If you’re not familiar with the fantasy epics of J.R.R. Tolkien–sprawling tomes of adventure and apocalypse and even more sprawling tomes of ancient mythos–Peter Jackson’s Hobbit movie might be just right for you. It’s been called by some a dreary slog that will only really appeal to hardcore fans, but Jackson’s latest three hour carnival plays out as if Tolkien’s work were being retold by a hyperactive ten year old with a love for swashbuckling fantasy epicness but only a partial memory of the book read to him as a younger child. It’s really fun. It’s an abomination as a work of adapted fiction.
Ostensibly about a fussy bourgeois midget unwittingly caught up in a dragon-slaying adventure, Peter Jackson’s The Hobbit: An Unexpected Journey takes every opportunity it can to digress, to add on, to re-invent Tolkien’s wheel. Early on Gandalf remarks that “all the best stories deserve to be embellished”–Jackson clearly believes this. A lot of the extra material has the feeling of that hyperactive ten year old approaching a scene and saying, “Yeah, but wouldn’t it be great if…” As in Bilbo’s (the fussy bourgeois midget, or hobbit) encounter with three trolls, where a relatively quiet battle of wits from the book is stuffed with battling dwarves and a flashbang appearance from a wizard. The overall effect recalls the visual maximalism of Jackson’s King Kong. It’s a fitting style for the story of an oversized ape, an uncomfortable one for that of an undersized human.
Martin Freeman, who plays the Hobbit, seems to be the only one who remembers that he’s in an undersized human movie. His performance is as naturalistic as one could hope for–probably the best performance in all of the Tolkien adaptations to date, and at least side-by-side with Viggo Mortensen and Andy Serkis. And he provides the heart of the movie, taking us back to the strong emotional throughline of the series where small and weak creatures do incredibly brave things for virtuous reasons. His explanation to the dwarves as to why he’s continuing on their quest towards the film’s end is particularly moving.
The thing about this movie is that despite its shortcomings in being The Hobbit, it excels at being a rollicking adventure movie in a way that most such releases can only half-heartedly strive for. If overstuffed, it allows itself moments of batshit insanity, such as the expansion of the birdshit-stained forest wizard Radagast the Brown, a mentally unstable Ace Ventura magician with the most absurd means of conveyance in film history (trumping even Neverending Story‘s racing snail). Also see the entire sequence involving the goblin kingdom and their testicle-chinned king (it’s that intentionally revolting).
I saw the film in 3D at 48fps, which is almost as bad as people have been saying. When the visual information becomes sufficiently overloaded the effect works though at the expense of anything recognizable as classical cinematography. On a smaller scale, however, things take on the televisual quality of most BBC productions. Combined with the film’s leisurely pacing, it makes Peter Jackson’s The Hobbit: An Unexpected Journey seem at times like the first part in the most lavish BBC miniseries ever produced. Also, the shuffling between large and small scale sequences gives the film a jarring visual effect, switching up unexpectedly between the best you’ve ever seen and the worst. It’s ultimately a distraction.
If you love high adventure, wild fantasy and frenzied set pieces then The Hobbit is for you. If you love Tolkien, expect less of him than even Jackson’s other movies provided and consider yourself warned.