The Hobbit: The Desolation of Smaug

Since the first part of The Hobbit trilogy was one long exposition, the second part doesn’t have to spend any time on introducing the main characters and explaining their motivations, so it is unconstrained in telling its story. The livelier and more focused (though again episodic) narrative lacks a satisfying conclusion. Instead of bringing at least some of the storylines to a close in the climax, The Desolation of Smaug ends with just another complication. ___ Smaug seems like an episode of an epic fantasy series or an RPG, but one played by someone else who definitely isn’t going to skip any cut-scenes. Like in role-playing games, we have before us a group of adventurers who gain new experience through encounters with increasingly powerful enemies and then ultimately come face-to-face with the ultimate boss (who, of course, can’t be killed in conventional combat). In retrospect, one gets the impression that the main objective of the narrative was always the confrontation with the dragon, because nothing else actually happens in the film. Though again long and never as clear as anything done by Spielberg (whose Tintin is brought to mind by the whitewater ride), the action sequences are not there solely for their own sake. Rather, they serve for developing the already known characters (Bilbo becomes a bigger hero and more dependent on the ring), for introducing (old-)new characters (Legolas, Tauriel) and for demonstrating the courage of young, uprooted and seemingly powerless peoples to stand up to a great enemy, which I believe was an important motif for Tolkien, given the era in which he wrote his books. ___ The creative rendering of Middle Earth is also like that of a video game, as CGI animation is used to a greater extent than the authentic New Zealand landscape. The bookish illustrations would have been captivating and I could have looked at them for tens of minutes, but when combined with live-action characters, the setting seems artificial. Not to mention the Orcs, which were apparently copied directly from action-adventure games like God of War (the ease with which the goblin warriors are decapitated would seem to correspond to their video-game origins). ___ The characters whom the protagonists encounter on their journey mostly serve to impart valuable information to the adventurers or provide asylum and weaponry. Take, for example, Beorn. Though he will most likely appear in The Battle of the Five Armies, he is used rather purposefully in The Desolation of Smaug. Conversely, the mayor of Esgaroth, attaining prosperity at the cost of his citizens’ freedom, comes across merely as a dubious attempt to update the narrative with allusions to the current corruption of politics. It is necessary to acknowledge that Jackson managed to justify the presence here of other characters (Azog, Radagast) on whom seemingly needless attention was focused in An Unexpected Journey. It similarly becomes apparent why we had to find out that Bilbo is good at riddles (discovery of the keyhole). ___ The motif of the lost home is weakened, as its bearers are more or less only dwarves, not Bilbo, who is newly obsessed mainly with his ring. I believe that we spent the first forty minutes of An Unexpected Journey in Hobbiton for the sake of the possibility to use the contrast between the Hobbit’s previous comfort and his current discomfort. What came to be the key motif was the egocentrism of whole peoples (elves) and individuals (Thorin) and greed personified by Smaug, which is by far the most well-written character of the entire film. ___ The Desolation of Smaug gains momentum as the linear narrative branches into two and then three storylines. Thanks to that, the final act is as dynamic as the sweeping action sequences in Nolan’s films (though Jackson cuts between individual action scenes with greater deliberation) and, at the same time, emotionally engaging because at least in Tauriel’s case, we do not know what fate awaits her (though because she is an elf, she cannot die). The proliferation of the final confrontations with evil testifies to Jackson’s concept of The Hobbit not as the adventure of a single hero, but as an “ensemble piece”. For a team-oriented action movie in which particularly the abilities of the individual characters and their contribution to the accomplishment of the mission(s) are important (see the exemplary cooperation between Bilbo and the dwarves in the climax), it is hard to criticise the film for its emotional coldness and indifference toward individual characters. At any rate, I don’t find it pleasing, as I believe that many of those involved would deserve a separate film. ___ From the perspective of satisfying storytelling, the doubly open-ended (i.e. without a beginning or an end) The Desolation of Smaug is far from being a useless film. Thanks to the logistically flawless introduction of new characters and changing settings, it holds our attention, but it doesn’t hold up as a stand-alone story. The Desolation of Smaug does a better job than the good-natured An Unexpected Journey of giving the impression that “something” sinister is in the air. At the same time, however, it doesn’t have enough material to fully tell a story and, though it looks like a lively action experience from the outside, it paradoxically spends most of its runtime just treading water. 75% (15/12/2013) (less) (more)