The Hobbit: The Classic Fantasy Novel and Prelude to The Lord of the Rings

Peter Jackson's *The Hobbit* (Part I -- "Into the Wilderness"): TITLE: *Martin's Freeman's Bilbo Baggins is inspired!* [***** 5 stars. Until *The Hobbit, Part I* becomes available on DVD, I'm posting the film review here.] WARNING: Spoilers ahead! While Gandalf the Wizard [Ian McKellan] remains timeless, it was obvious from the start that the Bilbo Baggins of three *The Lord of the Rings* films fame [Ian Holm, now pushing 80 years old] would have to bow out for the making of *The Hobbit*. Director Peter Jackson had surely asked himself, "Who could portray a young Ian Holm?", (but not necessarily a younger Bilbo Baggins since we now perceive Bilbo to look like the actor.) Answer: Martin Freeman. And he was right - Freeman effortlessly coalesced into the lead role. In the first of the two *The Hobbit* entries [sub-titled: *Into The Wilderness*], a more youthful Bilbo Baggins is craftily crow-barred by Gandalf into embarking upon a great adventure (Hobbits *despise* adventures!) and by serving as a burglar for a grumbly troupe of thirteen dwarves, all of whom are determined to reclaim their lost family treasure from the Evil dragon, Smaug; however, the actual battle with Smaug at the Lonely Mountain will have to wait until Part II [to be entitled: *Into the Fire*] is released. Part I largely focuses upon the history of the dwarves and the initial hazards that they encounter during their single-minded quest, chiefly battling orcs in the Misty Mountains and finishing with their tribulations with the giant spiders of the vast and ominous Mirkwood forest. It's worth noting right off that the screenwriters very shrewdly rehabilitated the puerile songs of the dwarves [found throughout the book], transforming them into a range of vivid action scenes. This strategy achieved a pair of worthy ends: 1. I've heard audio versions of this story and to include the dwarf renderings of these archaic and lengthy songs would have been in profound conflict with an effective film conveyance. 2. These newly-fashioned scenes provide additional fodder for the artful expansion of the general lack of book material, thereby reinforcing audience interest. Honestly, a movie version of Tolkien's *The Hobbit* could feasibly have been corralled within a single feature-length film [just think of all the ground that was covered in Avatar (Original Theatrical Edition) ] -- but the financial anticipations of the producers [greed], which tended to tenon seamlessly with Peter Jackson's lust for detail, had dictated long ago that viewers would have to hang on for a "final" conclusion. Part I features an ending of a sort but perhaps it would be more forthright to regard it as a dramatic finale. One looming uncertainty which has kept Tolkien fans off-balance was whether the screenwriters would go dark with *The Hobbit* in an effort to effectively link it up with The Lord of the Rings - The Motion Picture Trilogy (Platinum Series Special Extended Edition) series, particularly since Tolkien originally penned the earlier work as a sort of kids' fairy tale. In retrospect the answer to the question was probably evident to Peter Jackson from his earliest conception of a film version, noting additionally that his time-honored philosophy is that first-class films cannot simply mirror the books from which they are taken. A good screenplay massages a book for all it's worth but the visual and audio aspects must be fully accommodated too. Particular figures such as Gandalf, Elrond [Hugo Weaving], Galadriel [Cate Blanchett] and, Gollum [Andy Serkis] have already been firmly established in terms of image and it would be less than prudent at this juncture to radically manipulate the personalities of these prominent returning characters. And speaking of Galadriel, she was never a personage to be found in *The Hobbit* but Peter Jackson mined her from Tolkien's trilogy, casting her very strategically in his film version (along with Legolas, played by Orlando Bloom who also did not appear in *The Hobbit*) to further expand the script. Blanchett's presence additionally helped to overcome the gender gap of the book version. Still, these two actors are not in any way just add-ons -- their respective roles and performances have imparted considerable gravity to the story. It is impossible to separate this film's noir-ish ambiance from Howard Shore's magnificent soundtrack. He's done it again! Upbeat and even a bit frivolous at the outset, the filmscore soon slips furtively into darker realms as the story advances, a few heroic themes being reserved for the appropriate dramatic moments. One is acutely taken with the leitmotif which Shore appended to Beorn, a Prokofiev-ish ponderousness integrated with a more serious Beethoven-like dignity... the perfect musical emulsion for the venerated skin-changer. Once initial New Zealand and Australian actors' guild stumbling blocks were surmounted, the Kiwi locations again became a reality, a twin-island geography wholly adequate for the production when supplemented by studio settings, all of which have lead to the presentation of an astonishingly exceptional end-product. It would certainly have proven problematic to reproduce The Shire's Hobbiton in Eastern Europe, a location which was suggested during the early union-troubled days. Martin Freeman's dazzling performance has eclipsed even that of Elijah Wood's stellar lead