The Hobbit: The Desolation of Smaug

The Hobbit: The Desolation of Smaug
2013
Fantasy
4.5 stars out of 5

I love science fiction, but I am normally only mildly interested in fantasy. The problem for both genres is that they make up their own rules for their various universes, but then too often break them whenever it is convenient to do so. Why it works better for me in science fiction than in fantasy is hard to say, but I think it has to do with whole concept of the Suspension of Disbelief. Every work of fiction requires such a suspension, but how often or how far the writer requires you to suspend it is where the problem lies; too often, the writer has destroyed an otherwise good story. And in my opinion, flying multi-ton, fire breathing, (did I mention, talking) dragons where everyone else in this universe is constrained by the normal rules of gravity are for me problematic.

Now that I have that off my chest, I loved this episode of “The Hobbit” by Peter Jackson. He has done again what is for me the most astounding job of telling an almost un-filmable story. His cinemagraphic vision is breathtaking. I could go see any of the previous Lord of the Ring Trilogy movies or the more recent first two Hobbit movies just to lose myself in his various aerial shots of grand landscapes. In this movie Jackson has achieved an astonishing film sequence along a river that combines incredible stunts, camera angles and CGI that truly has to be seen. I think it could be used as a class in film school.

To be sure, Jackson’s technical artistry is consistently good throughout the movie (the various CGI men or orcs on horses or wargs are a weird lapse of quality), but this story brings more. We have the opportunity to watch two subplots wherein the seduction of power begins its corrosive effects on two of our heroes: Bilbo, played by Martin Freeman, falls further under the Ring’s lure and Thorin, well-played by Richard Armitrage, continues a multi-generational obsession with a large jewel. This theme also plays out in the Ring Trilogy. It makes one wonder if Tolkien, when he wrote The Hobbit in the late 1930’s, was overtly commenting on Hitler and his cohort. The main theme of The Hobbit (as well as the Lord of the Rings) is The Quest wherein Good is locked in constant and near overwhelming combat with Evil. And, of course, this is where fiction almost always gets in trouble: the good guys never miss, and the bad guys never hit. But Jackson tells this old tale so well.

This movie is really worth seeing if you’re ten or older. It is far too violent for the little ones.