The Ring Goes South
My dear readers, if you’ve made it this far into my review of just the first movie in this trilogy, I must assume you’re in it for the long haul. I hope that at this point this review isn’t just reading as a synopsis of the films, since my intention is to analyze what’s happening and what’s being said and how it all services the story and characters, but just in case I’ve been getting long winded in expostulating the layout of these films scene by scene I will continue to try and improve this analysis as I move through it. My goal, after all, isn’t simply to recount the films; any of you can watch them at any time. My hope is instead to show readers some details about the script that they may not have recognized before in order to gain a new appreciation for these films. I’ve found, after watching them all dozens of times, that there are still details I pick up on with each viewing that I hadn’t noticed before, and I hope that my review sheds new light on different scenes for each of my readers as well.
Anyway, let’s get on with the show! We pick back up in part 2 with the Fellowship preparing to leave Rivendell on their long journey to Mordor, where the One Ring will be destroyed, and Middle-Earth will be saved and the dark lord Sauron destroyed forever. In the downtime before they leave, we find Aragorn in one of the gardens, clearing away leaves from a statue of a woman. Elrond joins him, and through his dialogue he alludes to Aragorn’s mother, who knew he’d be hunted all his life for being the heir of Gondor. We’re to assume the statue depicts Aragorn’s mother. As the journey ahead will take Aragorn south towards Gondor, Elrond must realize that Aragorn will soon face the choice to accept his calling or return to his life of exile. He tells Aragorn that the skill of the elves can reforge the sword of kings, that being the Shards of Narsil, but only Aragorn can wield that sword. Aragorn remains defiant, saying he does not want this responsibility. He recognizes that taking up the sword means accepting his duty as king, and using that sword to challenge Sauron and succeed where his forefathers failed. Elrond reminds him that he is the only one who can, leaving Aragorn to embark on this journey with very mixed feelings, and reminding the audience that there is more to this quest than the ultimate goal of destroying the ring.
Next we find Bilbo and Frodo in their final scene together in this film. Bilbo has taken the opportunity to pass down more of the items he obtained on his adventures to Frodo, namely his sword Sting, which is exceptionally light and will glow blue when orcs are near, and his coat of Mithril mail, which is also very light and can turn back any blade that strikes it. Both of these will prove very useful for Frodo throughout his journey. As Frodo begins to remove his shirt to try on the mail, Bilbo sees the ring hanging by a chain on Frodo’s neck, and instantly he’s struck with his old temptations to hold it again. Bilbo’s demeanor changes as he becomes very anxious, then when Frodo denies him, he lashes out and tries to seize it in one of the film’s most horrifying moments. Here he takes on a vicious voice and his eyes become wild, showing behavior similar to Gollum’s. Once again we see the dramatic effect the ring has on different characters; even after all this time separated from the ring, Bilbo is still helplessly drawn to it just by the sight of it, showing that he’s still a slave to the ring’s oppression even though it is no longer his burden. This would be very foreboding to Frodo as to what horrid effects it will have on him in the coming journey.
In a rather heartbreaking moment, Bilbo apologizes, recognizing that all that’s happened to Frodo is largely his fault for passing the ring onto him. He breaks down and weeps, and we as the audience are endeared and forgiving to him, as Frodo is, after such a sinister moment. Bilbo had a rash moment where he lost control of his emotions and regained his composure, quickly returning to the hobbit we know; a moment which is repeated with a certain other character later in this film. From here we rejoin with the whole fellowship as Elrond announces their departure from Rivendell. The company is fully armed and packed, and Elrond tells them that none of them are held by any bond or oath to go further than they wish, and he offers them the blessings of all free folk (notably excluding dwarves, as he specifically names elves and men). Gandalf then proclaims that the ring-bearer will lead them on, so Frodo takes the lead of the company and everyone else follows him out of the courtyard. Frodo asks Gandalf for directions quietly, so as not to undermine himself in front of everyone, and Gandalf offers his guidance with a gentle hand on Frodo’s shoulder. Before they are all gone, Aragorn looks back and sees Arwen, who looks to be on the brink of tears. They say nothing to each other; Aragorn likely believes this to be the last time he will ever see her, and Arwen knows her duty to be with her people and leave with them. This scene can seem strange to viewers, having seen where they left off only a few scenes ago, but a later scene in The Two Towers, a flashback, recontextualizes this moment.
The Fellowship is now leaving Rivendell, and starts on the road southwards along the Misty Mountains. Here I’d like to point out that there are many people who pick Fellowship of the Ring to be their favorite among the three Lord of the Rings films. I think there are a lot of reasons for this, including the various character arcs and certain action sequences and emotional beats which are very well pulled off, but I’d also posit that another big reason would be just how much of Middle-Earth we get to see in this film, and it comes into focus in the current montage as we follow the fellowship’s first stretch after leaving Rivendell. In this film alone we see the Shire, Mordor, Bree, Rivendell, Eregion, the Misty Mountains, Isengard, Moria, Lothlorien, Amon Hen, Emyn Muil, and even glimpses of Minas Tirith and Minas Morgul. We see many wide shots of lush landscapes and beautiful natural environments, and we see several elaborately constructed sets, some of which are actually miniatures which were filmed in such a way to look much larger than they are. This all adds to the audience’s immersion into this world, seeing that Middle-Earth is a very real place and its various locations marked by different characteristics and cultural styles. Bree looks nothing like Rivendell, which looks nothing like Isengard, which looks nothing like the Shire, which looks nothing like Lothlorien, which looks nothing like Moria, and yet they all maintain a consistency to them and a conformity to the landscape around them that they are totally believable in appearance despite being fantastical. The use of miniatures and filters, as opposed to a reliance on CGI, only enhances this effect, especially considering that CGI in 2001 was not nearly as advanced as it is today. As a by-product of this, the visual effects of these films still hold up incredibly well today, only showing their age in a few spotty moments of more ambitious shots (such as large battles).
Of course, this all has very little to do with the writing and much more to do with direction. Our next scene where we settle is when the fellowship stops to make camp amid a rock formation, and Gandalf briefly narrates to describe to his companions, and to the audience, the route he intends to lead the fellowship; holding their course south for 40 days, taking the Gap of Rohan (an open area between the southern tip of the Misty Mountains and the northern mountains bordering Gondor) as they turn east, and then following that course towards Mordor. This is perhaps to illustrate his initial plans before gradually showing us that nothing about this plotted course goes the way Gandalf intends; the road ahead is treacherous. In this scene we see the first interactions between Boromir and the hobbits Merry and Pippin. This is a relationship that really flew under the radar for me for a while, and it’s a huge part of Boromir’s arc in this film. The first thing we see him do here is train Merry and Pippin in sword fighting, knowing they’ll need it if they encounter any of Sauron’s forces on the road. He and Aragorn offer pointers and encourage the hobbits, who are eating and trying to smoke even as they train. We see other members of the fellowship taking on their roles as well: Legolas is keeping watch, Sam is preparing food, and Gimli tries to offer an alternate route. He suggests meeting with his kin in the Mines of Moria, where he believes his cousin Balin will offer sanctuary to the fellowship. Gandalf outright refuses this idea, in such a way to suggest there is something in Moria that he greatly fears. In the shadow of this implication, we then see as Legolas catches sight of a strange cloud on the horizon, and soon Gandalf notices it too.
Boromir’s training of the hobbits turns playful as Merry and Pippin revert to their rascally nature and start to wrestle Boromir and Aragorn, showing how their relationship together has already been strengthened on this journey. But this moment is ended when Sam asks about the dark cloud that Legolas has been watching, gradually getting larger and changing shape. Boromir remarks that it’s moving against the wind, and soon Legolas sees the distinct shapes of birds, calling to the others that Crebain from Dunland are approaching. Here the audience may recall that Gandalf warned Frodo in the Shire about birds being used as spies for the enemy. To this everyone quickly hides and Sam douses the cooking fire. Shortly after everyone has taken their position, the flock of birds flies over the rock formation, swirling in place for a moment before returning the way they came. Once they are gone, everyone reemerges, and Gandalf declares that they were spies sent from Saruman. From this he recognizes that the company can no longer move directly south as he planned, since Saruman will be watching them the whole way, so he leads them instead into the mountains, through the snowy Pass of Caradhras.
As the Fellowship reaches the snowy drifts, they are brought to a sudden halt when Frodo stumbles and falls back a short distance, caught by Aragorn walking behind him. When he regains his footing, Frodo notices that the ring is no longer hanging around his neck, and he and Aragorn look ahead to see Boromir grabbing the shiny object gleaming in the snow. All eyes in the Fellowship watch the Gondorian closely, recalling how strongly he was tempted by the ring during the council. In this moment it looks as though Boromir will try to take it, as he holds it up close to his face and mutters to himself about how strange it is that something so small could be the cause of so much trouble in the world. Aragorn then demands he return the ring to Frodo, and we can see in Boromir’s response that he’s been broken out of some trance, where he’d been completely unconscious to all around him. Even he seems surprised at the effect the ring had on him. He reluctantly steps towards the hobbit and hands him the ring, saying he doesn’t care about it, but Frodo and Aragorn’s suspicious looks are telling. As he turns to go, we see a shot of Aragorn’s hand on his sword hilt, showing he was ready to strike if Boromir proved false in that moment, implying how little he trusts Boromir already.
We are then taken back to Isengard, following the flock of black birds, the Crebain, as they fly through the caverns where the orcs are forging and working the mud pits. Saruman is there, and the birds fly around him, and somehow he can understand their report. He knows now that Gandalf has turned the Fellowship towards Caradhras, and so he asks where Gandalf will turn if the mountain is too treacherous, alluding to the ‘more dangerous road’ of Moria. His words continue as we return to the Fellowship, and now they’ve reached a snowstorm as they move slowly through the mountains. Everyone is doing their best to dig through the heavy banks of snow, except Legolas, who we see is walking on top of the snow as light as a feather. We’ve gotten two hints now that Legolas, as the elven representative in the Fellowship, is a unique and valuable asset, with his far-seeing eyes and his light feet keeping him nimble. As he patrols the cliff, he hears a voice on the wind, and Gandalf hears it and declares it’s Saruman, realizing this snowstorm is the wizard’s making.
As he says this, the Fellowship becomes bombarded by falling rocks. Aragorn says they must all turn back, but Gandalf insists on pressing forward, and he starts using his own magic to try and ward off the storm. As we’ve seen before, however, Saruman remains Gandalf’s superior, and any attempt to break up his storm by Gandalf is no use. Saruman calls from the top of his tower, facing towards the Misty Mountains to the north, and dark clouds continue to pile on the horizon. Back in Caradhras, a bolt of lightning frees an even greater avalanche of falling rocks and snow, and the Fellowship becomes covered in it, including Legolas. For a moment all remains still, and we’re left to worry that the Fellowship has been defeated.
Legolas, however, light as he is, becomes the first to emerge from the snow, and soon his eight other companions all break free as well. Now the Fellowship begins to argue where they should go next: Boromir proposes they return to their course to the Gap of Rohan, and take the road from there to his city of Minas Tirith. But Aragorn says that road will take them too close to Isengard, and thus too close to Saruman. Gandalf remains silent for all of this, as Gimli then renews his proposal to go into the Mines of Moria. No one else responds; likely most of the Fellowship is unfamiliar with the place, but Gandalf is grim as he considers this, and he hears Saruman’s voice in his head. Saruman reminds him of what may be lurking in that place, and we can see as Saruman sits in his library going through a book. It seems a bit strange in the edit that Saruman is so quickly in his library when we just saw him at the top of his tower, but perhaps more time has passed than we’ve seen. Saruman’s book shows a picture of a great beast, a rather formless, fiery image, which he describes as ‘shadow and flame’. Now the audience gets a clue of why Gandalf was averse to the road of Moria, and we can empathize that the choice is very difficult for him.