role in *The Lord of the Rings* films. The former's ebullient energy ironically seems to have retrospectively amplified Ian Holm's earlier portrayal of Bilbo in the New Line Cinema trilogy of films. The remaining cast members have also set the viewers at complete ease as they creatively played out their respective roles. Peter Jackson undoubtedly learned early in his career that, given spot-on casting, at least half the battle is won. And it's hardly surprising that a particular limelight shines on Fili [Robert Kazinski] and Kili [Aidan Turner] since this caveat, for those of us who already know the story, will markedly impact most of us when we get to view the second film. The director is clearly looking ahead. In the larger view *The Hobbit* story lacks the bulwark of heroic figures which we encountered throughout *The Lord of the Rings* series, Aragorn, Boromir, Theoden, Faromir, and so on. Still, imposing characters such as Elrond, Beorn, and Bard the Bowman provide us with a subliminally more-than-adequate melodramatic security blanket. The bottom line is that this superb movie is not simply the detritus of *The Lord of the Rings* films. It's gratifying that Peter Jackson was shrewd enough to not endeavor upon such a futile follow-up attempt -- he created this film from scratch. Embracing that same notion, the screenwriters saw to it that the storyline endured sufficient jumbling so that the tale is not precisely as linear as the one we encounter in the book. This film stands on its own. With better than a baker's dozen of little folks in starring roles the temptation to over-incorporate moments of comic relief [vignettes of Gimli] must have rivaled the gnawing urge which only The One Ring could normally generate. While some tasteful levity fell well within the bounds of a palatable script, I did actually breathe a sigh of relief once I realized that few such incidents were forthcoming. The computer generated images aspect of the movie, while perfectly executed and integral to the overall work, are nicely supplemented by scale doubles, forced perspective images, miniatures, and other Jackson-ish tricks of the trade. No fear -- these facets of the film are all first-class and delightfully palatable. Gollum is better than ever. Additionally, due accolades can hardly be suitably imparted to all the folks who helped to polish this film to excellence by means of effective make-up, articulate stunt work, unequaled cinematography, precise production design, and all the other crew activities which only ever seem to rate a fleeting line of scrolled credit. One is pleased to observe that the new role of Warner Brothers and MGM [Hollywood-based companies which recently acquired New Line Cinema] did not perceptibly obstruct Peter Jackson's proclivity for artistic detail. The casual but essential impedimenta present at every place where the Dwarfish Crusaders land aids us all to subconsciously believe in the reality of Middle Earth along with its numerous and varied inhabitants. Probably much credit for the focused attention upon the near-infinite number of magical nuances should go largely to Alan Lee, a man with an unbounded imagination coupled with a vast artistic talent. I present only a singular critique of this film and it has nothing to do with the body of the movie itself: I feel compelled to comment that the decision to incorporate the endless scroll of Tolkien Fan Club members' names within the end credits is ill-advised and indirectly demeaning to the actual cast and crew. What do these people actually contribute to the film's production? Loyalty and moral support? The folks who have indeed delivered something more tangible are appropriately noted elsewhere within the credits. But most of the listed individuals have played no real part whatever, regardless of the syrupy patronization conducted by the film-makers toward this particular faction of Tolkien enthusiasts. Including these names in the film credits, which also takes in the so-called self-appointed "guardians" of Tolkien's work [a trivial minority of Tolkien Fan Club members], amounts to little more than a shallow ego-bribe. It's presumptuous as the devil to assert that Tolkien's books *need* guarding by anyone -- the affiliation here is more akin to pretentious posthumous tail-gating on the venerable Old Master. The credits perquisite imparted by the film producers, appears in my view to ostensibly head off any whining outrage raised on the internet by those Tolkien radicals who are wholly unyielding in regard to the slightest manipulation of Tolkien's texts. This posture is pure nonsense. In the end, if one's name is included in the film credits then how can s/he ever issue an untainted appraisal of the film? In truth, such an individual could never ethically issue a fruitful critical review, (nor would they likely be *inclined* to criticize, which leads me to question the motives and ethics of the producers on this front.) But here I ramble witlessly upon a topic which only faintly deserves to be dignified by my attentions to it. In truth, my mini-rant is not even a legitimate film criticism - it's really just a pet peeve. In summary, *The Hobbit* contains enough MacGuffins and other surprise moments to make it seem like a new story while still paying a more than adequate tribute to Tolkien's original manuscript. Martin Freeman was surely a brilliant choice to play Bilbo. I can hardly wait to see Part II!

