No doubt about it, shoehorning Celeborn (the Wise) into The Rings of Power storyline is one of the trickiest problems that the show must navigate. Importantly, for it to matter, I feel the show has to do it soon — this coming season, even.

But as my TORn Discord colleague, Webcrawler, points out, this is a self-inflicted challenge — the showrunners did this to themselves. They consciously chose to absent Celeborn from the story (a story where, by some of Tolkien’s drafts, he plays more than a minor part in events). Thus, I would assert (I would hope) that they must have some clever idea or resolution in mind.

Once you grasp this rather important fact, it also prompts the question: “Why did they choose to do this?”.

Hold that thought, we’ll return to it later. First, I’d like to posit four different scenarios for finally bringing Celeborn into the story.

Of course, keep in mind this is my own theory-crafting, not set rumours.

THEORY ONE: Re-embodiment in Valinor

This is the most straightforward solution I can think of right now. Per Laws and Customs Among the Eldar (sometimes abbreviated to LACE) in HOME Volume X, it is possible for elves to re-embody post-death after a time spent in the Halls of Mandos.

Tolkien Gateway has an excellent and succinct summarisation of the process Tolkien outlined in LACE:

A houseless fëa that chose or was permitted to return to life was typically only able to be reembodied through childbirth. The reborn fëa would experience childhood again, but would only remember its previous life upon achieving mastery of its body. Through the joy of this second childhood, the griefs of the fëa’s previous life could be redressed.

The most well-known instance is that of Glorfindel, re-embodied after his death in the Fall of Gondolin and subsequently sent back to Middle-earth by the Valar to assist with the Second and Third Age struggle against Sauron. (Aside: arguably, if the show had been going to introduce Glorfindel, then S2 and the destruction of Eregion would have been the ideal time since as Tolkien outlines in HOME XII: Last Writings, assisting survivors out of the destruction and pairing up with Elrond and Gil-galad against Sauron’s war in Eriador is his big Second Age moment.)

What if the show were to, instead, apply this re-embodiment to Celeborn?

What if Celeborn had, in fact, perished on the field of … the Nirnaeth, I guess, that we saw in the S1 prologue, and his spirit was summoned to the Halls of Mandos.

It would provide a thoroughly logical explanation for exactly what Celeborn has been doing for the last 1,000 years and more: he’s been stuck in the Halls of Mandos, and then, quite literally, growing up all over again – and for an elf to grow to adulthood is around 100 years, minimum — in Valinor.

It would fit with Galadriel’s words to Theo in S1: “When he went to [the war], I chided him. His armour didn’t fit properly. I called him a silver clam. I never saw him again after that.”

Now, at the right time, he might return to Middle-earth either of his own volition, or at the behest of the Valar. That’s right, kindasorta stealing Glorfindel’s role.

This is a complete invention at odds with, well, every variation of the Galadriel and Celeborn story. But given the many unresolved contradictions within Celeborn’s (and Galadriel’s) textual history, it’s probably better for The Rings of Power to strive for its own internal consistency.

Re-embodied Celeborn might actually offer the cleanest resolution.

A re-embodied Celeborn could also be an interesting boost to his character — LACE states that “the Re-born (they say) are stronger, having greater mastery of their bodies and being more patient of griefs.” Galadriel, in LOTR, tells the members of the Fellowship that “…the Lord of the Galadhrim is accounted the wisest of the Elves of Middle-earth, and a giver of gifts beyond the power of kings.”

Re-embodiment could help make him less anodyne than the “Cele-boring” we see in PJ’s rendition.

THEORY TWO: Imprisoned by Thranduil

This idea is, I think, kinda cracked, but it’s inspired by recently re-reading The Hobbit. What if Thranduil* had imprisoned Celeborn at the turn of the Second Age, and simply not informed anyone?

Just riffing off what occurs with Thorin in Mirkwood:

“Very well!” said the [elven]-king. “Take him away and keep him safe, until he feels inclined to tell the truth, even if he waits a hundred years [emphasis mine].'”

Then the elves put thongs on him, and shut him in one of the inmost caves with strong wooden doors, and left him.

Flies and Spiders, The Hobbit

But what could even prompt Thranduil to imprison Celeborn — a fellow Sindar — for more than 1,000 years, and not tell anyone? Simple trespassing seems an enormous stretch.