Gandalf declares that as the ring-bearer, Frodo will be the one to decide. Frodo knows nothing about the potential dangers they face, so he is reluctant to speak. While he is silent, Boromir grows anxious, saying that if they stay for too long, it will be the death of the hobbits, thus showing his compassion for the weaker members of the Fellowship, and his bond to Merry and Pippin in particular as they are shown huddled for warmth in his arms. Ultimately Frodo decides that they will take the road to Moria, and Gandalf glumly accepts this. Despite his own wishes and wisdom contrasting with this decision, he trusts Frodo and believes in him.
The Mines of Moria
The Fellowship makes it safely down from the mountain and reaches a rather colorless landscape as they press towards Moria, and we can see remnants of some past civilization as an aquifer brings water down from the mountain. Gandalf and Frodo share a private moment as the company slows, with the wizard asking Frodo about his shoulder wound (from Weathertop) and the ring. Gandalf then warns Frodo that he must be careful now, that danger will come to Frodo from outside the Fellowship, and seeing how Boromir acted in Caradhras, danger will also come from within. Boromir could be only the first to be tempted by the ring. To this Frodo wonders who he can trust, and Gandalf tells him he must trust only himself, hinting that even he may be no match for the ring’s oppression, and that there are dangers on the road ahead which he may not be equipped to handle. He says this, of course, knowing fully well that such a threat could be waiting for him in Moria, so he must prepare Frodo now for the eventuality in which he may not be there to continue protecting him.
Gimli presently steps forward and declares that he’s found the walls of Moria, and the Fellowship marvels at their size. They continue forward, searching for the secret door into the mountain. Gimli says that when closed, dwarf doors are invisible, and Gandalf adds that even those who made them may lose them if their secrets are forgotten. Legolas makes a snide remark, showing his distaste for dwarven culture. Clearly he’s not excited to be taking this route, even at Gimli’s promise that it will be a safe haven like Rivendell. Gandalf then finds the door to Moria, noting how the carvings were made to reflect only starlight and moonlight. When the moon is clear of the clouds, the door begins to glow, its ornate markings unmistakable, the same we had seen in a picture in Saruman’s book earlier, taken precisely from an illustration from Tolkien in the novel. Gimli appears transfixed by the sight; this place is held very dear to his heart. Gandalf reads the text that’s been engraved in the door: it is the Door of Durin, Lord of Moria. “Speak ‘friend’ and enter”. Gandalf believes this means he must speak the secret password to meet a new friend, and the doors will magically open.
To his and everyone else’s disappointment, he tries this numerous times to no response. He laments that he once knew every spell in the tongues of men, elves, dwarves, even orcs. When Pippin asks what they are to do now, Gandalf is very prickly and singles the hobbit out for asking foolish questions, showing his impatient attitude toward Pippin in particular. It’s the first of many moments, not counting their first interaction at Bilbo’s party, to develop Gandalf and Pippin’s shaky friendship, which becomes stronger and more important as the story progresses. For now, as Gandalf has taken the role of essentially being the father figure of the Fellowship, Pippin is like the one neglected child, who craves validation and tries to be helpful, only to be scorned time and time again. Gandalf continues to try different spells and passwords, as the Fellowship settles in, expecting this may take all night. Some, like Gimli, start smoking their pipes to pass the time.
It’s at this time that Sam and Aragorn say a regretful goodbye to Bill the pony, knowing the mines will be no place for him to travel. Aragorn comforts Sam, assuring him that Bill knows the way back home, to Bree I suppose. I imagine this was preferable for the filmmakers to the book’s version of events, where Bill was taken and swallowed up by the forthcoming monster. As the Fellowship passes the time, Merry and Pippin restlessly start throwing rocks into the nearby lake, only for Aragorn to stop them. He gives them a stern warning not to disturb the water, which warrants the audience’s concern. Gandalf gives up on the password for now and sits down to think for a while, only for Frodo to stand up and start trying to puzzle out the password. As he does, we see waves start to ripple in the water, and both Aragorn and Boromir take notice; apparently Aragorn’s warning came a moment too late.
Frodo believes the password is actually a riddle: instead of interpreting it as “Speak, friend, and enter”, he guesses at the interpretation “Speak ‘friend’ and enter”, and he asks for the elvish word for friend. One would think Legolas or Aragorn might be the first to answer, given their fluency in the elvish language, but Gandalf responds with the word ‘mellon’, and the stone doors immediately open. The company stirs and everyone starts to make their way inside, greeted by halls which are utterly dark.
Gimli boasts to Legolas that soon he’ll be treated to dwarven hospitality: roaring fires, malt beer, red meat off the bone. However, as Gandalf uses his staff to light the darkness, the Fellowship makes a grim discovery; they are surrounded by corpses, many still with armor on them. Gimli is horrified and cries out, and Legolas notes from one of the arrows he finds that the massacre was done by goblins, and so he and the others begin to draw their weapons. From the earlier warnings, we as the audience aren’t surprised to find Moria is not the safe haven Gimli promised it would be, but it appears even more grim now, like a crypt (or a tomb, as Boromir calls it). Boromir again asserts that the Fellowship has no choice but to turn south and make for the Gap of Rohan, and this time no one opposes him.
Before they can leave, however, Frodo is suddenly grabbed by a large tentacle and pulled out of the doorway, and many more begin to emerge from the lake. The Fellowship comes back for his aid, with Sam, Aragorn, and Boromir hacking at the tentacles and Legolas firing his arrows with precision to ward off the beast. Frodo is hoisted high into the air, and as he is suspended there we are given the horrific image of a massive creature dwelling in the water. In the movie this monster is unnamed, but in the book it is referred to as the Watcher in the Water. After a struggle, Frodo is cut free from the watcher’s grasp, and it is Boromir who catches him, again looking out for the halflings at every occasion. Gandalf commands everyone to enter the mines, seeing that their escape has been cut off, and Legolas lets fly one final arrow into the beast’s eye. This enrages the creature, and so it climbs up almost onto the shore and begins to pull down the doorway. The Fellowship enters the mountain only just in time not to be crushed, but now the way out is blocked. As Gandalf declares, they are left with their only option being to proceed into Moria, and brave whatever dangers it presents until they come out the other side. It is an utterly dark cavern, so only the light from Gandalf’s staff can show them the way. Gandalf says also that there are ‘older and fouler things than orcs’ ahead. He refers to the monster of shadow and flame that we glimpsed earlier, but it’s not the only formidable beast the Fellowship will face.
The Fellowship presses on into the darkness, starting a journey that Gandalf says will take four days, and as the camera pans out we can see vast caverns and dark corners, which could be crawling with orcs and who knows what else. There’s not a dwarf other than Gimli in sight, but as the company proceeds we can see hints of their handiwork in the mountain: there are staircases carved into the stone, there’s a network of walkways and arches, and at one point the Fellowship reaches a mine shaft. Here Gandalf tells his companions that the dwarves came to Moria to mine for Mithril, rather than gold or jewels, and he lights up the shaft for everyone to see the work that had been done. The silvery gleam of Mithril still etched into the rocks and sparkling in the light is a marvelous sight to all the companions. Gandalf then shares that Bilbo Baggins once had a shirt made of Mithril rings, a gift from Thorin Oakenshield (another reference to The Hobbit). Gimli is particularly impressed by this, and Gandalf goes on to say that this shirt was more valuable than the whole of the Shire and everything in it. A bit of dramatic irony, considering that Frodo is currently wearing this shirt and no one else is aware of it.
The company soon reaches a fork in the road, and Gandalf is unsure how to proceed, so they’re forced to stop. Merry and Pippin remain restless and argue quietly, and complain about being hungry, their old hobbit comforts so far out of reach as they’re out of their element. Frodo then sees movement in the darkness below, and he hurries up next to Gandalf to report it. Gandalf doesn’t even turn; he knows without looking that Gollum is on their trail, and he has been for three days. It’s unclear, given the lack of sunlight, how much time has passed at this point under the mountain, but I think we’re meant to understand that Gollum has been following them since they entered Moria, since he couldn’t have entered after the watcher pulled the door down to rubble and we as the audience can recall from the prologue that the Misty Mountains have been his home for hundreds of years. In any case, Frodo is surprised and somewhat disturbed that Gollum, this figure from his uncle’s stories, is now closing in on him, the new ring-bearer. He wonders how this creature could’ve escaped from Barad-Dur, but Gandalf implies that he didn’t, that he was set loose instead. Perhaps Sauron knows that Gollum’s never-ending desire for the ring will draw him to it once he’s free, and if Gollum finds it he could be hunted down as well.
Gandalf understands that the ring isn’t done with Gollum yet, and he explains to Frodo that Gollum both loves the ring in his obsession and addiction to it, and he despises it for what it’s done to him. He reveals that Gollum was once named Smeagol, before the ring found him and drove him mad. Frodo rashly says that it’s a pity Bilbo never killed Gollum, but Gandalf explains that pity was the very reason for which Bilbo spared him; preventing him from harming this creature that had been torn apart by its obsession. Gandalf then gives Frodo a bit of a lesson in morality, warning him not to be so quick to judge others, especially those who have been victim’s of the ring’s oppression. The wizard goes on to imply that Bilbo’s actions regarding Gollum continue to reverberate all these years later, and Middle-Earth hangs in the balance.
This line of thought gives Frodo pause, as he recollects how all of this connects back to him, with the ring now as his burden as a result of all that came before. He laments this, wishing it had never come to him or Bilbo. Gandalf gives him quite the inspirational speech, telling him not to dwell on things he cannot change, and instead place his attention on the time he’s given and what to do with it. He says that there are forces for good at work as well, and that perhaps Bilbo was meant to find the ring, and by extension Frodo was also meant to inherit it. This is the last real character moment between these two, and probably their most significant, since it’s the moment that Frodo draws upon to give him courage when he makes the incredibly difficult and brave decision at the end of the film. It shows Frodo at his most vulnerable and unconfident, seeing himself as small and unprepared for the responsibility that’s been thrust upon him. But Gandalf again acts as the noble father figure, bringing courage in moments of doubt, letting Frodo find the strength within himself, and giving him new perspective for the bleak outlook the hobbit has on the great undertaking he’s accepted. It is him acting on his promise to help Frodo bear this burden, and it connects all the way back to their earliest moments together in the film, with Gandalf showing his inner warmth again and his great belief and pride in hobbits as a people, which he would hold in high regard after Bilbo’s many triumphs during his adventures. This is brilliant character writing, not only in its use to develop these two characters for where they are in the story presently, but also to inform later decisions they make as their arcs continue.
