962)
18. Sigourney Weaver in ALIENS (1986)
17. James Woods in ONCE UPON A TIME IN AMERICA (1984)
16. Faye Dunaway in NETWORK (1976)
15. Jan Malmsjo in FANNY AND ALEXANDER (1982)
14. Gloria Swanson in SUNSET BLVD (1950)
13. Kathy Bates in MISERY (1990)
12. Christopher Lloyd in WHO FRAMED ROGER RABBIT (1988)
11. Valentina Cortese in DAY FOR NIGHT (1973)

10. Robert De Niro in TAXI DRIVER (1976)
9. Ellen Burstyn in REQUIEM FOR A DREAM (2000)
8. Harriet Andersson in THROUGH A GLASS DARKLY (1961)
7. Tim Curry in THE ROCKY HORROR PICTURE SHOW (1975)
6. Samuel L. Jackson in PULP FICTION (1994)
5. The Entire Cast of THE GODFATHER (1972)
4. Fairuza Balk in RETURN TO OZ (1985)
3. Javier Camara in TALK TO HER (2002)
2. Robert De Niro in RAGING BULL (1980)
1. Daniel Day-Lewis in THERE WILL BE BLOOD (2007)

The 2012 Gabe Rodriguez Film Awards

So what were my choices for the best films of this year?  Well, I will tell you:

First off, films made by people I actually know, which makes me biased:

-FEED A (dir. Clarke Mayer)

This is the best "found footage" film I've ever seen, mostly because it uses the technique intelligently and not as a gimmick.  This horror film follows a SWAT team while investigating a house.  The star of the film is really the presentation: the level of detail and authenticity for the SWAT members, the bodies, the practical effects, and how it ends will leave you talking for a while.

-A NEON LIFE: BERLIN (dir. Jack Feldstein)

I've raved about Feldstein's work before.  This film, which is tecnically an episode in an ongoing web-series, goes in a different direction.  Rather than his usual stream-of-conscious narrative using free-flowing dialog and imagery, A NEON LIFE is more of a documentary series, in which he speaks directly to us about exciting social events, interviewing others, and then "neon-izing" the footage.  I had no real thoughts on the other episodes, but what made BERLIN stand out so much to me was how different it was, capturing the artistic vibe of a historic city that has had much trauma.  In fact, I don't think any city in the world can honestly say it has succesfully overcome so many divergent traumas as Berlin has.  This short film made me think about the reality of a place I've never been, while simultaneously depicting it in a fake, cartoonish way.  It was a real return to form for this artist who I've been following for nearly two years now.  Watch it here.

Okay, onto the best indie short films I saw:

-CAN'T DANCE (dir. Richard Uhlig)

A comedy about an old man and his dead wife's ghost.  Very well directed.  You can see the website here.

-ANDREW: STORY OF A CLOSET MONSTER (dir. Eliott Lobell)

A charming animated fable about a boy who becomes friends with the monster in his closet.  None of the two lead characters have a single word of dialog, yet it touches you.

-SOMETHING LEFT, SOMETHING TAKEN (dir. Ru Kuwahata, Max Porter)

This is one of the funniest animated films I've ever seen, and I can't imagine what the budget on it was.  Two kids take a ride from a stranger, who they begin to suspect is the Zodiac killer.  I especially love how the two main characters are caricatures of the two directors.  In fact, the sense of humor in general feels very PIXAR-ish.  Check out this masterpiece here.

Okay, now, onto the main course.  In my humble opinion, the ten biggest films of 2012:

10. SKYFALL (dir. Sam Mendes)

I'm not a James Bond fan, but this is the biggest film in their entire 50-year franchise and the first one to cross the one-billion dollar mark.  So I HAD to include it.

9. AMOUR (dir. Michael Haneke)

Winner of the Palme d'Or, Haneke returns to a style of long character silences in hollow interiors in this Austrian film.

8. THE MASTER (dir. Paul Thomas Anderson)

When I was making this list, I nearly forgot this film had come out this year.  I can understand why this divided many, but any film that sticks it to Scientology is fine with me.  Plus I just really love Anderson's work.

7. Tie between THE AVENGERS (dir. Joss Whedon)/THE DARK KNIGHT RISES (dir. Christopher Nolan)

These were the two top-grossers of the year and the two summer movies everyone was talking about, so I felt they should be ranked together.  I personally thought TDKR was hurt by several factors, the biggest of which was that it felt like an inorganic ending to a story that was not meant to be a trilogy.  But there is no denying that these two films not only represented the current Renaissance for comic book films, but also the best that both Marvel and DC have to offer.  A lot is resting on next year's MAN OF STEEL.

