The Hobbit: An Unexpected Journey (2012) 2.72/5 (2)


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Rating: The Good – 69.6
Genre: Fantasy
Duration: 169 mins
Director: Peter Jackson
Stars: Martin Freeman, Ian McKellen, Richard Armitage

After the success of Peter Jackson’s The Lord of the Rings trilogy, he was always going to find The Hobbit a tougher project not simply because of the difficulty in living up to the reputation of the earlier movies but because many a critic was just waiting for him to slip up. Not surprisingly, therefore, his decision to stretch the adaptation of that one book into another trilogy of three hour movies left those critics salivating and some would say with good reason. After all, what are you going to fill the movies with?

The Hobbit: An Unexpected Journey picks up decades before the events of The Lord of the Rings, and follows the adventures of Frodo’s uncle Bilbo and his efforts to help a motley group of wandering dwarfs reclaim their old kingdom from a nasty dragon Smaug who, years earlier, decimated their people and forced them to flee their homeland. This first installment is dedicated to the necessary exposition of the backstory and the early stages of the journey and, as a movie in its own right, it’s reasonably enjoyable if taken on its merits. Yes, there’s an extremely protracted buildup but if such a buildup is dedicated to the construction of character and relationships then it can be eminently watchable. Jackson and company make a modest attempt to do just that although it’s nowhere near as in-depth an introduction as we were treated to in The Fellowship of the Ring. Part of this is down to the source material which lacks the backbone and rich characterisation of the Rings trilogy. Simply put, it’s too lean a book and not as inspired to support the same class of story telling.

However, the real concern when it came to The Hobbit was whether or not Jackson could imbue this new film with the same magic and sense of distinct mythology that The Lord of the Rings trilogy was imbued with. In this respect, he was considerably more successful. An Unexpected Journey very much feels like the Middle-Earth we were introduced to 10 years earlier. There is of course a prevalence of more child centric manifestations of danger and wonder but this is an extension of Jackson’s integrity concerning the material because the book was aimed at younger audiences in the first place. But whereas many predicted this is where The Hobbit would fail, Jackson and his team of effects wizards (no pun intended!) use the more fairy-tale like material to give the movie a distinct personality and strengthen its connection to its audience. The concept design behind the various nasties and the visual effects are so rich and original in imagination yet governed so implicitly by archetypes that one can envisage them not only resonating with younger generations’ nascent notions of evil but coming to flesh out and further define those notions as they evolve through adulthood. Few films in the history of motion picture have done this and so, The Hobbit could even join the original Star Wars trilogy and the likes of Harryhausen’s ingenious incarnations in the echelons of keystone fantasy for this achievement alone.

But like Harryhausen’s films in particular, An Unexpected Journey also caters to the appetites of older audiences for there is much darkness implicit in the actions and words of the characters. Actions and words that skirt the edges of cannibalism and subtly disturbing indications of murder (the shot of Sting losing its glow as Gollum dispatches the Orc off-screen is particularly uncomfortable and must surely count as one of the more chilling devices to the depict something that Hollywood has – if truth be told – immunised us to). And actions and words that plumb more sophisticated ideas of inner torment and personal damnation.

The Hobbit scores big on the technical front too. As it was in the previous trilogy, Jackson’s action direction is superb, juggling fast and slow zoom and tracking shots into a whirlwind aesthetic which seem to ebb, flow, and grow intuitively to Howard Shore’s magnificent score. Needless to say, the tapestry of visual effects (and sound effects) are equally astounding and while not coming close the pinnacle of those served up in The Two Towers or The Return of the King, criticism should be reserved because this is the first story of a new trilogy and The Fellowship of the Ring wasn’t defined by any major set piece extravaganzas either.

Thus, for all the negativity surrounding its release, An Unexpected Journey isn’t nearly as bad as most have suggested. There are a few contrivances towards the end, their sole purpose to manipulate us into big emotions and it’s true that such cheap tricks were not typical to the first two instalments of The Lord of the Rings. They were however a feature of The Return of the King and this raises a salient point for those critics who fulfilled their latent ambition to take Jackson down a peg or two with The Hobbit. The final installment of the LotR’s was the one that garnered all the awards and most acclaim yet it was by a distance the weakest of the set. An Unexpected Journey with all its problems isn’t deserving of mention in the same breath as Fellowship or Towers but it’s certainly good enough to be compared to The Return of the King. At least as far as telling a story goes.


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