As the conversation concludes, Gandalf suddenly recognizes by the smell of the air that one of the directions ahead is the correct one, so he starts to lead the company again in that direction. Before long the Fellowship reaches a great opening, and Gandalf risks some more light from his staff in order to give his companions a better look at where they’ve arrived. He dubs it the dwarf city of Dwarrowdelf, and the company is left speechless. Even Gimli’s jaw drops at the awesome sight, rows upon rows of massive stone pillars going on for miles into the dark, and a ceiling high above them. There’s a swelling of majestic and sad music, as we look on a lost civilization and the glory it once achieved so long ago, and we can only imagine how it was when dwarves ruled here. It’s another great moment in world-building, expanding on the past and leaving even Legolas somewhat marveled at the sight.
Balin’s Tomb
The journey through the dark continues, but as the nine walkers pass through the Dwarrowdelf chamber, Gimli sees a light shining into a small, separate chamber to the right, and in the center a gravestone as the focus of the light. He splits from the company and rushes into the chamber, and when he reads the inscription on the gravestone, he breaks down and begins to weep. Soon the rest of the Fellowship joins him, and Gandalf reads the inscription aloud: “Here lies Balin, son of Fundin, Lord of Moria”, thus cinching any hope the Fellowship still had of finding dwarves here in the mountain, and we understand, since Gimli described Balin as his cousin earlier, why the dwarf would have such a devastated reaction. Gandalf removes his hat out of respect, then locates a book leaning against another corpse, likely a dwarf. He picks up the book and dusts off the pages as he starts to read the final account left by the dwarves in Moria, but Legolas grows impatient; the threat of goblins lurking in the dark returns to his mind after the discovery of Balin’s doom.
Gandalf begins to read from the book, and the Fellowship listens to every word, with even Gimli pausing to pay attention. It is grim reading; the dwarves clearly met with a dark end as hordes of foes in the mountain closed in around them, and drums were thundering in the deep to warn of the approaching armies. The dwarves were unable to escape, and there is mention of a shadow moving in the dark. Lastly, as the camera shows scribbled letters at the bottom of the page, Gandalf reads the foreboding line “They are coming,” and there is nothing more.
Throughout this reading, Pippin becomes distracted and finds the remains of an armored dwarf soldier just above a well, and as he fiddles with it, the skull falls and makes a loud noise as it knocks against the stone on its way down the well. Gandalf and everyone else turns and jumps at the sudden sound, then the rest of the corpse falls down the well, pulling with it some chains and an iron bucket, making an even greater clamor. The noise can be heard, as we’re shown the echoes throughout the mines of the mountain, from a long way away, and it goes on for some time, until one final crash. Pippin stands awkwardly silent, the look of sheer terror and guilt full on his face, with nothing to say to defend himself. The Fellowship is quiet for a long moment, waiting to hear any noise in response, but for now all seems well, and they breathe a sigh of relief.
Gandalf is, of course, furious, having already been short with Pippin earlier, and he calls Pippin a fool and tells him to throw himself in next time. It’s a bit harsh, and perhaps this moment is where their relationship is at an all time low, and it’s also where they’ll leave off by the end of this film, as we’ll soon see. As Gandalf turns to put the book away, we then hear the sound of a drum booming out from the well, and the tension of the scene returns. Gandalf slowly turns as the drumming continues, with this warning having come only just in time for them, and us the audience, to understand its meaning. We see the caverns of Moria again, as the drumming gets louder and faster, and with it the excited howl of denizens on their way. The Fellowship is alarmed by all this, and Sam calls Frodo’s attention to his new sword, Sting, which Bilbo said would glow blue if orcs were near. As he draws the blade, sure enough it is glowing bright blue, and so Legolas announces it to the others. In response, Boromir goes to the entrance of Balin’s Tomb and looks out, and he’s nearly stuck with two orc arrows (a neat bit of foreshadowing there).
Now the Fellowship must prepare for a fight, whether they can handle it or not. This is their first such encounter with enemy troops, though in the book they encountered a pack of wargs before they turned east to Caradhras. Aragorn tells the hobbits to stay back and remain near Gandalf. When he goes to help Boromir bar the doors, Boromir informs him that he saw a cave troll, thus raising the threat to the Fellowship beyond a rabble of orcs. They use old weapons to keep the door barred as the goblins start to try and break into the chamber, then a line is formed in front of the hobbits, with Legolas and Aragorn aiming with their bows. Gimli positions himself on top of Balin’s gravestone, growling as he vows vengeance for his fallen kindred. Frodo’s sword remains blue as he awaits the battle, though it’s worth noting that it doesn’t stay glowing while the fight is happening. I don’t know if it’s meant that once the orcs are close enough, the warning is no longer needed, but it’s not 100% consistent with how Sting responds in other instances of the trilogy when orcs (and Uruk-hai) get near. Return of the King contrasts with this a bit, once Frodo and Sam reach Cirith Ungol.
In any case, as the goblins are breaking through the door, we see Aragorn and Legolas get two direct hits through pretty small openings that were cut open, showing their accuracy and skill at range. Nevertheless, while the doors kept the goblins held up for a moment, they soon come bursting through and swarm in like insects. The moment they break in, the music stops, thus emphasizing the mindless terror that the goblins represent in this fight. Similar to the opening battle sequence, Jackson uses multiple close-ups of the orcs to show how hideous and vicious they are as they howl and hiss at their foes. They slam into the companions with their blades and shields, making an awful ruckus as more and more pile into the chamber. But, while there are many of them, the goblins are not trained soldiers like some members of the Fellowship, and they are shown to be cut down one after another, even by the hobbits.
Then, just as it seems that the Fellowship have a relative control of the battle, enter the cave troll. The sequence involving the troll has been greatly expanded from its brief cameo in the book, where Frodo stabbed it in the foot and forced it to retreat in pain before it even troubled the rest of the Fellowship. I think the reason for this is that the writers understand that the orcs are only a great threat to the Fellowship in large numbers, and even then the battle can stagnate with the enemy never gaining the upper hand. We’ve already seen the Fellowship start to manage the battle quickly as the goblins are cut down. Of course the writers could’ve invented a sort of chieftain that’s tougher than the rest of the goblins to make a more imposing villain, but the cave troll already existed in the source material. Having a large, hulking beast to threaten the companions so that they have to approach fighting it differently from the goblins not only achieves giving the battle extra tension and stakes, but also more balance and variety as the Fellowship must improvise to take it down.
The cave troll breaks a larger hole into the entrance with its hammer and roars loudly, and interestingly you can see as some goblins are holding a chain which connects to a leash around the troll’s neck, implying that it’s a tamed beast which they haul around for situations like this one. Legolas fires an arrow into the troll’s chest, and it cries in pain, but it appears that arrows won’t do much to slow it down as it immediately goes after Sam and tries to crush the hobbit with its hammer. Sam dodges, but the troll pursues him, and then tries to crush him underfoot. Then, we see as both Aragorn and Boromir have gotten hold of the troll’s chain, having slain the orcs previously holding it, and with all their strength are pulling it back to yank the beast back away from Sam. This shows their protectiveness of the hobbits and their awareness of the danger of all their companions even in such a hectic situation as this. The troll turns to give the men its attention, then grabs hold of the chain. Aragorn has let go, but Boromir still holds it as the troll slings him across the room with it, throwing him against the wall.
This probably should’ve killed Boromir, given how fast he was flung through the air and how hard he hits the wall, so that’s a minor issue. As we see, Boromir is winded and delirious and slow to get up, and he is approached by a particularly fierce looking goblin. In a pretty neat character moment, we then see as Aragorn pulls a short sword and throws it across the room into the goblin’s upper chest, and he nods at Boromir, showing him that he’s got his back. It’s very short, but it’s a significant growth in their mutual trust, considering how the two last interacted on Caradhras. I’d also like to point out that the sword Aragorn throws is the same one Frodo was holding on Weathertop, indicating that after Bilbo gave him Sting, Frodo gave the first sword back to Aragorn, which is a neat bit of trivia.
Gimli throws one of his hand axes at the troll, and it roars at him and uses its hammer to crush the tombstone he was standing on, as the dwarf jumps away just in time. The troll then goes after Gimli, swinging its hammer back and forth as it comically hits two goblins instead of Gimli. Then, in a moment similar to what we just saw with Aragorn and Boromir, we can see that Legolas fires a double shot at the troll just as its about to crush Gimli, showing that the elf will look after Gimli in the heat of battle despite their personal differences. Isn’t it cool that we can get character development throughout our action scenes without even realizing it? Gimli gets back up and continues fighting orcs, showing his endurance, then we cut to see as the cave troll turns its attention to Legolas, and starts to whip its chain at him from a distance. Legolas, of course, is nimble and dodges each strike; then, in his ingenuity, he seizes a moment as the chain catches on a pillar next to him, cat-walking across the chain to the troll’s head and firing down into it. Each film ups the ante for moments like this where Legolas gets to show off and represent the fluid skill of the elves in battle, but this is our first moment to truly appreciate his quick thinking and daring maneuvers. We then also Sam improvising as he and the other hobbits have gotten cornered off elsewhere in the room. He’s resorted to using frying pans to beat down the orcs, remarking that he’s starting to get the hang of this. It’s played for comedy, but it also shows that Sam’s getting battle tested and his confidence is growing.
However, we then see as the troll locates the three other hobbits as they try to flee to safety, and it brings down its hammer. It misses, but Frodo becomes separated from Merry and Pippin, and the troll goes after him. Aragorn sees this from a distance and starts to fight his way over to them. The troll and Frodo play a quick game of hide and seek as Frodo rotates around a pillar to avoid being seen, but the troll appears to have his scent. They go back and forth until they reach a moment where Frodo seems to be safe, then the troll surprises him on his right side and he falls back. Weirdly, you can see Merry and Pippin standing in the background in the space before the troll suddenly appears; I guess Merry and Pippin can’t see Frodo where he is and that’s why they don’t warn him that troll is coming? It’s a bit odd, and it’s also strange that they don’t try to cause a distraction to save Frodo once they see he’s in danger, but I guess that payoff is still forthcoming later in the film.
The cave troll has Frodo cornered and starts grabbing at him, and so Frodo calls for Aragorn’s help. Frodo cuts at the troll’s fingers with Sting, angering it so that it pulls out its hammer again. Aragorn then arrives just in time, and with a spear he’s obtained while fighting the goblins, he stabs the troll in the chest. In pain the troll cries out and drops its hammer, but it isn’t beaten yet. Merry and Pippin throw some rocks at it, but it doesn’t help much as the troll uses the spear to sling Aragorn away into the wall in much the same manner that it did to Boromir earlier. This actually knocks Aragorn out, and though Frodo runs to him to try and wake him up, the troll comes after him again, this time using the Aragorn’s spear that it’s pulled from its chest. Frodo doesn’t get far before he’s cornered again, and this time the troll stabs him full in the chest.
The whole battle comes to a standstill as different members of the Fellowship react to Frodo being wounded, and Frodo grimaces and groans in pain as he falls to the floor, dead by all appearances. Now Merry and Pippin are spurred into action, and they leap onto the troll’s back and stick it with their blades again and again. Sam and Boromir are enraged as well, slicing down the last of the orcs as the troll continues to fight on. Gimli, Gandalf, Legolas, and Boromir have the beast surrounded as the two hobbits continue irritating it. The elf waits with an arrow poised for the opportune moment, which Pippin provides with a painful strike, and then Legolas lets his arrow fly through the troll’s brain. This is the killing stroke, though the troll sort of mindlessly lumbers around for a few moments longer before falling dead. The battle is now won, but it appears to be at great cost; they’ve lost their ring-bearer.
