Author:Ljubisav Panić

Translator: Olja Knežević

hobbit movie

  • Directed by: Peter Jackson
  • Screenplay: Fran Walsh, Phillipa Boyens, Peter Jakson and  Guillermo del Toro
  • Actors: Martin Freeman, Ian McKellen, Richard Armitage, Andy Serkis, Sylvester McCoy, Manu Bennett
  • Genre: adventure, fantasy
  • Duration:169 minutes
  • Language: English, Elven and Ork

It has been more that a decade since the film director Peter Jackson screened three J.R.R. Tolkin novels, whose names are well known. Even if you live in the hole of Mirkwood you would have heard of the great success of the Lord of the Rings. In spite of that, skilled Jackson has unwillingly returned to the fairy tale world of  Middle-earth, that made him famous.

Tolkin wrote the novel in the 1937, when he himself obviously did not know what would be the destiny of the world he created. The evil of the Lord of the Rings was only emerging on the horizon so the Hobbit, unlike later Tolkin novels, is much more appropriate for children’s taste. The adventures of Bilbo Baggins, the wizard Gandalf and thirteen dwarfs have been described, while dealing with numerous dangers and trying to regain the stolen treasure from the dragon Smaug.

Was the Jackson, a passionate horror devotee, afraid of the brighter themes, or something else, it is left to be thought about. However, the film should have been produced by another director connoisseur – Guillermo del Toro (Pan’s Labyrinth), who was, together with Fran Walsh and Philippa Boyens signed as a screenwriter. Even though it will remain a mystery how the film Hobbit would have turned out if it were created by Toro’s imaginative mind, it is just as good with Jackson’s lead.

In the Middle-earth the producer is managing everything as good as in his home New Zealand, where, near the Matamata, the hobbit village idyll was created in its magnificence. Besides, film studios in Wellington were the home of  the lavishing sets and models. Both New Zealand’s islands were being walked lengthwise and crosswise so as to find the most spectacular scenery for shooting. Therefore it is not surprising how the visual aspects of the film leave us speechless. The goblin caves are, for example, full of details, the trolls who are trying to eat the main characters are more realistic than any other troll from the Lord of the Rings. Even the expensive situations where hobbits, wizards and dwarfs appear in the same shot, making the difference in height visible, are more common than in the first trilogy.

Even though the digital splendour is lately being criticized for destroying the plot and creating boring change of pointless action scenes, it has to be admitted that it was the consequence of Tolkin’s not Jackson’s ideas. It is true that the film differs from the novel by the appearance of certain characters not present in it, but it is justified by the demands of dramaturgy and the descriptions in other Tolkin books. Those inserted details give the Hobbit enough material for the trilogy and great connection with the Lord of the Rings. The prolongation is noticeable only in several aspects – too extended beginning of the adventure in Hobbiton, naive but excessive troll scene and superfluous fight of the rock giants. The rest is just right.

Ian McKellen was again perfect in the Gandalf costume, Martin Freeman was great in the main role, followed by strong and real emotions of Richard Armitage, who is responsible for the revival of the dwarf Torin Oakenshield. Remaining twelve dwarfs were only to be seen in episodes and merely characterized by make-up and costumes, rather than specially written dialogues, yet the Hobbit is not a film about them, neither would a 169 minute film be.

From the fairy like prelude scene where the downfall of Erebora was shown, the town of dwarfs, over beautiful elven Rivendel, to the great sequence with schizophrenic Gollum, Peter Jackson proves the ability to meets the expectations of epic fantasy. As well as the novel, his  Hobbit is more naive and more cursory that Lord of the Rings, which is best proven by exaggerated satire of the wizard Radagast (Sylvester McCoy), but the magic is still present in this most splendid and most beautiful film trip we were able to see during the last several years.

hobbit film

KRITIKA FILMA:

„HOBIT – NEOČEKIVANO PUTOVANJE“

  • Režija: Peter Jackson
  • Scenario: Fran Walsh, Philippa Boyens, Peter Jackson and Guillermo del Toro
  • Uloge: Martin Freeman, Ian McKellen, Richard Armitage, Andy Serkis, Sylvester McCoy, Manu Bennett
  • Žanr: Avantura, fantastika
  • Trajanje: 169 min
  • Jezik: Engleski

Prošlo je više od decenije otkako je reditelj Peter Jackson ekranizovao tri romana J.R.R. Tolkina, čiji naziv od tada nema potrebe isticati – čak i da živite u rupi u Mrkoj šumi čuli biste za neverovatan uspeh Gospodara prstenova. Uprkos tome, umešni Jackson se nevoljno vratio bajkovitom svetu Srednje zemlje koji ga je proslavio.

