The struggle to make The Lord of the Rings: The Return of the King

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The visual effects were even more improved. Advertising

Previously in this series, I covered the first two films in The Lord of the Rings trilogy. In probably the most goosebumpy moment of the entire trilogy (and isn’t that saying something), the Witch-king of Angmar is advancing towards a fallen Gandalf to finish him. It is the horn of Rohan’s King Theoden and Eomer’s Rohirrim, the horselords, and disguised as a man, Éowyn and Merry with her. Advertising

The writers thus put two gigantic battle sequences, which while not as long as the Helm’s Deep, were more epic and extraordinary mainly because of stunning cinematography and much higher stakes. A horn sounds to the east. It was nominated for eleven Academy Awards, and clinched them all, including Best Picture and Best Director. The film had Frodo and Sam continuing their journey to Mordor to destroy the One Ring with the treacherous Gollum and the rest of the Fellowship unites and sets off for Gondor to fight for the capital city, Minas Tirith. The film had that all-out feeling of thrills that no film, before or since, has managed to match. The Two Towers, the second film in the trilogy, had featured the longest battle scene ever seen in cinema. 0
Comment(s) And yet, it won every award of note. This was perhaps the first time in fantasy movies that no compromises were made in terms of visual conception of the scenes that occurred in books. The battle scenes were mounted on an absolutely monumental scale. These were the Battle of the Pelennor Fields before Minas Tirith and Battle of the Black Gate, the final major battle in the War of the Ring. Due to some super-strong writing and acting in the first two films, the fans were intimately attached to the characters and their fate (which makes it all the more puzzling why Jackson could not manage even 10 per cent of it in The Hobbit trilogy, working with fewer characters). A cinematic moment most filmmakers can only dream of. The Return of the King was the most densely plotted and longest film in the trilogy. Also Read | The struggle to make: The Lord of the Rings: The Two Towers | The Lord of the Rings: The Fellowship of the Ring
The Return of the King features the most stunning live-action fantasy imagery ever seen on the screen. Gollum, perhaps the most famous CGI character, also seemed improved, with detailed textures that made it possible to see the veins beneath his translucent skin. The film was brimming with magnificently constructed set pieces and evocative dialogue. The concluding film, The Return of the King, had to outdo it. This was done by creating a rubber mask of Gollum which was then used as a texture map for the final model, giving it sharper textures. Most creatures like trolls, the giant spider called Shelob, the fell beasts (mounts of the Nazgul) were created entirely of CGI and yet their movements were buttery smooth. Jackson knew that he had made something special when he decided to go for a 200 minutes theatrical cut. The expressions, the colour scheme, the music, the light, the effects, everything is just the way it should be — probably better. Despite being humongous productions, all the three films were shot simultaneously. Later, they take the fight to Sauron himself so as to take the attention of the Dark Lord away from Frodo and Sam. If The Two Towers felt like Peter Jackson and his team were holding back a little, in The Return of the King they went all out.