The Fellowship gathers around Frodo lying still, with Aragorn having recovered and learning the situation. They are all despondent, but then as Aragorn starts to pull Frodo up, we can hear as Frodo makes a sound, another moan of pain, and Sam runs up to him full of hope. Frodo is still breathing, and pretty soon he’s sitting up on his own, and Sam announces to the others that he’s alive. Frodo says he’s not even hurt, and Aragorn is in disbelief, saying the spear the troll used would’ve ‘skewered a wild boar’. Then Gandalf approaches with a light in his eyes, having already figured out Frodo’s secret before everyone else. Frodo unbuttons his shirt, revealing to the others the Mithril coat that Bilbo had given him, ‘as hard as dragon scales’. Gimli is in awe, having plenty of experience with Mithril himself and paying special attention to Gandalf’s story earlier.
This is the kind of moment which, in a lot of media, falls victim to a certain writing trope referred to as ‘deus ex machina’: the hero is suddenly saved by something the writer has invented in the very moment, which has not been set up or previously alluded to in the story. It’s always really annoying when it happens because it’s essentially a get out of jail free card and some writers use it recklessly, making it so that you can never really fear for the heroes and the story’s stakes are never as high as the writer wants you to think they are. The reason why this moment works is that it is previously set up, just with a single scene between Frodo and Bilbo in Rivendell, though one could argue it’s further supported by the dialogue between Gandalf and Gimli in the Mithril Mine. We as the audience know enough about Mithril to understand its value and its defensive capabilities, and as we’ll see, the Mithril coat doesn’t necessarily make Frodo invincible; it just protects him from being stabbed on his upper body, which, considering his close call with the Ringwraiths, you can understand why Bilbo and the Fellowship would want to keep him safe from that in particular. It allows us to have this moment of tension where we believe the mission has been lost and our protagonist killed, only to get the reveal that he’s been saved by something the story has supported previously, and we get to keep Frodo as a vulnerable hero.
The Bridge of Khazad-Dum
This moment ends as Gandalf hears more approaching goblin swarms, letting us know that while the troll’s been slain and its horde of orcs beaten, the threat to the Fellowship isn’t over. He commands the Fellowship to make for the Bridge of Khazad-Dum, a passage which will ultimately lead to the gateway out of Moria. The nine companions leave Balin’s Tomb and head back out into the Dwarrowdelf city chamber, and soon they can see armies of goblins following them. We can also see, as the camera moves around the vast chamber, more goblins crawling up out of cracks in the floor and in the ceiling, again moving like a swarm of insects. Jackson has said that he wanted the goblins of Moria to be like cockroaches in the way they scurry and scatter, and never is that more evident than in this scene where they get the Fellowship surrounded. There are thousands of goblins filling this chamber, and soon the Fellowship can go no further. We see more close-ups of the goblins, and some of them have very large eyes, as though they’ve had to evolve living in places with little to no light (not unlike Gollum). The Fellowship makes a porcupine formation around the hobbits, but it’s clear they cannot fight such a vast army and hope to win.
Then, as if the situation couldn’t get any worse, we hear a low rumble and growling sound, and a fiery glow lights up further away in the mountain. The goblins react to this and start to panic, drawing up their weapons and some of them wailing as they recognize the sound. The goblin swarms scatter away and return from whence they came, and Gimli laughs at them as for the moment it appears the Fellowship is saved. Only Gandalf seems to understand as the low rumbling continues, and we can recall now the one thing Gandalf feared most about entering this mountain, the thing which we saw Saruman hinting at. Boromir asks Gandalf about what’s coming, and Gandalf doesn’t immediately answer while the dread is filling his mind. It’s as if he knows now that this confrontation was inevitable, and he’s coming to terms with that. The growling gets louder and the light is getting brighter, indicating that whatever it is, it’s getting closer. Gandalf then replies that it is a Balrog, a demon of an ancient world. Even Legolas seems filled with fear at this announcement. Gandalf says that the Balrog is beyond any of them, so they must run.
The next sequence, as the Fellowship enters the chasms of Khazad-Dum and must navigate its dangerous walkways, has quite a few quick character moments peppered throughout. Gandalf decides to take the rear of the Fellowship, to be its shield as the Balrog chases after them. He tells Aragorn to lead the others on, which may be his passing of the torch of leadership to Aragorn for the rest of the journey, in case he should fall here. He tells Aragorn that swords are no more use here, hinting at the kind of threat they’re dealing with in the Balrog. The Fellowship moves forward at a quick pace until they reach a rift in the stairs. Legolas, being the nimblest, jumps across first, then we become aware that goblin archers are watching them as they begin to rain arrows on the Fellowship, raising the threat level even more. Legolas and Aragorn start firing back, with Legolas showing incredible accuracy at long range. Gandalf appears uncertain about crossing at first, but Legolas urges him to cross, so he makes the jump. Next we see Boromir grabbing Merry and Pippin and taking them both across with him, again showing his affection for these hobbits and his willingness to protect them at all costs. The rift then widens as some of the stone steps break up and fall off, so Aragorn throws Sam across for Legolas to catch him.
He is about to do the same for Gimli, but the dwarf denies him, proudly declaring that “Nobody tosses a dwarf!” It’s a sentiment that shows the pride of his race and their wish to take care of themselves, and he nearly makes the jump himself, but he is only saved from falling when Legolas grabs him by the beard and pulls him up. It’s another great moment for comedy, but it’s again showing Legolas’ willingness to look out for him, strengthening their bond as companions. At this time the rift widens further, too far for anyone to jump across, and to make matters worse, the Balrog’s approach in the background causes some rubble to fall and break off any escape, leaving Aragorn and Frodo trapped on a segment of stairs. I think it shows a bit of lacking foresight that Frodo wasn’t one of the first who was made to cross in case something like this should happen, considering his importance to the quest, but it does give him and Aragorn a good scene to rely on each other and build their friendship, which helps to support their final payoff in this film, so I’ll allow it.
The stone pillar which is holding up the staircase starts cracking at the base, swaying slightly as it leans back, so Aragorn has Frodo lean forward to influence the movement of the pillar. After a long moment of tension, the pillar crashes forward and Frodo and Aragorn reach safety. The Fellowship moves down the remaining stairs and the pillar crashes against the walls and falls apart, falling to unseen depths under the mountain. As the nine continue towards the bridge, Gandalf again takes the rear and directs the others. The path of flame is behind him, warning that the Balrog is near. As he turns, we get our first good look at this monster; a towering, horned beast with wings and crowned by fire, with flames spreading in its every step, and clouds of smoke shrouding much of its body. As it roars at Gandalf, it appears that all within its body must be like an intense furnace. The message is clear: the Balrog is something the Fellowship cannot fight or overcome, it is a threat beyond any that we’ve seen thus far in the films, and they must only flee from it.
The Fellowship reaches the bridge and crosses to the other side with the Balrog hot on their heels. It’s at this moment where Gandalf assumes his responsibility, faces his fears and his destiny, and makes his stand for all his companions. He suddenly turns at the center of the bridge and faces the Balrog, and he exclaims that it will not pass him. Frodo shouts in terror, and all the Fellowship watches helplessly from the other side of the bridge. The Balrog ignites its whole body, showing just how massive and threatening it is, but Gandalf stands firm. He proclaims himself the wielder of the Flame of Anor, and as he lights up his staff there appears to be a shield glowing around him. The Balrog pulls out a flaming sword and strikes at Gandalf with it, but upon hitting the shield the sword breaks into pieces and Gandalf remains unhurt. In Frodo’s reaction we can start to feel that maybe Gandalf, as powerful a wizard as he is, might actually stand a chance. The Balrog roars at Gandalf in frustration, likely never having battled such an adversary, and it takes a step onto the bridge as Gandalf warns it to ‘go back to the shadow’.
Now the Balrog takes out a fiery whip, so Gandalf responds with one of the most iconic lines in the whole trilogy: “You shall not pass!”, and he strikes the bridge with his staff, and we can start to hear it cracking as a burst of light, and noise like thunder, spreads from the impact. I think it’s in this scene where Sir Ian McKellen earned his Oscar nomination for best supporting actor, because this is really the moment where Gandalf is in full focus and showing his full capability, and it’s glorious to watch. The Balrog lunges out at Gandalf, only for its half of the bridge to break apart and fall to the depths, and it falls as well. It lets out a final cry as Gandalf looks down at his defeated foe, breathing heavily as he starts to walk away. Unfortunately, the Balrog cracks its whip back up and the coils reach Gandalf’s legs, pulling him down. The wizard manages to grab the ledge of the broken bridge, though his sword and staff have fallen.
Frodo tries to run and help him, but Boromir stops him, knowing that it’s too dangerous since the goblins will soon return and the bridge may be unstable. Frodo and Gandalf share one last look at each other, as Gandalf tries for a brief moment to pull himself up, unsuccessfully. He then tells the others to fly (run away), and then he lets himself fall. Frodo shouts in agony, and Boromir grabs him up and takes him away. Aragorn lingers for a moment, clearly emotional from having watched his dear friend pass, so Boromir calls after him as well. Aragorn sees that he cannot stay, as the goblin swarms return and start firing arrows again at the Fellowship. Finally, the remaining Fellowship breaks out into sunlight, leaving Moria, and we get our first really heavy emotional payoff of this film. Gandalf is gone.
It’s interesting just how effective this scene is, especially knowing, as book readers knew back in 2001, how the story would play out in the remaining two films. For now, all the characters know is that Gandalf has fallen and they’ll never see him again, and it hits them very hard. Howard Shore’s music underscores the sadness of the scene beautifully, and we hear none of the dialogue or the crying as we watch the different members of the Fellowship mourning. Sam is in tears, Merry and Pippin are inconsolable, Gimli is quite broken up, even Legolas looks like he’s trying to maintain composure. It’s incredibly powerful, and it really emphasizes the enormous role Gandalf had in this story and in these characters’ lives, and it forces us to question what will happen to them all now that he’s gone. He was the Fellowship’s father figure, its leader, and a dear friend to many of them, and now they have to go on without him. They likely all share the sentiment which Celeborn tells them later, that without Gandalf their quest is hopeless.
But Aragorn knows that the quest must carry on, and he understands that Gandalf has left the responsibility of leading to him. He tells Legolas to get the hobbits on their feet, but Boromir pleads to give them a moment to grieve, once again showing his compassion for them. Aragorn nevertheless reasons that they will be overrun by orcs if they stay too long, and they must reach the safety of Lothlorien before they can rest and mourn. He gets Sam on his feet, then looks around until he finds Frodo, who appears to be wandering off away from the others. The ring-bearer is the most despondent of them all, with so much of his courage and understanding of this quest having come from Gandalf, and his heart broken from watching someone so dear to him fall to his death. He seems to be leaving the Fellowship and abandoning his quest in this moment of deep sorrow and weakness, an action which his companions may take notice of before he leaves later. Only because Aragorn catches him does Frodo fail to leave at this time.