6. THE HUNGER GAMES (dir. Gary Ross)

This was the biggest surprise of the year for me and I think for a lot of people.  Many of us were thinking "Another book series that's popular with teens being turned into a big movie franchise; could this be another TWILIGHT?"  What most of us discovered is "Hey, this series is actually pretty cool."  THE HUNGER GAMES won me over with its fantastic premise and Jennifer Lawrence's leading lady presence.  I do admit to disliking the shaky handheld work, and I've never liked Gary Ross as a director.  Had David Fincher directed this film, it might even have been #1 for me.  In any case, CATCHING FIRE is one of the few films I'm looking forward to in 2013.

5. A ROYAL AFFAIR (dir. Nikolaj Arcel)

I love any kind of BARRY LYNDON costume drama.  This film from Denmark depicts the mental illness of Christian VII, and makes us all think about our own sanity.

4. ARGO (dir. Ben Affleck)

Although he directed two movies before, this seems to be Ben Affleck's official coming out as a director.  Every single review is praising him as the new top filmmaker.  This film manages to take a real-world event that is often forgotten today and not only dramatize it, but even throw in a little Hollywood satire on the side.  The entire cast is great in a film that really makes you think.  The only thing I didn't like was the retro '70's cinematography, which came off looking hokey.

3. THE HOBBIT: AN UNEXPECTED JOURNEY (dir. Peter Jackson)

I already wrote a whole blog about this.  I find it sad how people spent the better part of a decade going "We want more LORD OF THE RINGS movies!  C'mon, make THE HOBBIT!  C'mon, what's with all these development problems!" and now, when it's finally out, the response seems to be "Eh, it didn't need to be made."  I personally really enjoyed this film, thought it felt like an organic continuation of the Holy Trilogy, and am looking forward to the sequels.  Yes, it's more lighthearted than the previous films, but that was the point!  As for the whole 48 fps scandal, let's just not go there.

2. ZERO DARK THIRTY (dir. Kathryn Bigelow)

I really love Bigelow as a director and the direction she is going in.  I love all movies about the military, and I feel that only now are we truly coming to terms with the war(s) of the past decade.  At first no one knew what this film was even about.  Once it became clear it was about the hunt for Osama bin Laden, public opinion became divided!  Mark my words, I predict this will win Best Picture.

and the winner is...

1. LES MISERABLES (dir. Tom Hooper)

Well, obviously the release of this movie was the second coming of Christ!  Okay, I've done a lot of raving about this movie, yet the general public opinion seems to be a bit of disappointment, so I feel a lot of pressure to do some justifying.  Well, here goes: Victor Hugo's novel, which happens to be my favorite book ever, is part narrative, part history lesson, part personal essay/editorial.  Through the device of not one but several stories, the work is a critique of modern society, and continues to feel modern 150 years later.  Hugo effortlessly shows poverty, exploitation, and degradation in all its forms.  The stage musical retains this, but obviously must streamline events into a cohesive narrative, and it also has some kickass songs.  Hooper's film melds these two approaches: presenting a heightened realism in a very gritty environment, while the script streamlines things even further, and those who don't like "sung-through" musicals or operas, won't go for it.  I know many complained that all the singing prevented them from latching on to the characters; all I can say is that this isn't your typical movie where characters and plotpoints are presented via literal narrative.  This is a new language of cinematic storytelling.  For me, absorbing this long film all in one sitting was an experience, and one that I feel must be had again and again; I suspect others will gain more appreciation on repeat viewings as well.

and the worst is...

1000. RED TAILS (dir. Anthony Hemingway)

Not since Michael Bay's PEARL HARBOR has there been such a horrible, insulting, stupid film that tries to preserve history through shallow characterization dumbed down to Hollywood tropes.  And at least PEARL HARBOR had the excuse that it was only dramatizing one historic event and not an entire war, but here the scope is much larger and the result is much more baffling.  At least PEARL HARBOR could fall back on "Well, we chose to focus on a love story for most of the movie;" this one couldn't even get the love story right.  You could argue that LES MIZ also recreates history, but at least that made some effort to depict any kind of complexity, be it personal, political, societal, etc.  Red Tails was just "Racism is bad.  Patriotism is good.  Germans are stupid."  Even though George Lucas didn't direct, this may be the worst film to ever have his name on it.  It has all the problems of the STAR WARS prequels but without the novelty and a lot more self-importance, showing how out of touch he is.

And that was 2012!

Geek Supremacy

I've written several blog entries now about the changing face of cinema, but it's worth dedicating an entry to how much the rising technology has affected other forms of pop culture, in particular the rise of the podcast and the way it has replaced talk radio.  If the medium of the podcast serves as a form of talk radio for the Internet-generation, then one podcast I've recently come across that best embodies this is THE GEEK SUPREMACY PROJECT, hosted and produced by Gregory Hall.