Through The Eyes Of A Child No one is really going to read a review from some random dude about a story beloved for so long by so many. If I said I loved it, I’m just one voice in a chorus of others. If I said I hated it, I would be chided for a lack in taste or understanding. If I said there were parts I liked and others I didn’t – I’d be lost in the middle ground of it all and attacked by both fans and detractors of the story. However, one thing I can offer is the review of at the time of this writing a newly-crested 7-year-old girl in the year of our Lord 2023 as we read the story together and offer up her perspective as someone coming brand new to a work that really kicked off the fantasy genre. While the review may lack detail and wordiness, I can tell you there was no push by her father to like or not like any part of it and the review is an accurate take prompted only by the questions asked by a loving father. (Although this father might interject observation from time to time in parentheses) This was actually a “take two” reading as dad had only read the story and forgot that voices and inflections are what drives children to get invested in the story. We did not make it very far even for a kid who is pretty patient with a learning-as-he-goes-parent and enjoys a world of fairytales and princesses. So this second attempt was assisted by a narrator with a British accent who could sing the songs and change inflections for the characters. Characters – Indeed! The Hobbit definitely has a lack of female characters but this didn’t phase our reader too much – although adding one girl would have been okay with our reader. She enjoyed both Bilbo and Gandalf the most. She loved that Bilbo went on his journey even though he didn’t really want to and in the midst of all his trials in the story – he wanted to do the right thing. (A note here – it’s interesting that “doing the right thing” here is seen instead of “continuing the adventure” or “getting out of the situation”. It seems that the reader got Tolkien’s desire and Bilbo’s role immediately.). With Gandalf, one might think the fact that he was a wizard and did wizardly things at times would be the draw for our reader. In fact, she enjoyed that Gandalf was with the troop of heroes for half of the story and returns just when it seemed like the group needed his help at the end. She enjoyed that Gandalf followed Bilbo back from the great mountain back to the Shire and completed Bilbo’s journey with him. The Journey Action isn’t devoid in the enjoyment of the reader. The battle of Smaug and the ending of the menace was her favorite part. She liked that the bad guy was defeated and peace would reign. Although, the end of the story doesn’t happen here as she thought it was interesting that the selfishness of King Thorin ruined the peace and what could have been a good time. (Just like a good child asking “are we there yet?” this was mirrored with “when are they going to get to Smaug?” but it seems the building in anticipation was worth it in the end). Tolkien is known for building his world and if a tree needs a history, by Joe, that tree will get a full backstory. Our reader agreed that there was too much detail at times and the desire to get on with the adventure was forefront. However, she also agreed that it allowed her to imagine the world of our characters to a better extent. (It’s interesting to think about how many fantasy stories she’s exposed to and how figuring out the world and the rules of the types of magic encounters occurs. This probably gets lost of us big kids who know these stories or story types and forget we need to sometimes start fresh with our assumptions to get more out of the story). The details in the action parts were fun and added to lengthening of that enjoyment. Even with the times of travel and rest, our reader liked the characters talking with each other and interacting. So even the “boring parts” were good for our reader. Themes & Takeaways Our house is not unexposed to British humor although sometimes the subtlety of a joke is lost due to our reader’s age or life experience. Yet, the humor and Brish turns-of-phrases in Tolkien’s story were not lost on her. While many readers, I believe, tend to overlook the songs; our reader found these to be the funniest parts. One reason is that we don’t make up songs for the stuff we do in our day-to-day