Lothlorien
The Fellowship are soon on the move again heading south, and Aragorn appears to be glad at the sight of a large forest before them at the foot of the mountains. The eight companions arrive in greener country, but once they enter the woods they start to move more cautiously, and Gimli in particular seems wary of a certain presence. He warns the hobbits to stay close, telling them of a sorceress who lives in the woods: “an elf-witch of terrible power. All who look upon her fall under her spell… and are never seen again”. Frodo then begins to hear a woman’s voice calling his name, and she tells him he’s coming dangerously close with such great evil in his possession, revealing that whoever’s calling him knows he bears the One Ring. Some may recognize this is the same voice that narrated the prologue, though that becomes more apparent later. Gimli proudly declares that he wouldn’t be ensnared by this sorceress due to his sharp senses, only to immediately come face to face with elven bows and arrows pointed at him and the others. The Fellowship is quickly and quietly surrounded, and the apparent leader of this elf troop steps forward to boast that the dwarf could’ve been shot in the dark for how loud he breathed. Gimli’s enmity towards the elves is rekindled, and despite the goodwill that Legolas has borne towards him throughout the journey, the elves of Lorien appear to share the same feeling of superiority to dwarves as their kindred in Rivendell.
The Fellowship is captured and brought to an outpost elsewhere in the forest, where Haldir, the leader of the present elves, starts to meet and question some of the companions. He is friendly to Legolas and Aragorn and speaks to both of them in elvish, but Gimli grows impatient and demands for them to speak the common tongue. Haldir claims that they, probably meaning the elves of Lorien, have not had dealings with dwarves since the dark days, and Gimli replies with some unknown comment in the elvish tongue, vulgar enough that it was not given subtitles. Haldir says nothing in return, but Aragorn is clearly aggravated and scolds Gimli. Haldir then notices Frodo and says the same that the woman’s voice told him earlier, that he brings great evil with him, showing that the elves of Lorien are aware of him and their quest, and he tells Aragorn that the Fellowship cannot proceed into Lothlorien.
Aragorn then pleads with Haldir in private, and he says something that appears to get Legolas’ attention, but we get nothing clearly from their dialogue as they continue speaking in elvish. Frodo meanwhile looks around at his companions, and many of them are looking back at him curiously, even his friends from the Shire. He seems to be strangely disconnected from them now; perhaps they know that he tried to leave them before, and he may try again, and they worry about the ring’s effect on him, especially with Gandalf gone. Boromir is there to comfort him, however, telling him that Gandalf did not die in vain, and he would not want Frodo to carry the weight of his death in addition to the burden he already bears. This could be an attempt from Boromir to get closer to Frodo, in order to facilitate his plan to take the ring in the future, or it could be him showing his compassion for the hobbits again and doing what he can to build them up in this time of sorrow, or it could be some of both.
Haldir then appears to the others and tells them all to follow him, and so the Fellowship is taken deeper into the forest; apparently Aragorn’s pleading had some effect. Haldir takes the companions to a place called Caras Galadhon, the ‘heart of elvendom on Earth’ which is the home of Lord Celeborn and Lady Galadriel. As we enter this elven kingdom, we can see it’s another paradise like Rivendell, a wonderland full of tall Mallorn Trees and glowing lanterns, and elegant architecture, and smooth, spacious paths strewn with fallen leaves. For the first time since leaving Rivendell, the Fellowship is in a safe place, and once again they’re in the company of elves, to the dismay of certain characters. After being led through this hallowed landscape and up the spiral staircase to the heart of Caras Galadhon, the Fellowship is brought into the presence of Lord Celeborn and Lady Galadriel. It does not take long for most of the companions to stand in awe of Galadriel, her grace and luminous beauty, falling under her spell as Gimli warned. She maintains a commanding presence, greater than that of Celeborn, without even speaking, and we can soon understand that she can speak to others in their heads, like she did to Frodo earlier. There is a strange power about Galadriel, one that will be explored further at a later time.
Celeborn addresses the Fellowship, his inflection very slow and dry, telling them that what hope they had in secrecy is now gone, since Sauron knows they have entered Lorien. This probably refers to the One Ring’s power over the elven rings, one of which resides in Lothlorien. He notices that the companions number only eight, and Gandalf is no longer among them. Galadriel perceives, by reading the thoughts of Aragorn and Legolas, that Gandalf fell into shadow, and Legolas explains to her that he was taken by a Balrog of Morgoth (a name which will be more meaningful to book readers), and he says that the Fellowship went ‘needlessly’ into the net of Moria. Galadriel then claims that nothing Gandalf did in life was needless, and she suggests that his full purpose remains unknown, which is a bit of foreshadowing, though for now it’s only taken that the full repercussions of Gandalf’s deeds and his final sacrifice have yet to come into play. She then addresses Gimli specifically, telling him not to let the emptiness of Khazad-Dum trouble him, which is certainly the kindest words he’s heard from an elf that we’ve seen, so we can see how he could start to grow affectionate toward her despite his pride and prickly dwarven nature.
Galadriel also says that the world is now full of peril, and ‘in all lands, love is now mingled with grief’, turning her eyes to Boromir. This is to suggest that she knows his thoughts as well, concerning Gondor and his complicated relationship with his father, which is explored later, but it may also be her recognizing Boromir as a potential threat, someone who seeks to claim the ring for himself. In any case, Boromir appears to break down before her gaze, unable to look back at her as he starts to weep. Celeborn then speaks as the voice of doom, saying that the quest is hopeless without Gandalf, but Galadriel seems less certain, saying instead that the quest is on the edge of a knife, and if it fails, it will be to the ruin of all. She says, as the camera focuses on Sam, that hope remains while the company is true, and she tells them all to rest safely in the woods this night. Last of all, she turns her attention to Frodo, speaking to him in his mind, welcoming him at first, then revealing an unsettling side to her as she sharpens her voice and calls him the ‘one who has seen the Eye’. There is a glimpse of her eyes going wide as she focuses on him, thus creating an even more uncomfortable atmosphere for him when added to the warning she spoke to him earlier.
As the Fellowship settles in for sleep, Legolas notices that the elves around them are singing a tune to lament for Gandalf, showing that he was beloved to these elves as well. When Merry asks what they are saying about him, Legolas replies that he will not say, as the grief is still too near to him. Clearly whatever Gandalf was to the elves of Lorien, he was to the elves of Mirkwood as well, and this adds to Legolas’ character in that he chooses to remain stoic and composed when confronted with these emotions. The line ‘I have not the heart to tell you’ also suggests that he wants to spare Merry the added sorrow as well, knowing how greatly the hobbits grieved at Gandalf’s passing. Sam then remarks that the elves probably aren’t singing about Gandalf’s fireworks, so he creates a verse on them himself. Though his lines are nicely poetic, he claims they don’t do justice.
The next scene, which has become one of my favorites in the whole movie, is where Aragorn finds Boromir sitting alone, resilient to sleep. Aragorn encourages him to get rest, since they are well-protected now, but Boromir says he will find no rest. He opens up to Aragorn about what Galadriel said to him in his head, and we learn she knows about his father and how Gondor has gone into decline. Despite her words, he does not believe there is hope left, that there hasn’t been in a long time. Aragorn senses that Boromir wants to confide in him, so he sits beside him and listens intently, as a friend. Boromir talks about his father Denethor (who we’ll meet in the third film), that he is a noble man but his rule is failing, so he looks to his son to help make things right. Boromir thus feels immense pressure to live up to the glory of Gondor as he sees it, to do everything in his power to restore that glory. He then speaks, with very wistful eyes, about the city of kings, the beauty of the White Tower of Ecthelion, and he asks Aragorn if he’s ever seen it, if he’s ever been ‘called home by the clear ringing of silver trumpets’. Aragorn replies that he has been to Minas Tirith, many years ago, and so Boromir, full of hope, says that one day he and Aragorn will return there as ‘lords of Gondor’. But we can see in Aragorn’s expression that that isn’t what he wants, and he doesn’t share Boromir’s enthusiasm for this. His responsibility, as the new leader of the Fellowship, is to get the ring to the fires of Mount Doom, and he figures that returning to Minas Tirith will not avail him in their quest as it is now, not that he greatly desires to return there anyway with his royal bloodline still weighing on him.
In this scene we see Boromir stripped of all his pride and at his most fragile, having been broken down by Galadriel, and Sean Bean’s performance shines with such nuance in his delivery. The man who once proclaimed that Gondor has no king and it needs no king is now asking Aragorn to return home with him and take his place as a lord of Gondor, because he’s seen in Aragorn a potential leader that he doesn’t see in his father, and he’s seen him prove his strength and courage in battle. You really get the sense that Boromir wants only what is best for his people, and he views himself as inadequate despite how he’s previously presented himself. His desire to claim the ring is selfless, based on the understanding that it can be used to defeat Sauron, only until its influence starts to wear him down and drive him mad. We learn so much about Boromir in this scene, but we also learn about Aragorn, and we can see his conflict, that he wants to be a brother and friend to Boromir, he’s come a long way from initially distrusting him, and he wants to believe in his own people again, but his own experience still makes him reluctant to take up the responsibility his bloodline bears. The relationship between these two has developed so significantly before our eyes, and the consequences of this exchange carry over into their next scene together.
We next see Galadriel walking through the woods of Lorien at night, while the Fellowship is sleeping. Frodo suddenly stirs and wakes, and he sees her passing by. He begins to follow her, and she leads him to a glade where there is a fountain of water, and a silver saucer on a pedestal that she adds water from the fountain to. She seems unsurprised to see him there, and he seems transfixed by her, following her almost as though not entirely out of his own will. The saucer is the Mirror of Galadriel, and she asks him if he will look into it, to which he asks what he will see if he does. She says the mirror shows many things: past, present, and potentially the future. As Frodo looks down into the water, he first sees only a reflection of himself, with despair and uncertainty in his eyes, then the image changes and he sees the faces of his companions, the same images of them looking back at him curiously after Haldir captured them. Images of the past, but also serving to remind him of his current predicament, which will soon become more relevant.
Then the images turn to the Shire, hobbit holes and many hobbits going about their day, only to then drastically change as the homes are shown burning and the hobbits flee from orcs which are cutting them down. The Scouring of the Shire, as it were, the only allusion these films make to that sequence in the books. The hobbits are suffering as slaves and the Shire turns from a cozy, green paradise to a barren wasteland, like Mordor. These images are disturbing to Frodo, but Galadriel seems to respond knowingly. The ring begins to drift on its chain out of Frodo’s shirt, and the Eye of Sauron appears in the mirror, bringing this nightmare back into Frodo’s mind. The ring nearly touches the water, but Frodo grabs it and falls back away from the mirror, horrified by what he saw. There appears to be steam rising from the mirror, as though the images were so intense that the magic of this elvish device was giving off heat and energy as it portrayed them.
As Frodo collects himself and returns to his feet, Galadriel reveals that everything he saw, she saw as well, as it is also in her mind. She then warns him, speaking again in Frodo’s mind, that the scouring of the Shire is what will happen if his quest fails. She also warns him that the Fellowship is doomed to fail: she says that HE will try to take the ring, referring to Boromir without naming him, confirming that she indeed saw in Boromir’s thoughts at their first meeting what his intentions were. One by one, she adds, it will corrupt everyone in the Fellowship, echoing Gandalf’s sentiment before entering Moria that Frodo can only trust himself. To this, Frodo feels very discouraged; he feels that the quest is too much for him, so he offers the ring to Galadriel, thinking that surely an elf queen like herself, so wise and powerful, would be better suited to bear the One Ring than a hobbit.