Tolkin je roman Hobit napisao davne 1937. godine, kada, očigledno, ni sam nije znao u kom će pravcu poteći sudbina sveta kog je stvorio. Zlo gospodara prstenova se tek naziralo na horizontu pa je Hobit, za razliku od svih potonjih Tolkinovih dela, veoma podređen dečjem ukusu. U njemu su na tristotinak stranica opisane avanture hobita Bilba Baginsa, čarobnjaka Gandalfa i trinaestorice patuljaka, koji prolaze kroz niz opasnosti dok pokušavaju da povrate ukradeno blago od zmaja Smauga.

Da li je Jackson, pasionirani ljubitelj horora, bio uplašen ovim vedrije oslikanim temama, ili nečim drugim, ostaje za razmišljanje. U svakom slučaju, film je trebalo da režira drugi rediteljski znalac – Guillermo del Toro (Panov lavirint), koji je uz Fran Walsh, Philippu Boyens i samog Jacksona ipak ostao potpisan samo kao scenarista. Međutim, iako nikada nećemo saznati kako bi Hobit izgledao da je iza njega stajao del Torov kreativni um, ni sa Jacksonom za kormilom nema mnogo razloga za kajanje.

U Srednjoj zemlji ovaj reditelj se snalazi jednako dobro koliko i u rodnom Novom Zelandu, u kom je, u blizini grada Matamata, seoska idila hobitskog naselja stvorena u svoj veličanstvenosti. Pored toga, filmski studiji u Velingtonu bili su dom raskošnih setova i maketa, a oba novozelandska ostrva prošpartana su uzduž i popreko da bi se pronašle neke od najspektakularnijih lokacija za snimanje, pa i ne čudi što vizuelni aspekti filma u potpunosti oduzimaju dah. Pećine goblina su, na primer, prepune detalja, trolovi koji pokušavaju da skuvaju glavne junake realističniji su od bilo kog trola iz Gospodara prstenova, dok je čak i skupo pojavljivanje hobita, čarobnjaka i patuljaka u istom kadru, gde se vidi njihova razlika u visini, mnogo češće nego u prvoj trilogiji.

Iako se ovoj digitalnoj raskoši poslednjih dana najviše zamera što je, navodno, uništila zaplet i podredila ga dosadnom smenjivanju besmislenih akcionih scena, mora se priznati da je to više posledica Tolkinovih zamisli nego Jacksonovog rediteljskog iživljavanja. Film, istina, odstupa od romana prikazivanjem pojedinih likova koji se u njemu ne pojavljuju, što je uspešno opravdano zahtevima filmske dramaturgije i opisima u drugim Tolkinovim knjigama. Upravo ti, ubačeni detalji obezbeđuju Hobitu dovoljno materijala za trilogiju i odličnu povezanost s Gospodarom prstenova, a razvučenost narativa je primetna samo u nekoliko navrata – predugom početku avanture u Hobitonu, naivnoj ali književnom predlošku doslednoj sceni s trolovima i suvišnoj borbi kamenih džinova. Ostatak funkcioniše sasvim dobro.

Ian McKellen ponovo oduševljava u kostimu Gandalfa, Martin Freeman je sjajan u naslovnoj ulozi, a njima se snažnim i uverljivim emocijama pridružuje Richard Armitage, zaslužan za oživljavanje patuljka Torina Hrastoštita. Preostalih dvanaest ratobornih pratioca patuljačke sorte svedeno je na epizode i više je okarakterisano šminkom i kostimom nego posebno osmišljenim dijalozima, ali, ako ćemo iskreno, Hobit nije roman o njima, niti bi to film od 169 minuta mogao da bude.

Od bajkovite uvodne scene u kojoj se prikazuje propast Erebora, grada patuljaka, preko lepota vilenjačkog Rivendela, pa do sjajne sekvence s šizofrenim Gollumom, Peter Jackson dokazuje sposobnost da ispuni očekivanja ljubitelja epske fantastike. Kao i roman, njegov Hobit je naivniji i površniji od Gospodara prstenova, što možda najbolje dokazuje preterana satiričnost čarobnjaka Radagasta (Sylvester McCoy), ali magija i dalje snažno blista u ovom najraskošnijem i najlepšem filmskom putovanju koje smo mogli da vidimo poslednjih godina.