Galloping for Glory?
Out of the many and varied film franchises that I have been blessed to have been brought-up on, it’s fair to suggest that The Lord of the Rings series of films still reigns in cinematic supreme compared to other adored features of yesteryear. Indeed, whilst I was fortunate to have been propagated in an era of film-making where adaptations were ripe for the cinema-going experience, most prudent in the release of Harry Potter and the Philosopher Stone in 2001 or even in the form of Andrew Davis’ Holes, nothing could – and still can – compare to the cinematic quality and effort that was proposed by Peter Jackson’s Lord of the Rings trilogy. Similar to what I stated about Ridley Scott’s Gladiator, all of Jackson’s films that comprise the Lord of the Rings story can be considered as modern-classics due the care and passion that was poured into its casting, visual aesthetics, its narrative composition and inspired musical soundtrack. The Fellowship of the Ring more specifically for myself – in the way it gradually builds the tension of consequences of the story/characters and the manner in which ends and how you want to see more – holds a special place. As many of us know, these select films journeyed on to become critically successful and its because of these features’ success where, in recent years, we’re beginning to see tales and stories that have derived from this aforesaid filmic affluence. Alongside the rather mixed and disparaging The Rings of Power, we’re now presented with an anime fantasy film, in the form of War of the Rohirrim, that knowingly delves into unknown territory – based on this perception that anime-centric features are for the more niche cinema-goers; those that revel and adore anime for what it delivers through its normally striking animation styles and – at times – stories that are engaging yet complex. However, can Kenji Kamiyama deliver his an anime film in the form of the War of the Rohirrim that gets everyone on board?…
Set 183 years before the events chronicled in the original trilogy of films, it tells the fate of the House of Helm Hammerhand, the legendary King of Rohan. A sudden attack by Wulf, a clever and ruthless lord of Rohan, with dubious ancestry, having many ties to Dunland, he seeks vengeance for the death of his father, forces Helm and his people to make a daring last stand in the ancient stronghold of the Hornburg-a mighty fortress that will later come to be known as Helm’s Deep. Finding herself in an increasingly desperate situation, Héra, the daughter of Helm, must summon the will to lead the resistance against a deadly enemy intent on their total destruction.
As many of you will be aware, War of the Rohirrim is the first Middle-earth feature-length film in a decade, and the first major animated outing for the series since Ralph Bakshi’s psychedelic 1978 adaptation. Indeed, as Elrond so boldly spouts in The Fellowship of the Ring, strangers from distant lands have been summoned here (behind the camera) to comprise an anime fantast film – plucked from the depths of J.R.R. Tolkien’s appendices – that can attract fans of Peter Jackson’s Lord of the Rings and mainstream cinemagoers alike. Helmed by anime director Kenji Kamiyama, mostly known for his work around Ghost in the Shell: Stand Alone Complex and Eden of the East, Rohirrim shrewdly walks a delicate line between echoing the set decoration and production choices made by Peter Jackson a quarter-century ago, often down to a tee, and enjoying a more heightened and melodramatic point-of-view, befitting anime’s strengths. In its better moments during the film’s first act, War of the Rohirrim visually reminded me of a simpler, almost storybook idea of high-fantasy found in 1980s and ‘70s animation, including Rankin/Bass’ antiquated interpretations of J.R.R. Tolkien’s world. Characters can be introduced idyllically strumming an instrument while composing a ballad about a beloved sister; others steal piercing glances at an unrequited love. What is clear to distinguish is Kamiyama’s faithfulness in occupying Jackson’s films as a visual template – familiar locations such as Edoras, Isengard and the soon-to-be-dubbed Helm’s Deep swear obvious fealty to Jackson’s palette, and there are some gorgeous painterly backgrounds mimicking New Zealand’s mountainous grandeur. Yet, for all of its fidelity towards features and designs of yesteryear, what’s remarkably outstanding to behold is the devoid breath of a pedestrian animation style. For sure, Kamiyama and his animators deliver battle sequences that feel energetic, eye-popping and muscular; indicative to anime’s greatest strength in presenting fluid action with motion. Yet, these battle sequences are far-and-few-between and when it comes to sequences that are far more quiet and melodramatic, there is a real sense of lacklustre depth here. What we mainly see is an old-fashioned, low-frame rate approach that mixes his traditional 2-D style with some rather distasteful 3-D elements. It’s within these moments, where 2-D and 3-D elements converge with each other, which makes the spectacle seem rather jarring than visually thrilling.
Much of the same disparity of good filmic elements versus the more confusing factors can be seen through Rohirrim’s narrative. Similar to how the animation takes nodes of inspiration from the visual touches of the live-action films, so too does the story here where there are numerous allusions to events that take place in The Two Towers; most notably with the escape of the Hornburg leading directly to Helm’s Deep. However, with no Elves, no Dwarves, and no Hobbits in sight, there’s a serious danger of Rohirrim feeling less like Lord Of The Rings than it could, or should. The story, of warring horsemen and rival houses, a great battle followed by a great siege, seems maddeningly influenced by what you would see in Game of Thrones but feels offputtingly less consequential. This also stems into the characters, particularly through that of Héra who seems rather one-dimensional and unsuited for such a combative plot-line. In a narrative about bloodlines and female strength, Héra exudes these mentioned themes lightly but thoughtfully. While there are glimpses of Héra’s heroism, and the said character rising to become a leader for her people in an hour of great need, there are not enough moments of such nature to be seen. Aside this, what’s made the plot seem more less while is the catalyst of the conflict itself. Héra’s initial aversion to marriage is rather seen to a motive of the antagonists hatred. This itself is a rather weak pretext for the conflicts that inevitably unfold.
The War of the Rohirrim is interesting in how it marks the second project in almost as many years that attempts to expand on (or exploit) the Lord of the Rings brand name. And like Amazon’s ponderous The Rings of Power, Rohirrim feels somewhat defensive in justifying its existence. Yet unlike the said Amazon Prime series, there are genuine qualities that make WB’s animated movie worthwhile. Whilst the story and animation go in tangent in making the film feel wholly one-dimensional for a considerable amount of time, there are redeemable qualities that make for a worthwhile experience – such as the aforementioned art direction which can be beatific and intermittently spellbinding. Whether it is shots of a lone rider breaking through the snow outside Helm’s Deep or vivid sword fights free from the limitations of physics and actors who only had a handful of weeks to train, War of the Rohirrim is a feast for the eyes. To end, the fact that Warner Bros. and New Line Cinema ventured into unknown territory in making an anime-styled story that is based around a world audiences have come to know and love, is a big kudos from myself. While there’s an argument to made around anime films and how they’re solely made for those that only love and appreciate the medium, I would argue that it’s because of these anime films, which are accessible in the cinemas now, that deems the said genre as a mainstream piece of media; and not an artform that is for a specific audience. Anime, in this day and age, is rather accepted by all and The War of the Rohirrim is an example of this. For myself personally, I hope similar franchises and western film-making studios alike take their leap of faith into the realms of anime…
★★★☆☆ – Alex Rabbitte