Galadriel’s response is legendary. At first, she seems shocked that Frodo would offer it up so willingly, considering its possessive nature to its bearers, and she says she cannot deny that she has greatly desired to bear it. She then shows a glimpse of the sorcery which she is capable of, transforming into some terrifying divine version of herself as she describes what she would become if the ring were hers and had access to her power: “terrible as the dawn, treacherous as the sea, stronger than the foundations of the earth”, and she declares that she would be queen in the dark lord’s place. It’s a far more dramatic version of Gandalf’s warning to Frodo back in the Shire, giving him a more clear understanding of what could happen if someone with great magical powers were to possess the ring. It shows him that this quest can only be completed by someone like a hobbit, with great resistance to the ring and no greater power to use it.
But Galadriel stops herself from claiming the ring, and she soon returns to normal as she declares that she has passed the test; the ring will no longer tempt her, and her heart’s desire for it has faded. She then says that she will ‘diminish, and go into the west, and remain Galadriel’, which I interpret to mean that, whether the ring is destroyed or reclaimed by Sauron, the power of the elven rings will fade, and she will leave with the rest of the elves at the Grey Havens, bereft of her power. Frodo, however, has met his moment of crisis: he says he cannot do this quest, and bear this burden, alone, to which Galadriel tells him that bearing a ring of power is to be alone. She then reveals her own ring: Nenya, one of the three elven rings, showing her full understanding of Frodo’s burden. We already saw her among the other elven lords in the prologue with the three rings, so this should come as no surprise. She reiterates that this task was appointed to Frodo alone, and if he does not succeed, then no one will. The fate of Middle-Earth rests on his shoulders now, and in order to see his task done, he must make a very difficult decision. He recognizes then what he has to do, which is to break from the Fellowship and go on alone, but he’s afraid to do this. Galadriel then gives him some strong words of encouragement, and with his confidence bolstered, Frodo closes his hand on the ring, solidifying his resolve.
The Great River/The Uruk-Hai
We then finally return to Isengard, where Saruman has been busy building his army. We see him speaking to Lurtz, the fearsome Uruk-hai that he witnessed being pulled from the mud earlier, giving him a short speech to get him, and the audience, to understand how the Uruk-hai are a stronger, more perfected form of the orcs. He then asks Lurtz who he serves, and Lurtz answers with ‘Saruman’, showing his loyalty to the white wizard rather than to Sauron. We then see a montage of many Uruk-hai preparing for battle, with orcs putting white war paint on them in the shape of a hand: the White Hand of Saruman, a sigil which will continue to have importance in the next film. The uruks are being geared up with weapons and armor, now that Saruman has enough to send out a strike force with. Once his troops are prepared, Saruman addresses them all and tells them to hunt ‘them’, meaning the Fellowship, and he goads them with the promise that they will taste man-flesh. With his horde enticed for the hunt, he then turns to Lurtz, his appointed leader, and gives him special instructions to bring back the halflings alive and unspoiled, reasoning that they carry something of great value. We are then shown as Lurtz leads the battalion of Uruk-hai out of the caverns, and now this new threat to the Fellowship, set up before they even began their journey, is afoot. The journey goes into greater danger.
Meanwhile, the Fellowship is preparing to leave the safety of Lothlorien, and the elves have provided them with many gifts to aid in their travels. Firstly, they are given boats to navigate the great river Anduin, which will make their passage southwards quicker until they reach the Falls of Rauros. Second, each member of the Fellowship is given special cloaks, which Celeborn tells them will help ‘shield them from unfriendly eyes’, another setup for a future scene, though it finds another use in a different one. Also, the Fellowship is given a provision of Lembas, elvish waybread which can fill stomachs in just a small bite. Lastly, each member of the Fellowship also gets something special and more or less unique to them and their needs, with the notable exception of Boromir (did Galadriel know he wasn’t long for this world?). Merry and Pippin get special daggers of the Noldorim, and Pippin receives words of encouragement from Galadriel as well. Legolas receives a new bow of the Galadhrim, and Sam is given elven rope. When Galadriel asks Gimli what a dwarf would ask of the elves, we can see that she has been endeared to him. He first says he only wishes to look at her once more and marvel at her beauty, then grumbles to himself about something that he feels is stupid to ask.
To Aragorn, Galadriel says that he already bears the greatest gift the elves can offer; that which Arwen bestowed on him in Rivendell, the Evenstar. She recognizes that this is a pledge from Arwen to give up her immortality to be with Aragorn, but Aragorn remains firm that he wishes for Arwen to leave with her people. Galadriel then reminds him that he has his own choice to make, and she frames it in such a way as to suggest she yearns for him to take the throne. Still Aragorn seems uncertain, and so Galadriel says they will not meet again, adding that he has much yet to do, and she calls him ‘Elessar’, the elvish name for Aragorn. Despite receiving no gift from her, however, Aragorn does receive a curved knife from Celeborn, as the Lord of the Galadhrim warns him about a new breed of orcs reported from the direction of Isengard. This sort has no fear of sunlight and can cover a long distance quickly; they will track the Fellowship, and so only by traveling on the river can they have a chance of outrunning them.
As the Fellowship departs Lothlorien, Gimli reveals to Legolas what Galadriel’s gift to him was: he asked her for a single hair from her head, and in her generosity she gave him three. In this we can see that Gimli’s attitude towards the elves has softened quite a bit, and from Legolas’ smile we can also glean that he’s starting to grow more affectionate towards the dwarf: these two are actually having pleasant conversation, which is a drastic change from where they started. Lastly there is Frodo, whose gift from Galadriel is the Light of Earendil, a phial which she describes can be a light in dark places. Yet another item, like the Mithril coat, whose usefulness is set up well in advance of it actually being needed. As they leave, Frodo can see Galadriel holding up her hand in a sign of farewell. The Fellowship rows out of the Silverlode, and they are once again on their own in the wilderness.
A montage follows the Fellowship as they make their way down the great, winding river ever southwards, but we can also see that the Uruk-hai are on their trail, rushing through the woods with Lurtz at the head. From the various wide shots, we can perceive that the company has covered a great distance after leaving Lothlorien; it’s also interesting to consider how the boats are divided for passengers. Legolas is with Gimli, Boromir is with Merry and Pippin, and Aragorn rows with Frodo and Sam, subtly outlining the significant relationships which have been building up in this film. The company stops for the night on a stony shore, and Boromir, keeping watch, notices a log floating down the river with hands grabbing from the opposite side. Aragorn claims that it is Gollum, knowing that the creature has been following them since Moria. Gollum continues to keep his distance from the ring-bearer, with so many companions around to protect him, but with the Fellowship soon to break, he will get his chance to strike.
As the Fellowship settles in, Sam checks in on Frodo, saying that he’s noticed that Frodo has not been eating or sleeping. He wants to do everything he can for Frodo, but Frodo’s already made his decision to leave, and so he’s been keeping to himself, cutting himself off from the others so it will be easier to go when the time comes. Sam reminds him, however, that he promised Gandalf that he would help, and Frodo understands that he’ll be hurting Sam if he leaves. He tries to tell him that he can’t help this time, but as we’ll see, Sam won’t be taking that for an answer.
Meanwhile Boromir is trying to convince Aragorn to lead the Fellowship to Gondor, to the safety of the citadel in Minas Tirith, and Aragorn remains reluctant. He says there is no strength in Gondor to aid them in this quest, to which Boromir points out how quick he was to trust in the elves rather than his own kind. He wants so badly for Aragorn to recognize the qualities of men, but Aragorn is mostly silent, knowing how easily the ring could corrupt Boromir and any other mortal men who come into contact with it. Then Boromir goes on the offensive, accusing Aragorn of being afraid of living up to his duty and his bloodline’s legacy, instead choosing to stay in the shadows all his life. Perhaps sensing that he’s gone too far, Boromir stops himself, and Aragorn reiterates, quite decisively, that the ring will come nowhere near the White City. When the journey continues the next day, we can see in the faces of the two men that the wounds they exchanged the previous night still fester.
Soon, however, those feelings are put aside when the Fellowship happens upon what could be called the Middle-Earth equivalent of one of the wonders of the world. Aragorn calls Frodo’s attention to two enormous statues that stand above the river on either side: the Argonath, the likenesses of the brother kings Isildur and Anarion of the old northern and southern kingdoms. You can see in the cliffs on either side of the river that the rock has been carved out, likely used to build these two enormous structures. As Aragorn describes them, using the term ‘my kin’, there seems to be the light of wonderment in his eyes and pride in his voice. He says he has long desired to look upon the kings of old, meaning that in all of his travels he has never beheld the Argonath before, so this is clearly a meaningful moment to him. It probably weighed significantly in his later decisions, and we can see in Boromir’s expression as well that the Argonath are a splendid sight to his eyes.
After the camera gives us a wider and better view of the statues up high, we arrive with the Fellowship on the banks near Rauros, which is where the Fellowship will have to continue on foot. As they come to shore, we can sense in Frodo and Boromir’s expressions that they both are mentally preparing themselves for the actions they are about to take, and Frodo seems wary that Boromir may act before he does. Aragorn then lays out for the others his plan to press on eastward and approach Mordor from the north, rather that go near Gondor, and Gimli speaks up. The dwarf describes the treacherous paths of cliffs and marshes ahead of them in Emyn Muil, but Aragorn remains firm, and he suggests that Gimli rest now before they get started, which appears to offend the dwarf.
While they are speaking, Legolas appears to sense some danger, and he warns Aragorn about it. He says it is not the orcs, or Uruk-hai, that worries him, but some intangible threat which has been growing nearer. He refers, without knowing it, to Boromir’s attempt to seize the ring, an act which ultimately seals the destruction of the Fellowship as they know it. Not long after, Merry asks broadly about Frodo’s whereabouts, and no one seems to know. He’s already wandered off without a word, though it’s not clear if his intention was to leave just yet. As the company looks around for signs of him, Aragorn notices the shield of Boromir lying against a stone, and he recognizes that Boromir has wandered off as well; a very dangerous situation for Frodo with Boromir’s current state of mind. It’s also a tragic bit of foreshadowing: we see his shield here at the campsite, understanding it’s not with him, and thus it’s not on his person at the moment when he’d need it the most.
We find Frodo wandering the woods of Amon Hen; on surface it appears he’s sight-seeing as he finds remnants of some old civilization. Before long he runs into Boromir, who’s gathering wood for the campfire, and Boromir warns him about wandering alone. As Frodo remains nonresponsive, Boromir starts pressing him, guessing that Frodo seeks solitude to help in bearing his burden, so he starts to offer an alternative. But Frodo cuts him off, implying that he knows Boromir’s true motives, and he insists that his way is the only way. Boromir is unwilling to accept this, and starts to approach Frodo with an increasing level of aggression. While he claims he only seeks to defend his people, his attitude reveals that he isn’t being totally true. He then finally pleads for Frodo to lend him the ring; Frodo refuses, backing away, and Boromir seems offended for a moment that the hobbit would recoil away from him like a foe, rather than a companion. Frodo reasons that Boromir is not acting like himself, which only enrages Boromir further. He predicts that Frodo’s plan will end in failure and suffering, but the hobbit tries to walk away, perhaps hoping that Boromir will cool down if given space.