One explanation that comes to mind from The Silmarillion is Thingol’s choice to not join Maedhros and Fingon’s assault on Angband that becomes the Nirnaeth Arnoediad, and his reluctant assent for Mablung and Beleg to join Fingon’s force.

This feels a bit of a reach, but, what if Celeborn (a kinsman of Thingol according to the Silmarillion tale) had also gone to the battle, but without Thingol’s permission? Galadriel does state in The Rings of Power that she “chided him”, and that his armour did not fit. This sounds tender, but could also hint at some underlying “sneaking away” subterfuge — if the writers chose to interpret it like that.

Further, what if, much, much later, he somehow, ended up in Thranduil’s realm. Might Thranduil (also a Sindar elf of the former realm of Doriath) imprison him, exactly like with Thorin, as a long-delayed punishment for such an disobedience.

Like I said, it does feel a crack theory. Holding a continuing (well-documented) grudge against dwarves for perceived ancient wrongs is one thing; holding one against one of your own folk over someone else’s ban on consorting with the Noldor seems quite another. More, you have to set against that the technicality that Thranduil and Oropher spent much of the early Second Age in Lindon and did not migrate to Greenwood, east of the Misty Mountains until at least SA750.

* I’ve written Thranduil here since I feel for the sake of story simplification, we’ll never see his father Oropher in The Rings of Power. Simple as that.

THEORY THREE: Lost in the woods

Consider, first, the situation of Thingol and Melian, lost in each other’s eyes in the deep woods of Nan Elmoth for a vast stretch of time.

Alternatively, consider how Old Man Willow trapped Pippin and Merry by the Withywindle, or how Nimrodel goes missing for a long time after being separated from Amroth on the long journey from then-Lorinand to Edhellond in Gondor’s south.

Or consider how Morwen goes conveniently missing between Glaurung’s assault on Nargothrond, and the end of the Narn i Hîn Húrintale where she meets Húrinat Cabed-en-Aras.

I think it’s fair to conclude from these handful of examples that folks get lost or trapped (in the woods) in Middle-earth now and then.

I want to pair this observation with Celeborn’s curious warning to the members of the Fellowship against Fangorn.

‘Yet [the Fellowship] should not go too far up that stream, nor risk becoming entangled in the Forest of Fangorn. That is a strange land, and is now little known. But Boromir and Aragorn doubtless do not need this warning.’

Farewell to Lórien, The Lord of the Rings

Aragorn also says in LOTR in an exchange with Legolas:

‘Yes, it is old,’ said Aragorn, ‘as old as the forest by the Barrow-downs, and it is far greater. Elrond says that the two are akin, the last strongholds of the mighty woods of the Elder Days, in which the Firstborn roamed while Men still slept. Yet Fangorn holds some secret of its own. [emphasis mine]’

The Riders of Rohan, The Lord of the Rings

What if Celeborn’s long disappearance involved Fangorn? Might he have been trapped there somehow — long-captured by some angry Huorn in an episode resembling what happened to Pippin and Merry in the Old Forest? Even if something like that occurred though, there’s the challenge of elegantly explaining how Celeborn got all the way from Beleriand to Fangorn (or even to the Old Forest if you used that area).

Perhaps the best option here is actually the old lost-my-memory-and-ran-away trick (similar to Nienor’s experience) as the consequence of some significant battlefield trauma. Perhaps even as the result of a confrontation with Glaurung. I’m pretty sure the showrunners did at one point say at an event or convention that they wanted a dragon, and there’s been discussion of the possiblity since.

Bringing him all the way to Fangorn (a place that, despite the “strangeness” Celeborn describes, does not seem hostile towards elves) might be a little hard to convincingly sustain, but it is usefully close to Lorien — a location we will hopefully be introduced to in Season 3.

I’m worried that amnesia is a little too much like what happened with Gandalf. I’m not sure I like that. Convenient amnesia is one of the Celeborn theories that Cliff and Justin considered on TORn Tuesday a while back as well. If you want to listen in, the discussion starts around 25 minutes into the VOD.

THEORY FOUR: Shamed thrall of Morgoth

Alternatively, Morgoth might have imprisoned Celeborn. Angband contained many elven thralls during the First Age. We could see a scenario where Celeborn was captured in the aftermath of the battle Galadriel refers to in The Rings of Power and forced to labour for the Enemy until the War of Wrath and Morgoth’s overthrow.