travels like it seemed our characters did. (This is probably a sad telling of our current state of culture and one that Tolkien probably bristles at). When questioned on what was not enjoyed about the story, our reader thought for several minutes before coming away that there was nothing that she didn’t like. When asked about Golem being a mystery, she was okay with not knowing more about him. She liked that we would see him again in the next books after it was revealed he would show up again. Before that time, she was imagining more of what he looked like and what he was. Even if there was no next book, she was ok with not knowing more about Golem. When asked if she thought the Ring was important, she says that she believes it’s important but can’t even think of why. Our reader’s enjoyment of adventure stories stems from an enjoyment of mysteries and their unfolding and being solved and guessed at. In this adventure story, there was the big adventure but there were also a number of mini-adventures in their travels. Each one was an interesting mystery to see how our heroes would get out of the situation or overcome it. She’s of the belief that Bilbo would continue to go on adventures and do so with other people. (It’s clear that she sees the change in Bilbo from the beginning of the book to the end. And a child’s mind would see the fun had in this adventure and want to continue it. Only the adult mind, roots us at home). Only The Start Of The Journey Clearly, the story was enjoyed by our reader. When asked if she would read it again she stated that she would re-read it a million times even when she knew what would happen. Her father was informed that we would have to continue onto the next book. But as for this book, our reader gave a Final Grade – A+ Final Grade A+

"In a hole in the ground there lay the YA fantasy genre. A nasty, dirty, wet hole, filled with the ends of swords and a perfumed smell." One of my favourite genres seems to have gone to the wargs in the last few years. The rot probably started when J.K. Rowling introduced a new generation of young people to the joys of fantasy fiction. Standards dropped and social media helped create huge fandoms, and cult like followers, loyal to the brand. Fan fiction has also allowed anyone, no matter the talent, to write a "book" based on any intellectual property they fancy. Then Twilight happened and that was the beginning of the end. Publishers saw the kind of drivel that could make them rich and the Young Adult Fantasy genre was ripe for the picking. It began to move towards a new type of story, appealing to a new audience and asking a new question. "What if Fantasy but with a girl one?" Alongside the Strong-Female-Character™ protagonist, this new normal often contains a sprinkling of the following; "diversity*", some unsubtle social commentary, a patriarchal villain and most importantly, a poorly written, chemistry free romance with a handsome boy/angel/girl/minority/vampire/furry/other** that takes up half the book, often causing the plot to grind to a halt so the perfect lovers can stare passionately at each other for 50 pages. Bonus points for inserting a third wheel to create some false tension and so fans can pick a team. After all, these books are written primarily for teenage girls, by former teenage girls***. Then there are the hordes of twenty-something women that receive advanced review copies and post their reviews on Goodreads****. These Goodreads girls, as I shall call them, might not be able to make a book successful, but they surely hold sway with publishers and more importantly, the content they publish. For it is said that "those who control the review copies, control the genre". Thank Tolkien then, for the classics, and for the sexless, romance free world of The Hobbit. Although not entirely romance free as this book contains a beautiful relationship between a Gollum and his precious. Then there's the love between a Hobbit and his home, his breakfast/second breakfast/lunch/afternoon tea/supper/dinner/elevenses and his weed. Then finally there's the relationship between a dragon and/or a dwarf, and his treasure. I'd take that superficial love over all the beautiful-perfect-people-fall-in-love-because-they're-both-beautiful-and-perfect-and-sometimes-there's-a-faux-love-triangle dross, that's infected the YA Fantasy genre since Twilight first