SPOILER NewsWire: Three — ‘Rings’ Circus – Boston Globe Online

by Dec 19, 2000Lord of the Rings (Movies)

Sir Ian McKellen will play the wizard Gandalf in The Lord of the Rings.

A very informed newspaper article from The Boston Globe on both the films and Tolkien’s works.

Three — ‘Rings’ Circus

by Mark Feeney, Globe Staff, 12/19/2000

A year from today, there’s a good chance you or someone you know – or, at the very least, someone who knows someone you know – will be buying a ticket to see the first installment of what is already being called the biggest project in movie history.

J.R.R. Tolkien’s fantasy trilogy, The Lord of the Rings, is coming to the screen. On Dec. 19, 2001, the film version of the first book, The Fellowship of the Ring, is scheduled to open. A year later will come The Two Towers, and a year after that, the trilogy concludes with The Return of the King.

“It’s a genuine cinematic first,” says Mark Ordesky, the film’s production executive and president of Fine Line Features, the art house subsidiary of New Line Cinema, which is producing Lord of the Rings. “At no time in the history of film has anyone made a commitment to a simultaneous filming of a trilogy of films.”

That commitment is to the tune of a reported $270 million. The production, which is being shot in New Zealand, has 77 speaking parts, a 2,500-member crew, and a 438-day shooting schedule. Principal photography concludes Friday. “It’ll be a helluva wrap party,” chuckles Ordesky, who plans to be there.

The director and coscenarist is Peter Jackson, best known for Heavenly Creatures (1994). The cast includes Ian Holm as Bilbo, Elijah Wood as Frodo, Cate Blanchett as Galadriel, Viggo Mortensen as Aragorn, and Liv Tyler as Arwen.

Nine-thousand miles from New Zealand, in Boston, the opening of The Fellowship of the Ring is keenly anticipated at Houghton Mifflin Co., Tolkien’s US publisher. With 50 different editions of Tolkien’s works in print, Houghton Mifflin has a vested interest in the success of the films. It’s seen sales of the trilogy triple over the past three years, thanks in no small part to publicity about the movies.

The opening is even more eagerly anticipated in New York, where New Line’s owner, Time Warner Inc., has its headquarters. The studio is hoping the Tolkien movies will help it recover from a string of costly flops, the most recent being the Adam Sandler vehicle Little Nicky.

Waiting on the Web

But where the opening is most eagerly anticipated is on the World Wide Web. “The collective enthusiasm from the Internet has been a roar,” Ordesky notes.

“There are Web sites out there that watch every little tidbit they can find on, literally, a daily basis,” adds Clay Parker, Tolkien Projects Manager at HM. “To keep up with that stuff, I check some of them three times a day, and have for more than a year.”

At least 400 fan sites are exclusively devoted to the production. Many are counting down to the first film’s opening and list not just how many days remain but hours, minutes, and, yes, seconds.

When New Line made available a Lord of the Rings trailer in April, 1.7 million users downloaded it the first day. By comparison, the first day the trailer for Star Wars: Episode I – The Phantom Menace went online, a million users downloaded it.

Such fervor is a two-edged sword for New Line. It guarantees the films a vast presold audience. It also means that audience has very strong ideas about what it wants. Production news often takes a back seat on the Web sites to complaints about casting (Ian McKellen is playing the wizard Gandalf, but Sean Connery clearly seems to be the chat-room choice) or deviations from Tolkien’s text. The trilogy runs to a thousand pages. The films are expected to run between six and seven hours. Something’s got to give – though try telling that to Tolkien buffs.

Mike Foster, US representative for the English-based Tolkien Society, admits he will be one of those waiting in line next year. “But it’ll be with a dire foreboding,” he says. Referring to two characters in the trilogy, one of whom has a pronounced lisp, Foster expresses fears that “the merchandising tie-ins could be ludicrous: a Gollum Happy Meal with a fisshhhh & chipsss McLunch? A Mattel Barbie Galadriel?”

The Lord of the Rings inspires a loyalty on the part of its admirers – who have included such eminences as W. H. Auden, Christopher Isherwood, and C. S. Lewis – that can make the enthusiasm of, say, Harry Potter fans seem tame by comparison. Three separate reader polls in England in 1997 saw the trilogy named best book of the century, and it won handily in Amazon.com’s Best of Millennium survey. Tolkien’s tale of hobbits and orcs and elves in an imaginary land called Middle-earth has sold 50 million copies and been translated into 26 languages since it first appeared some 45 years ago.

“It’s not only a franchise,” says New Line’s Ordesky. “It’s also the collective imagination of tens of millions of people who are passionate about these books.”

Long and winding ”Rings”

The trilogy was well received in the mid-’50s, when it first appeared. But it wasn’t until the mid-’60s, when it appeared in softcover editions, that the books became a phenomenon. Bumper stickers proclaimed “Frodo Lives” and “Gandalf for President.” Rather to his chagrin, Tolkien became as much an icon of youth culture as the Beatles. (There was actually discussion of the Fab Four starring in a film version of the trilogy, with Paul as Frodo and John as Gollum).

By no means did the trilogy disappear in the ’70s – there were, for example, animated versions of its predecessor novel, The Hobbit (1977), and The Lord of the Rings (1978) – but it lost its talismanic status. The success of the Star Wars films helped make Tolkien seem passe – unless one realized the debt George Lucas owed him (Obi Wan-Kenobi is a galactic Gandalf, Yoda’s maddening syntax and lizardy look are straight out of Gollum). The trilogy had been absorbed into the culture. Wherever one finds sword or sorcerer, whether on page or screen, odds are one will find a Tolkien influence, too.

The enormous commercial success of Tolkien’s The Silmarillion (1977), a posthumously published collection of fairly esoteric writings on Middle-earth history, indicated both the extent and staying power of the trilogy’s popularity. “It never went back down” in terms of sales, says HM’s Parker, who estimates the company’s Tolkien sales this year to be in the mid-eight figures.

That New Line has a very solid property on its hands there can be no doubt. The big question about “The Lord of the Rings” on-screen isn’t why but how. The nature of the property guarantees the crowds will be there a year from today. It’s what’s been done to the property that will determine whether they’re still there a year from tomorrow – and for the subsequent films.

In the rueful words of William Goldman, the Academy Award-winning screenwriter of Butch Cassidy and the Sundance Kid and All the President’s Men, “When you’re dealing with three movies, your first one better be good. Because if it isn’t, there’s no interest in the second or third.”


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