THE GEEK SUPREMACY PROJECT, which can be listened to here, is essentially a Comic-Con for the ears, dedicated to a discussion of all comics, movies, TV shows, and web-series, and further indicative of how we live in a society where Nerd has become the new Cool.  The rise of the Internet gave a voice to every single cult fanbase, playing to their niche audiences.  Today, a web-series like NIGHTWING: ESCALATION is just as accessible to audiences as any Hollywood blockbuster is, and this podcast treats both of these forms of media with equal attention.  Indeed, there IS geek supremacy in our culture.

It also helps that Gregory is a very charismatic host.  Whereas many podcasts suffer because they are hosted by celebrity-wannabes who show they know less about their subject of discussion than their audiences, Gregory's passion shines through and is in complete control of his show.  Furthermore, since he develops a chemistry with the guest each week, no two shows are ever the same.

Gregory told me the following:

Most kids bond with there parents with sports...I bonded with my parents with movies and comics.  As a kid I started as a horror geek.  My first horror film was A NIGHTMARE ON ELM STREET at the age of three and ever since then I was hooked.

I got my love for horror/scifi from my mother she loved Stephen King, STAR WARS, and STAR TREK.  My love for comics came from my dad.  When I was a kid I would go with him go to this sports store where they sold sports memorabilia.  There was a little section where sold comics so I would go over and read them and if I did good in school I could buy one.

I know what it's like to have a love for the arts that stems entirely from my experiences with my family.  I learned about foreign films from my mother, and today I'm a huge consumer of nerd-culture!

This background led Gregory to find himself as an artist, trying his hand at writing his first novel, which was, unsurprisingly, a horror story.  But writer's block got in the way.  And so, lo and behold, he founded a podcast with his sister as a creative outlet to get his juices flowing.  You wouldn't think hosting a talkshow would be a creative endeavor on the same level as creating a work of art, but using the podcast forum, it is.  Because a podcast is, oddly enough, more personal than any other type of show, and its content feels more raw, coming straight from the artist.

If there was ever one show I was a complete nerd for, it was MYSTERY SCIENCE THEATER 3000, which was cancelled in 1999.  Then, a decade later, the show came back in the form of a podcast called RIFFTRAX.  While both of these shows have the same basic premise -- voices riffing throughout an entire movie -- I find the concept works infinitely better in podcast form.  Such is the power of this new forum.

In a previous entry, I wrote about James Rolfe and THE ANGRY VIDEO GAME NERD going from fun videos on YouTube made by an amateur filmmaker to a full-blown media franchise and the first fan-funded feature film in history.  If there was ever an example of geek supremacy in media, that was it!  How fitting that the newest ANGRY VIDEO GAME NERD episode should be released at the same time I write this article.  Watch it here.

Gregory Hall and THE GEEK SUPREMACY PROJECT are emblems of the changing face of our culture's love for story.  The nerdy kids who spent their youths eating pizza while watching BABYLON 5 and dreaming of the big stories they wanted to tell are today's intellectuals, turning Comic-Con into a profitable business and running websites like IMDb, Ain't It Cool News, and Rotten Tomatoes.  I encourage my readers to listen to THE GEEK SUPREMACY PROJECT as the herald of change in our media.  Keep up the good work, Gregory, and may the world supremacy of geeks begin!

Ten Years Later: LORD OF THE RINGS and THE HOBBIT

With the release of THE HOBBIT: AN UNEXPECTED JOURNEY, I thought it was a good time to write a little post about the legacy of this film franchise.

Young people of today who barely remember a decade ago and think of SPIDER-MAN as an "old movie" may not be able to fully appreciate the full impact THE LORD OF THE RINGS trilogy had.  It was rightfully labeled as the STAR WARS of our generation, and not only on the obvious level that it was an action/adventure trilogy, but in the way it was a benchmark that sparked imaginations and inspired the emerging group of filmmakers.  If you're a filmmaker and were a child of the 1970's, you remember the release of STAR WARS damned well!  LORD OF THE RINGS served that same purpose for my colleagues.  Recently I've been hearing people refer to Nolan's BATMAN trilogy as their generation's STAR WARS; sorry, but as good as those films may have been, I simply don't think that's true at all; if it is, it may be a few years before it becomes apparent with today's youth.

LORD OF THE RINGS was seen as the answer to THE PHANTOM MENACE and the two Chris Columbus-directed HARRY POTTER films: it showed modern technology could create wonderful vistas never seen before while ALSO making an engaging film and a modern epic.  A few years earlier TITANIC had been a mega-hit sensation, but LORD OF THE RINGS was able to do the same while sustaining it over two sequels.  The remaining HARRY POTTER films would draw heavily on the model LORD OF THE RINGS had set, as would the NARNIA films, THE GOLDEN COMPASS, and AVATAR.  Even PAN'S LABYRINTH, though an entirely original (and in my opinion superior) fantasy film was marketed to remind audiences of LORD OF THE RINGS.

