The Hobbit: The Desolation of Smaug (2013)

"I have faced the great serpents of the north!" (Thranduil)

Epic story telling has many challenges. If the cast, crew, writers, director, and everyone is focused, these hurdles no longer appear to be insurmountable barriers but rather stepping stones that raise our expectations and sense of wonder. In the case of The Desolation of Smaug the challenges stem from the scope and travel log-esque qualities of the book.  (In a book, one has the liberty and freedom to let one's mind embrace the descriptions and truth that makes up a fantasy realm.  In a movie, all of this must be presented for consumption, in very short order.)  In particular, I was struck by how quickly The Desolation of Smaug pushes the pace of the film through its various locals.  Each one presented its own unique challenges, like motion, palpability, and acoustic grandeur.

Mirkwood had to exude the feelings and confusion that are so essential to the mystique established in the book. I don't know how, but Mirkwood, in fact, seemed claustrophobic and heavy with miasma, while the top of the canopy was alive and fresh.  If I understood how this was accomplished I might have less adoration, but as it stands, I was impressed.

The barrel escape sequence, which I felt was the action climax of the film, was where I feel Director Peter Jackson may have adapted his solution to meet the needs of film continuity.  I feel that slower, grander, long shot form battle sequences work better for fantasy epics, as was the case with The original LOTR trilogy.  They showcase better swordplay, allow for musical exultation, and enhance audience anticipation. My expectation was that Peter Jackson would use the same techniques.  However, upon reflection the idea of doing long shots and samurai like fight sequences is ludicrous when one places the notion in the context of a rapidly moving river.  The terrain is uneven, the battlescape rapidly changing, and the camera requirements outrageous.  So, in the end  Peter Jackson's solution is to opt for the rapid pace, frequent cut approach to creating tension and frenetic action.  It works.  I think it was the best solution to the challenges.

Finally, I thought the acoustic effects of Erebor were fantastic.  The idea that sound is essential to establishing the immensity of an old structure is quite brilliant.  Once Bilbo and the other dwarves enter the mountain, everything echos, clicks on the hard basalt or granite, and booms into the roots of the mountain.  It adds to the danger Smaug represents.  In that hallowed hollowed place, one's demise would only echo for brief period and then disappear.      

Ratings:

Pompous Town Leaders:  Skip it, I didn't really like Stephen Fry in this movie. (sad, bummer)
Elven Sentry Guards: Skip it, you are made to look like Paul Blart
Visionary Filmmakers:  See it
Cannonists:  See it so you can meticulously note deviations from the book.  (Just don't tell me all about it.)
Looking for a quality movie for the 2013 holiday season?:  See it

On a scale of Class B fire http://en.wikipedia.org/wiki/Fire_classes to Dragon fire, I give The Hobbit: The Desolation of Smaug 3.87 out of 5 stars and look forward to part III next year.