Many of the Noldor and the Sindar they took captive and led to Angband, and made them thralls, forcing them to use their skill and their knowledge in the service of Morgoth.

Of the Ruin of Beleriand and the Fall of Fingolfin, The Silmarillion

Alone that’s insufficient to explain Celeborn’s thousand-year absence. But consider also the experience of the vast majority of escaped elven thralls…

…ever the Noldor feared most the treachery of those of their own kin, who had been thralls in Angband; for Morgoth used some of these for his evil purposes, and feigning to give them liberty sent them abroad, but their wills were chained to his, and they strayed only to come back to him again. Therefore if any of his captives escaped in truth, and returned to their own people, they had little welcome, and wandered alone outlawed and desperate [emphasis mine].

Of the Ruin of Beleriand and the Fall of Fingolfin, The Silmarillion

Yes, there are exceptions such as the ease with which Gwindor son of Guilin slots back into the hierarchy of Nargothrond. Yet Húrin Thalion is shunned by his folk — and Turgon — after his release from Angband. Even once he realises he is no longer Morgoth’s thrall, “he wanders out of all knowledge” and supposedly throws himself into the sea.

Similarly, even if the source of the angst is different, Maglor commits himself to a perpetual exile of regret, wandering the shores of Middle-earth after he and Maedhros take the remaining Silmarils from Eönwë by force in the wake of the War of Wrath.

What if, in The Rings of Power, after the overthrow of Angband, Celeborn was one of the “multitude of slaves” who came forth from its deep prisons, “looked upon a world that was changed” and, whether through shame or PTSD, turned away to become a solitary recluse who avoids all society.

One might protest that this overlaps Adar’s background. But Adar’s corruption is a bit different. He has become an Uruk. In this instance the thrall concept is not a rerun; it’s exploring a different phenomenon entirely.

Where would Celeborn be, though? Well, there’s an awful lot of Middle-earth coastline that hermit!Celeborn could share with Maglor. A lot of dense, unexplored forest, too, especially around Eryn Vorn given that during the Second Age much of southern Eriador was still heavily forested.

…in the earlier days, at the time of the first explorations of the Númenóreans… Minhiriath and Enedwaith were occupied by vast and almost continuous forests, except in the central region of the Great Fens.

The History of Galadriel & Celeborn, Unfinished Tales of Númenor & Middle-earth

There’s something appealing, to me at least, about the thought of the Telerin/Sindar Celeborn hiding out (maybe even with a handful of Ents or some of the Drúedain) somewhere around Drúwaith Iaur, or even the Belfalas coast and spending S3 raging against the rapacious logging efforts of Kemen and friends. It’d be a nice nod to the temporary Third Age sojourn of Galadriel and Celeborn in that area that Tolkien described in his initial iteration of their story.

Where is less important than why

The reality is that it doesn’t really matter where Celeborn actually is in this scenario — the showrunners will manufacture a way and a reason for Galadriel to find him.

What is more important, I think, is why Celeborn exists — the role he’ll play in the drama.

Of course, Celeborn is a box that The Rings of Power needs to tick if only for continuity. Mechanically, to not have Celeborn co-ruling Lorien with Galadriel so that together through ages of the world they can fight “the long defeat” would be, well, outrageous.

And that need to ultimately match both the book text and PJ’s LOTR is why I’ve always thought it was a bit mad to insist “Celeborn is dead”, and should stay that way.

But the showrunners have always stated that The Rings of Power is about the characters becoming the individuals we know at the end of the Third Age.

Right now, Galadriel’s personality flips between “Artanis” and “Nerwen”: she’s very capable of being the lady of the court — the noble woman of her father-name — but undeniably The Rings of Power has leaned heavily into the “man-maiden” warrior nature of her mother-name.

Still in Season 2 she regularly wears her hair in some sort of crown. It’s surely a nod to “Galadriel” — the epessë (a nickname or honorific) given to her by none other than Celeborn. What better way for Galadriel to rediscover her true self (and stop being torn every which way) than by finding the lover who gave her that name in the first place?

This does not have to be boring.

In the first instance there’s the fact that, in-show, Galadriel seems to have blithely assumed that Celeborn perished in the Nirnaeth yet spent 1,000 years obsessively criss-crossing Middle-earth trying to hunt down Sauron.