Whatever he intended, Boromir chases after him. He calls Frodo a fool and claims the ring should be his, showing the madness that the ring has brought on him in full effect as he grabs Frodo and tries to seize the ring forcibly. But, perhaps acting too thoughtlessly, Frodo puts on the ring to turn invisible, and when Boromir loses him, the hobbit kicks him and slips away. Boromir’s rage reaches a fever pitch, crying out that Frodo will betray them all and return the ring to Sauron. He shouts curses for a moment longer, then he slips and falls on his face, a moment which seems to knock some sense into him. In his lust for the ring, Boromir seemed to have lost all grip on reality and started spewing madness in any attempt to claim it, thus showing us how easily it can corrupt those ignorant of its power. This is, sadly, the moment most people seem to recall most when considering Boromir’s character: his single-minded desire, for a moment, to claim the ring. This misguided focus completely misrepresents him and ignores everything else about him that previous and future scenes set up.
Anyway, once Boromir returns to his senses, he begins to shed tears and call out to Frodo to apologize for his behavior. He’s completely snapped out of his madness and recognized what he’s done, what he’s tried to do, and from here on there is nothing that Boromir does in the film that isn’t heroic. Sadly, his sorrowful cries to Frodo, while likely heard, are not responded to. Frodo has ascended to the summit of Amon Hen to hide, once again navigating in the twilight version of the world. In his attempt to hide from Boromir, he has unwittingly drawn the attention of someone far more dangerous; as he looks out, he sees a vision, like a nightmare scenario, of the Tower of Barad-Dur, and ascending the tower until he comes face to face with the Eye of Sauron once again. Frodo realizes what he’s done, drawing danger to himself and his companions, and he falls backwards, pulling the ring off his finger as he falls. He returns to sunlight in Amon Hen, seemingly safe once again.
He is shortly found by Aragorn, who looks concerned at the sight of the hobbit. To try and deflect from what he’s done, Frodo states that Boromir has been seduced by the ring. To this, Aragorn demands to know where the ring is: he likely fears that Boromir succeeded in taking it, but Frodo’s concern, at this moment, is that any of his companions will come and try to do what Boromir did, so he flees from Aragorn, telling him to stay away. Aragorn seems shocked by this, reminding Frodo that he swore to protect him with his life. Frodo then asks if Aragorn can protect him from himself, and Aragorn doesn’t answer. Likely he understands in this moment what Frodo fears, from him and the other companions. It is here that Aragorn realizes that Frodo intends to go off on his own, and he means to do so in secret.
This is a very significant payoff for both of these characters. Frodo opens up his hand, revealing the ring, which indicates to Aragorn that Frodo has just been wearing it. The ring is now there for Aragorn to take it, and Frodo knows he cannot stop him. This is the moment Arwen referred to in Rivendell, when Aragorn would face the same evil that Isildur did. We can see and hear that the ring is calling out to Aragorn, and he seems to be drawn to it in a way we haven’t seen from him before. For a long moment, Aragorn hovers his hand over the ring, then he closes Frodo’s hand and presses it back towards him; he has successfully resisted the ring, showing the capacity for all other men to do the same. Men are not as weak and susceptible to power as some, like Elrond, had supposed. To show that he approves of Frodo’s plan, he tells him that he ‘would’ve’ gone with Frodo all the way to Mount Doom. Frodo, grateful for his understanding, asks him to look after everyone else, especially Sam. This is a particularly poignant moment for Frodo as well, saying goodbye not only to a good friend, but also potentially his strongest protection in continuing his travels. He has committed to this decision, and now there is no turning back.
Their tender goodbye is cut short as Aragorn notices that Frodo’s sword is glowing blue: the enemy is here. He tells Frodo to run, and so Frodo’s quest of solitude begins as Aragorn turns his attention down the way until he faces an army of Uruk-hai. The shot of him standing alone against the Uruk-hai, a valiant man of the west raising his sword, is just iconic, and it symbolizes his fearlessness against any foe. Lurtz urges his troops with a battle cry, and they charge at Aragorn, and he takes them one by one. The last action sequence of this film, the Battle of Amon Hen, begins.
The clamor of battle spreads as the rest of the Fellowship continues searching for Frodo, and Aragorn is pressed into a tight spot up on the ruins by the Uruk-hai. Meanwhile Lurtz calls to his troops, telling him to locate the halflings, showing his strict obedience to Saruman’s orders. Aragorn leaps from a high spot, and he utters the battle cry ‘Elendil!’, which is a hint that he’s slowly accepting the call to royalty and his faith and pride in his own people is getting stronger. At this moment, Legolas and Gimli appear to aid him, with Gimli throwing an axe and Legolas mostly utilizing his new bow. Legolas tells Aragorn to go, implying, I think, that he intends to hold off the Uruk-hai with Gimli while Aragorn goes to find the hobbits and protect them. At this point Legolas likely believes they’re still searching for Frodo, and they can escape across the river if everyone gets back to the boats.
We then return to Frodo as he’s reached a hiding place from the searching Uruk-hai, and he hears Merry and Pippin call to him quietly to a safer hiding spot with them. But Frodo, saying nothing, just stares back at them for a moment and eventually shakes his head. Merry, who’s seen the signs from Frodo up to this point, understands that Frodo is leaving the Fellowship, and he shares this with Pippin. Likely none of them really understand why Frodo’s made this decision, but when Pippin goes out to try and stop him, and Merry steps out of cover with him, the two place themselves directly in the line of sight of the Uruk-hai. They hear the roars and turn, and Merry makes a spur of the moment decision. He tells Frodo to run; then, with Pippin’s help, draws the uruks’ attention away from Frodo. They run in the open with a horde of Uruk-hai following them, and with Frodo in the clear he escapes. It’s an incredibly brave moment for these two hobbits, showing their loyalty to Frodo and remaining consistent with their tendency to jump thoughtlessly into situations without fully understanding, like when they initially volunteered for the Fellowship at the Council of Elrond. While most of the characters don’t have their arcs completed in this film, we can see that Merry and Pippin have come a long way from the two rascals we met in the Shire, and this is a significant moment in their growth.
Aragorn, Legolas, and Gimli continue fighting together, beginning to realize that they are not battling a rabble of mindless orcs. The Uruk-hai are stronger and harder to take down, and escaping from them won’t be as simple as they thought. These three are skilled warriors, as we see in their quick movements and maneuvers and their use of multiple weapon types. The hobbits, however, remain in trouble, and soon Merry and Pippin are caught with the Uruk-hai bearing down on them, and they’ve nowhere left to run. So who else could come to save the day but Boromir, the man who’s been devoted to protecting these two hobbits since the Fellowship was formed. He starts cutting down the Uruk-hai, and with him at their side Merry and Pippin pluck up the courage to fight as well, throwing their knives and finishing the uruks that Boromir has thrown down. One thing I don’t get: the first Uruk-hai that Boromir kills is raising his axe to kill the hobbits, when they’ve been given orders to capture them. Perhaps it’s a moment of bloodlust, or perhaps not everyone in the uruk army is apprised of their orders, but it’s more likely a small error, a moment presented to provide tension so that Boromir can appear to save their lives.
In any case, Boromir can only hold off the Uruk-hai on his own for so long, and he and the hobbits start to fall back as more and more of the enemy comes after them. As Legolas, Aragorn, and Gimli continue fighting, we see Legolas taking down several Uruk-hai in a row with his arrows, lastly slaying the one that Aragorn has been struggling against. Then they all hear a blaring sound, and Legolas recognizes that it’s the Horn of Gondor; Boromir is in trouble, and he calls for aid. They start running in that direction at once, but the Uruk-hai have heard the horn as well, and they respond by hurrying towards it. They harry Aragorn and the others the whole way, slowing them down, while Boromir and the two hobbits continue to hold their position as best they can. Boromir blows his horn again and again, and we can see him holding it, recognizing this item that’s been hanging on his belt the whole journey finally seeing it in use.
Unfortunately, among the Uruk-hai that have been responding to his call is their leader Lurtz. Unlike most of the Uruk-hai, Lurtz has a ranged weapon, and once he has Boromir in his sight, he takes out his bow and aims from a long distance. Boromir fights on without noticing him, and Merry and Pippin resort to throwing rocks as they stand at a distance behind him. Lurtz fires and hits Boromir directly in the chest; the music cuts out for a moment, and the hobbits stand in shock. Lurtz growls in satisfaction, as it appears that Boromir has been slain when he falls to his knees. But, Boromir gets back up and fights on, showing his immense strength in this moment of anguish, and his willingness to sacrifice himself for the hobbits. Lurtz fires a second arrow and hits Boromir again in the belly, and again Boromir falls to his knees, for longer this time. Lurtz roars viciously; his place in this story has become clear. In a slight deviation from the events in the books, where Boromir is killed ‘offscreen’ by orc archers we never see, here Boromir’s killer is a formidable singular foe that’s been built up for much of the movie, and thus our hatred of Lurtz is made personal when he slays someone we’ve grown to care about, especially given his recent actions. Lurtz is a personification of Sauron’s, and more specifically Saruman’s evil who can threaten the heroes directly, face to face.
Boromir faces the hobbits as his strength continues to wane, and perhaps it’s the sight of them that gives him the resolve to keep fighting. He gets back up and manages to take down a few more Uruk-hai, then a third and final arrow hits him in the chest, and with this impact he drops his sword: he can no longer fight. He falls to his knees one last time, and seeing him defeated Merry and Pippin pick up their swords to avenge him. They shout a battle cry, but they don’t get a single strike in before the Uruk-hai seize them and pick them up off their feet, and begin carrying them away. With the hobbits captured, the Uruk-hai mission here is complete, as far as they know: Saruman doesn’t specify that there are four hobbits instead of two, and as far as we see Frodo and Sam are never spotted by the Uruk-hai. The uruks leave the battlefield, all save one. Lurtz lags behind as he approaches Boromir with his bow still in his hands. Lurtz seems to regard him for a long moment, almost as if he respects Boromir for having stood so long after being wounded. He then prepares a fourth arrow to finish him.
Then Aragorn arrives, tackling Lurtz and making him miss his shot, and the two begin a duel. In this fight Lurtz shows his full ferocity and brutality, attempting to behead Aragorn with his shield, bashing him with his face, and licking his own blood off the knife that Aragorn sticks into his leg. When he throws the knife at Aragorn, he deflects it with his sword (an improvised move that Viggo Mortensen nailed in one take), and the two go hand to hand with their blades. When Aragorn runs him through with the sword, Lurtz uses the sword to pull him in closer and growl in his face. It seems almost as if Lurtz isn’t fazed by pain, and in fact only becomes more ferocious from it. When Aragorn finally decapitates him, it comes as quite the relief: I still vividly remember people in the theater back in 2001 going “whew!” when Lurtz was finally killed. Through him, we see how much of a threat the Uruk-hai can be, which is foreboding considering how much of a role they play in the second film.
Following this we reach the second of this film’s big three emotional payoffs: the departure of Boromir. Aragorn goes to his fallen companion, who is still clinging to life as he lies against some tree roots. And what are the first words out of Boromir’s mouth, reflecting the journey he’s been on throughout this movie as a defender of the weak and innocent? “They took the little ones.” His first thought, in his dying breaths, is to tell Aragorn about Merry and Pippin, his final payoff from the setup that began when we first saw him training the two hobbits in sword fighting. Then he immediately asks about Frodo, still contrite for his attempt to claim the ring. Aragorn tells him that he let Frodo leave the Fellowship to continue the journey on his own. Boromir reveals that he tried to take the ring, an admission that requires quite some humility, but Aragorn doesn’t hold it against him now. The ring has gone beyond their reach; it can no longer tempt either of them. Boromir asks his forgiveness for being weak and allowing the ring to corrupt him, saying that he has failed him, implying how much he looks up to Aragorn. But Aragorn chooses to look past his mistake and commend his bravery in battle.
