Oisin Jackson takes us through the latest entry into the Lord of the Rings franchise, a disappointingly empty depiction of Middle Earth that struggled to excite even the most dedicated of fans
Back in 2021, Warner Brothers Studios announced that a new Lord of the Rings animated feature was in the works. As a passionate fan of Peter Jackson's totemic franchise and Tolkien’s original books, I was absolutely ecstatic. The idea of a return to Middle-Earth as well as the film being animated, pulling from Japanese anime, this latest installment was going to present Tolkien’s expansive and wonderful world through a new, unique lens. So, where could this film go?
Could the film be a continuation of The Lord of the Rings: The Return of the King (2003) or see it become an animated adventure with Tom Bombadil? Well, neither of those became reality (which did upset the thriving Tom Bombadil fanbase.) Instead, it was decided the film would be a prequel set almost 200 years before anything previously seen on screen. The story follows, ‘The War of the Rohirrim’ - a merciless clash between Helm Hammerhead of Rohan (Brian Cox) and The Dunlendings controlled by the treacherous Wulf (Luke Pasqualino).
Peter Jackson, who spearheaded the previous Lord of the Rings Trilogy, did not return to direct this entry, instead Japanese director Kenji Kamiyama took charge. Kamiyama’s entrance onto the project allowed a new vision to guide the franchise; jarring at a first glance. New animation, new director, new characters, new setting, it all feels overwhelming even for long time fans. That being said, there is a nice feeling of familiarity in the film. With the return of iconography and characters from Jackson’s trilogy like Olwyn (Lorraine Ashbourne) and Saruman (Christopher Lee) appearing in the film, it reaffirms that this is still the same Middle-Earth we love from the original franchise.
Through animation, more beauty and sublimeness for animals is realised, like the great eagles that greatly enhance the atmosphere of Kamiyama’s vision.
Peter Jackson has had a heavy hand in how we interpret Middle-Earth. So, even with the fast fluidity and anime style of Kamiyama, this film was always going to struggle to step out of the shadow of the previous films. Regardless, The Lord of the Rings: The War of the Rohirrim proved to be quite an underwhelming experience. It certainly holds some merits, but the film is not without its issues.
Kamiyama’s filmmaking is undeniably the strongest aspect of Rohirrim. Fast and fluid, it lends extra engagement to the fights while also portraying the scenery and scope of Middle-Earth so well. Kamiyama is able to explore how nature and politics influence the characters of the narrative, giving a greater appreciation for Tolkien’s world. Through animation, more beauty and sublimeness for animals is realised, like the great eagles that greatly enhance the atmosphere of Kamiyama’s vision.
This vivid depiction of nature is mainly seen through Héra (Gaia Wise) as she has an appreciation for nature and animals that helps guide her throughout the film. She is also fast and agile allowing a swift, kinetic energy to her fighting technique. Her bravery and strength to fight is similar to Motoko in the Ghost in the Shell series, which Kamiyama has previous experience in. Her agility is complemented by Helm Hammerhead, whose character's design deviates from Héra with his wide, stagnant frame and brave posture, only heightened by Brian Cox’s commanding voice. Helm possesses a compelling presence while he slays malicious opposition.
Kamiyama also succeeds in taking the family element of Tolkien’s work and making it more personal. There is a believable chemistry between the two characters that are bound by family, tying an emotional weight to Kamiyama’s entry.
I then discovered that the sole reason Rohirrim was made was to prevent New Line Cinema from losing the rights to Lord of the Rings, and everything started to click.
Unfortunately, it is the storyline which is the least interesting element here. The animation, characters and overall aesthetic are so strong and yet the tale of the Rohirrim presented no avenues for engagement with its slow and lacklustre story. Before the film, I asked myself “Why should I care about The War of the Rohirrim, what makes this war so special?” Disappointingly that question was never really answered. Despite a few good fights, the actual chain of events that lead to the conflict are not that compelling. While the characters are certainly interesting and empathic, the stakes and peril feel cheap, only used for emotional investment.
I then discovered that the sole reason Rohirrim was made was to prevent New Line Cinema from losing the rights to Lord of the Rings, and everything started to click.
The fault does not rest on Kamiyama, who is a highly competent filmmaker, but rather the studio itself. The War of the Rohirrim is uninteresting because its spark was ignited by a corporate cash grab. A financial desire to exploit fans of the iconic series. It seems that the idea came first and that a scramble ensued to figure out how to make the easiest product. It explains why the war struggles to make its impact upon the audience. It is almost painful to have to admit it; the exceptional story is usually what Lord of the Rings films are praised for. They are anything but lackluster and slow. It’s therefore disappointing that despite worthwhile performances and cool fights the newest entry in this legendary franchise is anything but remarkable.
The Lord of the Rings: The War of the Rohirrim (2024) is nothing more than a middling return to Tolkien’s cinematic epics. Even with its positives considered, the negatives drag down any future optimism that a fan could garner for future Lord of the Rings projects.