Depending on Celeborn’s recent history, the obverse could apply, too — especially if he’s hidden himself away. The text of LACE mentions that elven couples “do not necessarily dwell or house together at all times” despite remaining wedded forever, so the passage of time should not be an insurmountable barrier to the pair reconnecting. Still, they must decide if (and why) it’s worth resurrecting their relationship in such circumstances.

What if Celeborn is mentally, or physically, scarred from his experiences? Consider Gwindor’s return to Nargothrond:

At first his own people did not know Gwindor, who went out young and strong, and returned now seeming as one of the aged among mortal Men, because of his torments and his labours…

Of Túrin Turambar, The Silmarillion

It feels reductive to say this a “she can fix him” situation, but there’s a precedent with what happened with Nenya and Adar in the final episode of S2. It could help bring a blighted Celeborn back to himself. More prosaically, Galadriel also (inadvertently) uses Nenya to heal a fellow elf in S2 E4.

In “fixing” Celeborn (props to Webcrawler for pointing this out), Galadriel can also heal herself. It’s a chance to recognise a healthy partnership and true love — as opposed to the poisonous, controlling version that Sauron/Halbrand keeps trying to offer. One with things like not using each other for personal gain, and not flipping out when you get corrected. Simple stuff!

It’s still going to be a long journey for Galadriel to reach that point where she has the strength to reject the One Ring when Frodo finally offers it. But, for The Rings of Power, accepting Celeborn should be the start.

About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis. The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.

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Recently, the Robinson Map Library at UW-Madison exhibited many of the manuscripts that cartographer Karen Wynn Fonstad developed in making the groundbreaking The Atlas of Middle-earth.

TORn Discord member Alida Mau shares this report of the exhibit’s showcase of original, hand-drawn maps together with examples of her finalized published works, explanations of her techniques, and stories of her experience turning written, fictional geographic information into visual representations.

Middle Earth Map Exhibit Makes Appearance at UW-Madison

By Alida Mau

UW-Madison’s Robinson Map Library recently held an exhibition that might be unfamiliar to many of Earth’s cartographers, but will certainly resonate with fans of JRR Tolkien’s The Lord of the Rings. There the works of the late Karen Fonstad lay on display. The sprawling collection contained drafts and finalized hand drawn maps from her original publication and revised edition of The Atlas of Middle-earth, published in 1981 and 1991 respectively.

The public exhibit ran from July 21 to 31, and was curated by her son, Mark Fonstad, who has been digitizing her full works. The collection included world and regional maps spanning all three ages, along with migration and battle maps, linguistic distribution, and city plans. The exhibition spanned the entirety of the library’s tables yet is estimated to only include 5% of her work, which humbly began sketched out on her kitchen floor.

Developed as a visual tour to supplement reader’s journeys through Tolkien’s literary works.  Mapping Arda was a lofty task, for a world that was developed as an alternative history to England, it is not an exact match and landmarks were often amplified from those present in the modern Earth. So she relied upon distances as listed in the books, often in leagues, to set the proper scale for the atlas and expanded upon those descriptions using her geography background and how those landscapes might manifest in a more realistic sense. To give readers a sense of how the world fit together, Karen erred on providing more detail to help fill in some of the blank spaces on the map. Take for example the expansion of Trollshaw forest in the draft of her travel map depicting Frodo’s journey to Rivendell.

What started the endeavor to make an atlas of Middle-earth was a fateful encounter with a student who wanted to build a map of Middle-earth while Karen was a TA in grad school. Upon realizing an atlas would be better suited to Tolkien’s writings than a world map after the publication of the Silmarillion, Karen pitched the idea to Houghton Mifflin almost a decade later and it was quickly greenlit with the blessing of the Tolkien estate.

She would go on to release a revised edition in 1991, informed by previously unreleased details as the History of Middle-earth was published, such as the circles of the world and geography of Numenor. In an ironic twist, Christopher Tolkien in part credited the initial Atlas of Middle-earth for helping the History of Middle-earth get published upon realizing that the public interest and readership was great enough to warrant undertaking that project. 

She went off of drafts available in Marquette library which could sometimes be complicated as Tolkien’s canon would change between revisions and sometimes be contradictory. Some of the details of Gondolin’s city layout, for example, were not fully published in a final form. 

Unbeknownst to Karen until 2004, Alan Lee mentioned that he and the crew often heavily utilized her Atlas around with them while locations scouting in New Zealand while developing the films. And her reconstruction of Minas Tirith (seen below) based on Tolkien’s own sketches in the Marquette archives helped inform the design decisions of the Jackson films. 