Aragorn then reaches towards Boromir’s wounds, but Boromir stops him, accepting his fate as the penance for his actions, and he laments for his failure as a reflection on the race of men. He believes that the world of men will fall to Sauron in the end, that despite all his pride in his people, they will not have the strength to face the darkness on their own. It is here that the friendship Aragorn and Boromir have developed as companions is fully realized. Seeing Boromir’s despair, and recognizing his heroism in defending the hobbits and fighting the forces of evil throughout their journey, Aragorn’s faith in men has been restored. Even if he has not yet decided to take the throne of Gondor, he believes that men can be redeemed, and he will fight alongside men in the battles to come. He swears to Boromir that he will return to Gondor, and he will defend Minas Tirith. He refers to men as ‘our people’, accepting the brotherhood with Boromir that he’s been offering since their time in Lothlorien. These words give Boromir some final comfort, and he takes his sword to lie with him as he starts to breathe his last. The last words he speaks to Aragorn wrap up their relationship on a powerful note: “I would’ve followed you, my brother, my captain… my king.” Whether or not Aragorn accepts his duty, Boromir sees him as the rightful king, going back on his initial statement that Gondor has no king.
Boromir is gone, bringing the Fellowship down to seven, and with the Uruk-hai capturing two and Frodo going off on his own, the companions are fractured. As Gimli and Legolas catch up to Aragorn just in time to see Boromir’s passing, Aragorn sheds tears for his fallen brother and laments that Boromir will be looked for in the White Tower. Back at the shore, Frodo has reached the boats, and he holds the ring in his hand. He hasn’t seen much of what’s happened since the Uruk-hai came, but Merry and Pippin could likely be dead for helping him escape, and the rest of his companions may also meet the same fate. It forces him to consider all that’s happened throughout his journey, all the danger he’s put his friends through and the evil that’s come to the Shire and continues to spread from Mordor. Despite his resolution at the Mirror of Galadriel, and his commitment to go alone before Aragorn and Merry and Pippin, the peril and weight of his journey continue to oppress him with doubt. He recalls his final conversation with Gandalf in Moria, and remembers his encouraging words about doing all he can with the time he has. This gives him the last bit of courage he needs to press on: he puts the ring away and pushes one of the boats off the shore, and he starts to row away to continue the journey alone. Of all the brave acts made in this film, this is arguably the hardest decision that any character makes: choosing to travel to Mordor alone, with no companions to help bear the ring or protect him from more powerful foes. It represents, like several other moments in this third act, how far Frodo has come from being the carefree young hobbit in the Shire.
But Frodo is not left alone for long. Shortly after he pushes off from shore, Sam arrives and tries to stop him from leaving him. Sam cannot swim, so he stops when he’s about waist-deep in the river. Frodo goes on without looking back, only turning when he hears Sam try to go further into the water. He tells him to stay, that he’s decided to go on alone. Sam replies with one of his most endearing lines, showing his unbreakable devotion to his friend: “Of course you are, and I’m coming with you!” He goes further into the river and starts to founder, so Frodo rows back to try and save him. Then Sam sinks into the water, and for a long moment it seems as though we’ve lost another beloved character right at the end. The strength of Sam’s character prevails as he remains willing to sacrifice himself just for the chance at remaining by Frodo’s side.
We then reach the last of the three big payoffs: Frodo saves Sam from drowning and pulls him into the boat. Once Sam catches his breath, he reminds Frodo of the promise he made to Gandalf before they all left the Shire. This time, however, the wording is slightly changed: whereas Sam originally says “Don’t you lose him, Samwise Gamgee”, here he says “Don’t you leave him, Samwise Gamgee”, indicating that he’s sworn to be Frodo’s companion, and his friend, until the very end. The Fellowship may be fragmented, but here is a piece which cannot be broken down further. They were the original two, after all, setting out from the Shire together before even realizing how far this adventure would take them. Frodo recognizes that Sam will not be turned away, and he’s touched by Sam’s devotion to him, so he embraces him and agrees to let him come with him. They row together to the eastern shore of Anduin.
Meanwhile the rest of the company has prepared a eulogy of sorts for Boromir, laying him in one of the remaining boats with his possessions. He is set to drift down the river until the Falls of Rauros take his boat. We see that Aragorn has taken his gauntlets as he straps them on, a token to remember Boromir’s bravery, and the three watch sadly as Boromir passes from their sight for the last time. Legolas starts to prepare the last boat to follow Frodo and Sam across the river, but Aragorn does not stir. From this Legolas recognizes that Aragorn has no intention of following Frodo. He claims that Frodo’s fate is out of their hands now. Gimli then shares his melancholy, believing the Fellowship has failed in its purpose to protect the ring-bearer. But Aragorn has other ideas; as Boromir told him that the uruks took Merry and Pippin rather than killing them, he believes the hobbits still live, and if the Fellowship remains true, there’s still hope that they can make a difference. He asserts that they cannot abandon Merry and Pippin, and starts collecting their weapons and remaining resources for the new road ahead. Gimli and Legolas are in agreement with this, as the two even share a playful look, excited to be able to continue their journey. The three hurry away together, and that is the last we see of them in this film.
Last of all, Frodo and Sam have passed beyond to the cliffs of Emyn Muil, and from a high vantage point they can see for miles away, even to the land of Mordor in the far distance. The end of the journey is still far ahead of them, despite that this horrid country, the polar opposite of their home in the Shire, is finally glimpsed. Frodo says that he hopes the other companions find safe roads, whether they return home or choose to fight on in the days to come. Sam assures him that Aragorn will look after them, using the name ‘Strider’ since, from their meeting in Bree, that’s the name he most associates with the man. Frodo feels sad that they will likely never reunite with their companions, and Sam, ever the voice of encouragement for his friend, says there’s still a chance. This exchange makes Frodo feel especially glad to have such a good friend by his side, realizing how dour and hopeless he sounds compared to Sam’s levity. The two press on into the unknown, fading into the distance as they descend, and that is how the first film, The Fellowship of the Ring, draws to a close.
Conclusion
This first entry of Peter Jackson’s trilogy is simply stuffed with material, all of it in service to a script that slowly unfolds with each scene and pays immense respect to the tone of the source material. We’ve seen an ensemble cast of characters all go on their own personal journeys, facing fears and growing through harrowing experiences, with some weaving into and out of the foreground as others take their place. We don’t get much focus on Merry and Pippin in this film, or on Legolas and Gimli, but we get some, and by the end none of the main cast has remained static. Only Boromir has had his arc completed, with his story coming into full focus in the third act, though additional context is provided in the two following films. The rest of the characters have only started their journey, and yet many of them, particularly Aragorn and the four hobbits, have come quite a long way from when we first met them. They’ve had their values challenged, and they’ve been forced from their comfort zones to fight for the greater good.
Interestingly, despite that this is only the first part of a trilogy, the Fellowship of the Ring still manages to maintain a traditional three-act story structure, with its stasis (early scenes in the shire), its rising action (leaving the Shire and the Fellowship’s quest), its second act low point (Gandalf’s death), its emotional climax (Amon Hen), and its conclusion (final scenes with the Fellowship pressing on), leading all the characters directly to the sequel. To do this, we’ve gone over how certain sequences, like the Old Forest and the warg encounter, were cut from the film and others were drawn out and given more attention. Despite the occasional small blunders, the film remains logically consistent with its characters and how the magic in its world is set up, and thus the audience’s immersion can remain unbroken, allowing us to connect to the characters and feel all the story’s major beats. Much of this can be attributed to the attention to detail in Tolkien’s writing, but it’s worth crediting the writing team for adapting his work well enough that general audiences aren’t left with questions.
Throughout this review I’ve been focusing primarily on the writing in this film and haven’t said much about more superficial elements like the acting, music, and cinematography or the more technical aspects like visual effects technology and production design. This is because writing is what I appreciate most about filmmaking, what I believe makes or breaks a movie no matter how good it looks or how well it’s acted. Despite this, I think full reviews in this style could be written to analyze these aspects on their own: I think the casting for this film is fantastic, that actors like Ian McKellen, Sean Bean, Christopher Lee, Sean Astin, John Rhys-Davies, and Viggo Mortensen were born to play these roles. They’ve become so strongly associated with these characters after all these years that most people can’t imagine them being played by anyone else.
As for the music, I’ve said before that the Lord of the Rings films have my favorite soundtracks of any movie, and Fellowship of the Ring has my favorite score out of the three. I think an important aspect for a score, whether it’s a movie, TV show, or game, is to underscore the emotion which is already present in the scene rather than tell the audience how to feel. In Lord of the Rings that’s accomplished thoroughly, but it’s also used to help characterize this world. Howard Shore utilizes a wide variety of different musical themes to exemplify the bumbling and cozy nature of the Shire, the elegant grace and nobility of the elven cultures, the pride and strength of Gondorian men, the courage of the Fellowship, and the terror and menace of the orcs, Ringwraiths, and Uruk-hai. The use of these themes, much like in Star Wars, can be used to recognize the significance of certain moments, like the first moment we hear the Fellowship theme when Frodo and Sam leave the Shire together, or the first moment the Gondor theme plays as Boromir explains to the Council of Elrond the valiance of his people. This carries over into the second film, as many themes return and more are introduced.
In regards to the film’s production, I encourage everyone to take a deep dive to the special features of the extended versions of each film to see in detail the many aspects of filmmaking on display. The trilogy, as many of you will know, was filmed all at once out of order, rather than filming Fellowship first and the others afterward, which gives all three films a very consistent look and tone. Pre-production for the trilogy began years before filming began, giving them time to construct enormous sets and design hundreds of costumes and prosthetics to match the artwork of Tolkien artists Alan Lee and John Howe. The team also used very large miniature models for locations like Isengard, Barad-Dur, and the caverns of Moria rather than building them in a computer, so that what the audience sees is authentic and holds up well over time. The use of forced perspective and other visual tricks to make the hobbits and Gimli appear much shorter than other characters was nothing new at the time, but became popularized in major films due to the success of Lord of the Rings. The CGI was used mainly for creatures and large armies, and despite the technological limitations of the time the Balrog, the Cave Troll, and the elven magic still look mostly spotless today.
The Lord of the Rings: The Fellowship of the Ring is a truly epic and beautiful film, the kind of cinematic masterpiece that gets made very rarely for the amount of effort that it requires. At nearly three and a half hours, it’s a film that demands a lot from audiences and expects quite a bit of attention to fully appreciate its nuances. It earns its emotional payoffs by endearing us to the characters, taking us on the journey with them and letting us see the world with the same sense of wonder that many of them do. It brings such a satisfying conclusion that it works surprisingly well as a standalone film; thankfully, we live in a world where its two sequels successfully filled out the rest of the story up to the same high standards of quality. I will be moving next to a comprehensive review of The Two Towers, again in two parts, and we will see how the story was masterfully built upon and elevated to higher stakes in its second entry. Thank you for reading, and I hope everyone enjoyed and got something new from this film out of this review!
The King's Speech 