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Note: Contains extended reflection on scene, not really a rant, but expressing complaints. Also has nice caps, book excerpt and great poem.


I don't like the turn the scene takes in its second half and that's a fact. It's not that the scene doesn't work well as drama. It does. But I don't like how it affects the "character arcs" of the two hobbits, and I don't like how it alters a favourite feature in Tolkien's story.

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As I mentioned in the previous post (Bilbo presenting Sting), I love that the Dwarf Thorin Oakenshield gave Bilbo the mithril shirt. I love it most because it is a memento of a relationship that was nearly sundered irrevocably.
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Winter is flying, as if to put the lie to my complaints that it is never-ending. I had hoped to post this series before Christmas, when the Fellowship is still in Rivendell, but here we are in February. Well, I will pretend it is yet December.


Bilbo's Gifts Pt. 1
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The final part of the film scene comes from material at the end of The Council of Elrond, but also from the beginning of the chapter that follows.
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I really love Elrond’s speech to Frodo after he volunteers to take the Ring. It's so gratifying to hear someone as wise and respected and powerful as Elrond say, for all to hear, that in taking up the Quest Frodo has chosen to do that which puts him in the company of the great. Read more... )

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I’ve mentioned regularly during this Rivendell series how much reading the chapters again has reminded me of Bilbo’s importance as a character in the story, in spite of not actually being in it very much, and of the warmth of his relationship with Frodo. Read more... )

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Reading the book scene again, I realise how much I miss the presence of Bilbo in the film’s Council of Elrond. I can see why they struck him from the scene, and it worked, since it served to accentuate Frodo’s relationship with Gandalf. Read more... )

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Note: Long opening post with lots of pictures and text. My apologies to dial-up users.


Here begins a five-part presentation of the Council of Elrond. The filmmakers said they worked long and hard trying to make the extended historical accounts that fill this chapter into an interesting film scene. I think they succeeded. Read more... )

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The FOTR sequence screencapped below, the scene in which Sam argues persuasively that they ought to be heading home, is original to the film. It has no direct book equivalent. I decided to use a book scene from the opening of the Ring Goes South to go with it, even though the film scene takes place before the Council, not after it.

The connection I see between the book scene and the film scene is a strong sense of Frodo’s reluctance. Read more... )


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One of the things that struck me, re-reading these chapters set in Rivendell, is how close, what intimate friends Frodo and Bilbo actually are. I had forgotten. In part, it is because of the book itself: Bilbo isn’t there that much, literally, in the pages of The Lord of the Rings—an inevitability, perhaps, because he doesn’t go on the Quest.
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A significant difference, to me, between the book and film versions of the Rivendell sequence, is the way Bilbo is portrayed. He is far more frail in the films. In the book, Bilbo still feels fit enough to volunteer to take the Ring to Mt. Doom. (He does it, incidentally—as will be seen in the book texts for the Council of Elrond series—in order to spare Frodo, not to get his hands on the Ring.) Even after he has become doddery when the Fellowship returns, Bilbo is strong enough to make the journey from the Misty Mountains to the Grey Havens on horseback.
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Where has the year gone? Here it is the middle of fall and I feel as though I have barely posted a thing in my LJ (compared to previously). Events in real life put a halt to my LJ projects for a while, and, when I returned, although I posted some Frodo comparisons, a new manip and a series on Ian McKellen, I did not have the concentration to resume the screencap series. But now it’s back.

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To celebrate the birthdays of Frodo and Bilbo, this year’s mathom is a [rather silly] manip. Also presented are two poems by jan-u-wine, which are not silly at all. I am hoping her poems will dignify the manip, which is meant to be charming more than convincing. In it the illustrious cousins are wearing party crowns. Or, one could think of it as a portrait of the Halfling Prince and the, um, Halfling Regent.
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Warning: Long post, with many images, some quite large.


A year ago, scrolling through Caravaggio paintings, I saved files of his “Narcissus” as soon as I saw it. I was sure I’d want to make a manip of it one day. That day has come.

For this post, the discussion of the painting will come first, after which I will make a few reflections about Frodo in the finished manip. After the manip will come Jan-u-wine's poem, Unbroken, for which this manip was made. A "making of" section concludes the entry.

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Read more... ) So here it is, a series of screencaps of Frodo’s joyous reunions—but in Rivendell, not Minas Tirith—plus jan-u-wine’s poem, “The Gifts of the Three Hobbits”.
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This post is to commemorate March 25, the Fall of Barad-dûr, showcasing jan-u-wine’s poem They All Imagine. In the poem, Frodo recalls the day from the perspective of many years spent in Tol Eressëa.

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When jan-u-wine first showed me this poem (which imagines Elijah Wood’s last take playing Frodo, finishing the Red Book), I had already posted my screencaps for that moment in the RotK EE extras. I thought, "What a shame I hadn’t seen this poem before!" I had already presented caps for the writing desk scene, too (see links for those below).
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This is the fourth "Frodo Art Travesty" I have made from a Caravaggio painting. Since FotR was first screened, viewers have seen a connection between Frodo and this painter's work. Six years and one day ago, Marian Kester Coombs wrote a review of FotR in which she compared film-Frodo’s face to one painted by Caravaggio. Other fans have likened him to "a Baroque angel". In an oft-quoted excerpt from her review, Coombs wrote,

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