From here the collection will be transferred to the American Geographical Society Library in Milwaukee, Wisconsin where it will stay in perpetuity. Karen’s revised edition of Atlas of Middle Earth is still in print and available for purchase.

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Welcome to The Great Hall of Poets, our poetry feature showcasing the talent of Middle-earth fans. So come and join us by the hearth, and enjoy!

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net  One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

The Beautiful Queen of Stars

by: Peter Kenny

Bright stars gleaming in the night,
Diamonds in the sky,
Gifts from the lady ever white;
Radiating with light,
Too beautiful for words,
She is queen of the stars shining bright.

We call on her in dark times,
Moments of despair;
Praying to her for brighter times;
Prayers she hears sent by us,
Our songs raised in praise,
She listens to our voices with love.

Night- time skies filled with gleaming stars,
Blossoms in a field of dark,
Dewdrop diamonds from a silver tree.
Down here on earth in starry light,
We now see in that sparkling sky,
Visions of her shining face;
The Beautiful Queen of Stars.

Lady dressed in shining white,
Radiant snow white,
Queen revered by one and all;
We rejoice in the light,
Of her gleaming stars,
She is queen of the stars shining bright.

~~ * ~~

“Utulie’n Aure”

by: Caroline Flynn

“Tears unnumbered ye shall shed.”
So was spoken the prophecy of dread.
Upon the Anfauglith such a battle was fought
That unnumbered tears and devastation were indeed wrought.

As the battle waxed thick and strong,
And the hopeless end seemed not long
There arose a cry, so strong and clear
That, for a time, was dispersed all darkness and fear.

“Utulie’n Aure!” In a loud voice Fingon cried,
And over the field the din of battle died.
For lo! Turgon his brother was come from Gondolin,
And glad was the meeting of the sons of Fingolfin.

Never so welcome was hope unlooked-for.
“Utulie’n Aure!” Never was the cry heard stronger before!
In the brothers’ hearts hope was glad and high –
Alas! That it should so soon die!

For Turgon was driven back and forced to retreat,
Though Huor urged him that he went not in total defeat:
“While yet you stand, Morgoth shall not be our demise,
And from you and me, a New Star shall arise.”

But did this comfort Turgon when he heard of Fingon’s fall?
Or did he regret having retreated behind his walls?
Hope one moment, then black despair –
Why did all have to perish that was good and fair?

“Farewell my brother, so valiant, so brave,”
Turgon murmured. “Alas, that you could not rest beside Father’s grave.
But wherever you sleep, may you be in peace,
From Mandos’ Halls may you find a speedy release.”

For a time he stood, sad and silent:
But then a light came to his eyes, steady and defiant.
Huor’s words echoed again in his mind,
A hope and a promise they would bind.

“Utulie’n Aure!” He cried his brother’s cry,
And he raised his fist against the sky.
“But even if day shall fail and night fall,
A New Star shall arise that will Evil forestall!”

~~ * ~~

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Under Kenji Kamiyama’s taut direction, “The Lord of the Rings: The War of the Rohirrim,” skillfully blends 2D hand-drawn animation with Tolkien’s penchant for heroic fury and painful loss in an epic feature film releasing December 12th from Warner Bros. and New Line Cinema. A surprisingly brisk 2:14 runtime hits all the right notes (as does Stephen Gallagher’s gorgeous score) — where vibrant Japanese anime gives royal family drama, imminent heartbreak, and cruel warfare a rather supernatural ferocity. The result is a terrific film, hands down. Handling both fantasy and tragedy with all seriousness, this standalone Middle-earth story beckons us back as “the next big LOTR film.” Although the entire sketch of this story fits in about 2 pages of Appendix A, “The War of the Rohirrim” is a satisfying narrative piece that stands tall alongside Peter Jackson’s previous LOTR and Hobbit Trilogies, but does not outdo them.

A Fine Standalone Tale

A bit disconnected from previous stories concerning the War of the Ring, this film considers a more intimate drama. A mighty King loves his daughter to the point of being overprotective; yet no one dares cage her unbridled free spirit, never to be diminished. Echoes of Théoden and his niece Éowyn, to be sure. In fact, Miranda Otto returns to be the film’s narrator (an elegant and welcome touch). The voice actors are excellent all-around.

