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The LOTR Movie Site
February 28, 2000A Perspective on Arwen
Michael Bell
After reading Chris Skinner's "The
Neverending Arwen Debate," I feel compelled to offer my perspective on the issues
surrounding this debate in the hope that it may help those of us increasingly worried
about changes being made to the text to greet the films with open hearts and minds.
First of all, we should remind ourselves that Jackson is not
filming the
written text of "The Lord of the Rings." As he's said himself, he's creating a
cinematic adaptation of "The Lord of the Rings" based on a collaborative
interpretation/extrapolation of the story. Film is not books, and film has its own
limitations and possibilities which must guide the work that he's doing. Filmed narratives
are constructed differently than print narratives; they have to be incredibly tight and
fast-paced, with relatively few characters (compared to epics like Lord of the Rings for
sure) and fairly simple plot structures. Film audiences can't pause or back up the way
that readers can; apprehension has to be virtually instant if a film narrative is going to
work. It seems to me that Arwen offers Jackson an opportunity to help provide his filmed
narrative with the economy and simplicity that succcessful films require; an expansion of
her role allows him to conflate characters and charge scenes with mulitiple levels of
meaning and emotional force.
It is impossible for Jackson to remain entirely "faithful" to the written
text, or any written text for that matter. As reading itself is a continuous act of
interpretation on the part of a reader, there can be no essentially "true"
"Lord of the Rings" that exists apart from the reading of it, no pure
"central mythos." Texts don't exist without readers, and each reader creates a
slightly new version of the text he or she is reads; someone passionately committed to his
or her own personal interpretation might think of other interpretations as
"mis-readings." Jackson's "mis-reading" is particularly complicated.
It must be informed by his own sensibilities as a reader and film-maker within the
constraints of the cinema. He must trace the narrative and characters of the original text
in fairly close terms if he is going to call his work "The Lord of the Rings,"
but to try to hold him responsible for the personal interpretations of other readers is
rather absurd.
Mr. Skinner's assertions about what goes on in the minds of Elves, how they see mortals
and so forth, are personal interpretive assumptions presented as the facts of the text.
There is nothing wrong with such assumptions, but equally valid interpretations can be
drawn from virtually the same evidence. In my own reading, I see Elrond's care and concern
for the littlest mortals of Middle-Earth, the Hobbits, as indicative of the tremendous
compassion Elves feel for the individual inhabitants of Middle-Earth, however ephemeral.
Elrond remembers names and histories. He does keep the mortals of the world "sorted
out" -- much more so than men like Boromir, who has to be convinced that the
"halflings" are worth his consideration at all. Elrond's perception and
compassion defines the stance of the good in opposition to the dark, in which the Orcs are
an undifferentiated mass of nameless suffering. I see no specific reason to assume that
Arwen does not share the same keen love and respect for the individual inhabitants of
Middle-Earth, and would not welcome the chance to help those that call to her, mortal or
otherwise.
Further, Mr. Skinner's notions of "destiny" and "fate" are also
assertions of his own interpretation. In my reading, Elves do not necessarily wait
passively for their "fate." Action and a strong respect for predestination do
not necessarily contradict each other. Elves do act. Is sending The Ring to Mordor for
destruction an attempt to "re-write" fate? Yes and no? During the council in
Rivendell, Elrond reminds those present of his own direct participation in several major
battles and other military actions. Is it really such a stretch to imagine Arwen at Helm's
Deep when we remember that Elrond was at Dagorlad, was instrumental in driving Sauron out
of Dol Guldur (which Galadriel later destroyed), and if my memory serves, is connected
with the battle against the Witch-King of Angmar? Elves in my reading of the story do not
remain aloof from the mortal events of Middle-Earth at all. They both accept destiny and
act within it; they accept that they are fated to act. (Entirely in keeping with the Old
English tradition from which much of the ethos of the Lord of the Rings is drawn). There
is no real justification to keep Arwen in Rivendell sewing and cooking and staring off
into the trees awaiting her fate. She is free to act within the history and tradition of
her people. I don't see an expansion of her character to allow such action as the
departure from Tolkien's text it might at first appear to be.
There could be some great cinematic reasons for Arwen to be at Helm's Deep. Imagine the
strength and hope her presence could give to those on the walls facing Saruman's orcs. Her
presence could lend a powerful poignancy to the scene, a feeling of hope against
overwhelming darkness: here are the filthy blood-spattered soldiers huddled on the wall,
exhausted, terrified. They've seen friends hacked apart by an inhuman enemy of
incomprehensible malice, a nightmare army of mind-numbing vastness equipped with greater
powers of destruction (Saruman's TNT) than they knew possible. They stare at their
sword-hilts vacantly, their hope gone. And then here is the Lady Arwen, so bright and
beautiful and full of power -- their minds clear and their strength returns and the Uruk
Hai are pushed back.
If we are going to enjoy these films, we have to remember that what is happening with the
Lord of the Rings is that Jackson is inviting us into his reading of Tolkien's
story, a reading informed by his particular passions and concerns as a film-maker and the
dictates of the form he is working with. He's said himself that he is not trying to
"define" the story in any way at all, nor is it possible for him to do so. It of
course remains to be seen whether or not his films will be artistically successful, but I
do think it's important for us to remember that our judgement of his films should be based
on their artistic success rather than how faithfully they adhere to our personal
interpretations and assumptions, all of which, I'm sure, are strong enough to exist
alongside Jackson's. I have confidence that those of us who are able to overcome our
resistance to the adjustments of the written text he has made to fit his medium will get
our Tolkien: that incredible sweep of power and mystery and horror and joy that has kept
us reading these books for so many years. |