During the release of LORD OF THE RINGS, I was finishing high school and starting college, which I feel was the ideal age to experience this event.  Even more ideal was being in film school and learning the craft of filmmaking in the immediate aftermath of this release, when everyone was talking about these movies.  Furthermore, LORD OF THE RINGS became one of the first movies to really utilize the innovation of the DVD.  DVD's had started to replace VHS tapes around 1997 and were catching on by 2000.  "Collector's Sets" with hours upon hours of making-of material were beginning to emerge, but FELLOWSHIP OF THE RING was one of the first times I saw a movie truly make use of the Extended Edition format.  Perhaps what says the most is that in 2001 DVD's and VHS were still about comparable to one another on the market, while by 2004 VHS was semi-obsolete.  What happened during that interim?  The trilogy happened!

In college, we were all learning what visual effects were from looking at the behind-the-scenes of LORD OF THE RINGS, the DVD's of which I guarantee could be found in at least 65% of the students' dorm rooms.  I learned what color-correction and color-grading are because of LORD OF THE RINGS.  I learned that you do your picture-editing first, then visual effects, then scoring, and finally sound-mixing, in that order, all because of LORD OF THE RINGS.

Now at this point in the blog, you might be rolling your eyes at me and telling me I need to stop "fanboy-ing," so let me be the first to point out that the movies are not perfect at all.  Rewatching the trilogy recently, I noticed how Hollywood they are, and how many cliched action and horror movie tropes Peter Jackson relies on in his storytelling.  Yes, it's dumbed down from Tolkein's writing (by the way, I happen to like Tolkein's books a lot and feel the films compliment the source material well.  There are some elements in the story done better in the film than they were in the book.  But, on the whole, if I had to choose one, then the books are the superior versions).  Merry and Pippin make lame jokes, and the scene where they agree to join the Fellowship only to then reveal they don't even know where they're going completely undermines the integrity of the characters.  Finally, the worst moment in the entire trilogy is Galadriel's weird freak-out when she's offered the ring and her voice gets all fucked up!  I hate that scene; it belongs in a B-movie of lesser quality, and I felt that way when I first saw it eleven years ago.

But all of this aside, the trilogy was still a remarkable achievement in the scale of its production, especially when looked at as one long film.  When I learned how big the set was and all the details of the shooting schedule, there was a time when I considered it the single most ambitious production in all of cinematic history [knowing what I do today, I might say CLEOPATRA (1963, dir. Joseph L. Mankiewicz) or WAR AND PEACE (1966-68, dir. Sergei Bondarchuk) might be more deserving of that distinction].  It also helped that Peter Jackson was an incredibly charismatic person that audiences loved from the start.  Here was a true guerrilla filmmaker with a genuine love for the art-form and immense passion for the material.  As my dad put it: "No wonder these hobbits are all so dirty; the director of these movies looks like a homeless person!"

So now we come to THE HOBBIT, a prequel that has spent the better part of a decade in development hell.  I won't go into all the controversies; anyone who knows me knows that I disapprove of 3D, and while the radical idea to project at 48 frames per second could potentially have made this film just as much of a game-changer as LORD OF THE RINGS was with the DVD format, the public backlash suggests this won't be the case.  But I have now seen AN UNEXPECTED JOURNEY, the first of the new trilogy, and I have to say, Jackson did the impossible.  He has created a film that feels like an organic continuation of the saga, despite the time discrepancy between productions!

THE HOBBIT: AN UNEXPECTED JOURNEY is a very fun and charming film with moments that show a larger scope.  Yes, the tone is much more juvenile and lighthearted than the previous films, but that is fitting of the book.  Is it as good as LORD OF THE RINGS?  Simply-put, I don't think it could possibly have the ground-breaking effect the trilogy had ten years ago; that was just pure lightening in a bottle, whereas this time we all knew what to expect.  This film won't sweep the Oscars as its predecessors did.  But as a continuation that manages to successfully feel like the first new LORD OF THE RINGS film in a decade, it's a success that leaves me wanting to see the sequels, and better yet, it's a fun time at the movies.

LORD OF THE RINGS was certainly not the best movie I saw during my college years, but regardless it was the movie of my college years.  Maybe I'm letting the nostalgia take over, but that was just such an exciting time for movies, and we all sensed they were changing forever.  As 2012 comes to an end, the future looks grim for Hollywood movies.  With indie cinema on the rise and the entire model of distribution being revolutionized, not to mention public dissatisfaction with so many films, the entire Hollywood system might soon be obsolete.  But at least knowing that there are two HOBBIT sequels on the horizon has filled me with some comfort.  And if a film can make you want to come back, continue the story, and be fulfilled, then it is doing what the movies are all about.  AN UNEXPECTED JOURNEY has opened a new door on a new Hobbit-hole, and that door to Bag End will never be closed again.