Helm Hammerhand (an imposing Brian Cox) will suffer no fools. His sons Haleth and Háma are always close to his side. His daughter, Héra (a stunning Gaia Wise), would rather be out feeding a shank of mutton to fledgling giant eagles. Wearing a formal dress to the royal council is NOT her bag. One cold evening Freca, a rich and powerful man (but one with Dunlendish blood), comes to Edoras. He brings an unwanted marriage proposal, desiring to wed Helm’s coltish daughter to his son Wulf. All hell breaks loose. Every good script needs an inciting incident, and boy, this one is a whopper.

After the Proposal

The tumult that follows is fully realized; as the filmmakers draw up spectacular scenes of battles both far afield and deep within the human heart. Soon bitter war and an even more biting winter rends asunder the lives of everyone in Rohan. All roads lead to the Hornburg (would have been cool to hear it called Súthburg, but what the heck); renamed “Helm’s Deep” in the near future. The night is dark and full of terrors, to borrow a phrase. But I shall spoil no more.

Thematic Essence of Tolkien

This is as much Helm’s film as it is Héra’s. He is the Dad who’s always there for his children and certainly for his people. His decisions are brash and often grim, yet his motives are precise. However often circumstances would strip Héra of her agency, she yet finds her passion and opportunity. She rises to the legendary namesake of “Shieldmaiden of Rohan” with needful determination. Tolkien excels at this kind of storytelling. His characters’ toughest edges are yet molded by compassion. The difficult choices they face truly resonate with the Professor’s sensibilities.

Fair credit to Oscar-winning producer Philippa Boyens for choosing to zero in on this particular tale in such a way that writers Jeffrey Addiss and Will Mathews (known for Netflix’s Emmy-winning “The Dark Crystal: Age of Resistance”) and Phoebe Gittens & Arty Papageorgiou could so successfully play in the sandbox to flesh out such exigencies. Special gold star for the handling of Fréaláf, one of my favorite characters.

Heightened Skill of the Animators

The character drama compels here as much as in the live-action films. This is largely due to Kamiyama’s shrewd storytelling sense and how he stages large action scenes against emotional powerhouse moments. A word of praise for the animation team: how beautifully these artists stage the sweeping vistas of Middle-earth! How gorgeously this imagery harkens back to original WETA designs of architecture, clothing, weaponry, and cultural objects! Colors and backgrounds are especially rich, going a long way to help frame distinctly Rohirric themes of unrequited love and revenge-lust. Sound design and foley work is stellar!

Howard Shore’s leitmotifs play a key part in this story as with all LOTR/Hobbit films. Composer Stephen Gallagher worked previously as the Music Editor for “The Hobbit” — here he brings a magic toolbox of material that really shines. His score (playing during the very writing of this review) makes one long for mountains, pine trees, waterfalls and the vast grasslands of Rohan. The closing credits song “The Rider,” sung with astounding dexterity by Paris Paloma, is perhaps the most evocative thing I’ve heard in years. Big Florence & the Machine energy opening the ears and the heart to this new vision of Middle-earth.

Tolkien Anime Adaptations Came First

A point of historical note: the glowing success of “The War of the Rohirrim” — in fact its very existence — brings us full circle back to the 1970’s where the earliest adaptation of “The Hobbit” was likewise created by a pan-Pacific production team. Indeed 1977 was a mighty big year for fantasy and sci-fi, seeing the publication of “The Silmarillion” and the phenomenon of the first Star Wars; and yet also the Peabody Award-winning telecast of “The Hobbit,” on CBS.

Produced by New York-based Rankin/Bass and animated in Japan by Topcraft, “The Hobbit” has stood the test of time as an early anime milestone (and ultimately glorified by South Park ridicule). Animators from Topcraft would work for a fledgling production house called Studio Ghibli; a new operation on the scene that would make a legendary name for itself. Seeing at least one or two distinct references to Hayao Miyazaki’s “Princess Mononoke” (and a nice visual composition of Helm in battle clearly going back to Ralph Bakshi’s representation of Théoden from his 1978 LOTR films) truly warms the heart.

The Advantage of Animation

A lack of appetite for anime should not detract from enjoying “The War of the Rohirrim” on its merits. Roger Ebert famously championed the medium of animation — reminding us how it frees the filmmaker from the demands of realism, gravity, even cameras. Imagination can truly fly, unfettered by the physical world, able to convey the most artful approach. It has often been said animation provides a layer of abstraction one can never find in live-action. It offers the audience a broader point of meeting the tale head-on, allowing one to appreciate the hard-won craftsmanship on display.