ruined the word twilight. I never thought I'd be pining for the days of Hunger Games knock-offs, but here we are. But what of The Hobbit, you ask? Well, it's one of the finest young adult books ever written. At it's heart, The Hobbit is an adventure story. THE adventure story really. In fact, it's so jam packed with adventure, there's very little time for character development. Bilbo gets the lion's share and it's his adventure so I can't really grumble too much about the rather bland companions. Besides, there's so many wonderful things crammed into this short novel, it's never anything less than an entertaining page turner. I truly envy any child who has yet to experience The Hobbit in book form as they read -or are read to- about Bilbo Baggins, dwarven guests, pipe smoking wizards, singing elves, hungry trolls, goblin caves, tricksy riddles, magic rings, eagle saviours, shape-shifting men, murky forests, giant spiders, prison breaks, barrel riding, secret doorways, greedy dragons, brave bowmen, brave hobbits, great battles and most of all, burglary. Saviour this book. Read it to your kids and hope it inspires them to read more, and maybe even to write. The beginnings of the next Fantasy classic might be this one story away... Someone has to drag the genre back from the brink. If, like me, you have the stunted, feeble arms of a mammalian T-Rex, then you can listen to The Hobbit on audiobook, and it is a fine way to experience this most excellent of adventures. This review is based on the rather wonderful recording by Andy "CGI" Serkis. Riddles in the dark is even more memorable with the voice of Gollum™ and the whole thing is a joy to listen to. I can't say anymore really, just read it if you haven't. There are still quality YA fantasy books to be found, even if you have to go 'there and back again' to find them. * Black, trans and/or lesbian minorities -in order of perceived oppression by the American online- are the click generating hashtags of the moment. Make said minority the main character for more critical acclaim but less commercial gain. The readers might claim to be allies who want to read more books from a none cis-hetero perspective, but what they really, really want is a book in which the straight, white, female protagonist (them), gets a beautiful, shiny boy. ** But mostly boys, because that's hot insert-self fan fiction in the making. *** Who may have started out writing terrible fan fiction. I blame Twilight, fifty shades of grey and low standards of literacy for this. **** They're also liable to have Instagram accounts full of pictures of books next to foodstuffs, candles (dangerous), flora (not the marge), bedding and Apple products. The book lovers lifestyle is obviously lots of reading in bed by candlelight, surrounded by houseplants, munching on snacks and incessantly checking ones social media

Les cartes sont magnifiques! Le livre est de très bonne qualité, le petit livret est intéressant, les cartes magnifiques, bref il n'y a rien a redire sur cette édition deluxe. Plus qu'à le lire!

Depends on one’s taste.

It's so beautiful, definitely worth the money!

Se siete amanti del fantasy e di Tolkien, questa edizione de "Lo Hobbit" è un vero e proprio tesoro da non lasciarvi sfuggire. Le illustrazioni di Alan Lee sono un capolavoro assoluto, che danno vita alla Terra di Mezzo in modo così vivido e dettagliato che vi sembrerà di poter toccare con mano le montagne, le foreste e le creature fantastiche create dallo scrittore. La qualità della carta e della rilegatura è eccezionale, rendendo questo volume un oggetto da collezione. Il formato è perfetto per essere sfogliato comodamente sul divano o portato con sé ovunque vogliate. Perché dovreste acquistare questa edizione? Le illustrazioni di Alan Lee: Sono un vero e proprio valore aggiunto. Ogni immagine è un'opera d'arte che vi trasporterà direttamente nella Terra di Mezzo. La qualità dell'edizione: È un libro curato nei minimi dettagli, perfetto per essere regalato o per arricchire la vostra libreria. Un'esperienza di lettura indimenticabile: La combinazione tra la prosa magica di Tolkien e le illustrazioni di Alan Lee crea un'esperienza di lettura unica. Non perdete l'opportunità di possedere questa edizione speciale de "Lo Hobbit". È un'edizione che vi farà immergere completamente nel mondo creato da Tolkien e che vi accompagnerà per tutta la vita.