“The War of the Rohirrim” should fuel fan conversation for years to come. A minority may wish the team had “animated on the 1’s” instead of “on the 2’s or on the 3’s” or some other technical gripe, but that is not truly the style of Japanese anime. It is not much of a complaint considering the overt beauty that Kamiyama-san and his team have achieved. The film succeeds comfortably within its own art style.

Film Rating

I rate this a solid 8.5 out of 10 with focused praise on use of color, framing of compositions, great pacing, clarity of character motivations, lovely music, and the overall serious handling of Tolkien’s tragic tale with emotional verisimilitude.

Much too hasty,

Clifford Broadway / “Quickbeam”

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Welcome to The Great Hall of Poets, our poetry feature showcasing the talent of Middle-earth fans. So come and join us by the hearth, and enjoy!

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net  One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

The Steward and the White Lady

by: Cassie Hughes

She lay bereft of all she loved and wished her life was done,
That King had never called her back from limbo’s darkened home,
Within these hallowed healing halls her heart felt caged anew,
What now for maid without a shield? No cause to cleave unto?

In waking dreams she wandered there a ghost in living form,
Her hopes and dreams dispersed as dust, her mind encased in storm,
‘Twas thus he first did spy her there caught up in moonlights glow
And from that moment lost his heart to Rohan’s greatest jewel.

Fair Eowyn he then pursued though she desired naught
But finding honour within death, this goal, her only thought,
With inner strength he persevered and piece by piece did steal
Away despair and hopelessness, her zest for life reveal.

At last the scales fell from her eyes, she finally perceived,
The wise and steadfast prince of men to whom her heart had cleaved,
The Steward and the Lady found at last their just reward,
A strong, enduring love in which to live in light restored.

~~ * ~~

I’ve included this following poem to commemorate Remembrance Day. It’s one I wrote as part of my Literature degree in memory of my Grandfather. Lest We Forget

Grandad Speaks

by: Kelvarhin

They called me Jack,
Though my mates
Called me Snowy.

A hazel-eyed beauty,
From London’s east-end,
Became my life’s love.
Two adored daughters,
Completed our home.

War intervened,
To the R.A.F. I soared.
Not to drop bombs,
Or dogfight in the sky,
Dinghy Drop rescues
Were my choice to fly.

The fates made their call,
Rescuers missing,
Lost over North Sea.
Three simple words,
All that were shared.

Missing in action.

No body to mourn,
No grave to cry on.
A telegraphed epitaph,
My Loves only memorial.

~~ * ~~

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Welcome to The Great Hall of Poets, our poetry feature showcasing the talent of Middle-earth fans. So come and join us by the hearth, and enjoy!

If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net  One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.

“The Sea Calls us Home”

By: Caroline Flynn

The wind is cold: soon the last leaf shall fall
And all shall be covered by winter’s pall.
In the restless breeze I hear a call.
The Sea calls us home.

Upon this Middle-earth we have endured storm and gale,
But now our long years begin to fade and fail,
Upon the grey ships we must set sail.
For the Sea calls us home.

O land we have loved through the lengthening years,
Enriched by our labor, watered by our tears,
Why now are you grown so cold and drear?
Why does the Sea call us home?

This sorrow of our hearts is not feigned
For in this land we have lived and reigned
And with our blood is this land stained.
But the Sea calls us home.

The Sea! Whose waters contain the memory of old,
The eternal Music it most closely holds
Our griefs and triumphs its voice enfolds.
Thus the Sea calls us home.

To the straight road of the West we now turn,
To the undying West for which our hearts now yearn
Where the Evening Star begins to burn.
For the Sea calls us home.

~~ * ~~

Numenor’s Lament

By: L. May

Life’s many treasures

       Drowned in sea spray.

Waves cover memories,

       Flooding, razing,

All that was great.

       Floating bodies swirl,

Like wave-kissed pebbles,

       Tumbling and spinning.

Water foams over,

       In unending motion,

Advancing and retreating,

       With relentless ruin,

Till flotsam drifts,

       Upon restless waves.

Memory fades,

       Born out to sea,

Drawn down into

       Ulmo’s cold, dark realm.

~~ * ~~

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