“The Lord Of The Rings: The War Of The Rohirrim” Review: Lovely Adaptation Marred By A Few Misses

“The Lord of the Rings” is a series that needs no introduction. It is the largest contributor to the high-fantasy genre; some would even say its progenitor. The franchise has persisted long after its author; it’s received various adaptations, such as the late-’70s animated project. However, of all of them, none are more popular than Peter Jackson’s adaptation in the early 2000s, which caused the franchise to receive an unprecedented resurgence that reverberates to this day.

With a new series of films on the horizon, Jackson and crew decided to send us back to Middle-Earth with “The Lord of the Rings: The War of the Rohirrim.” We revisit the world of J.R.R. Tolkien in animated style, much like the aforementioned 70s adaptation, exploring a critical but undiscussed event in the lead up to the War of the Rings. But does it succeed in enticing us to return to Arda, or would we still opt for the almost 25-year-old classic?

Set almost 200 years before Jackson’s trilogy, “The Lord of the Rings: The War of the Rohirrim” follows the noble line of Rohan and their defence against the Dunlendings. Helm, the King of Rohan, has been at odds with their neighbouring Dunlendings and their leader, Freca, for decades. However, Freca, out of the blue, offeres to unite the two tribes by uniting their children through marriage. Helm sees through this facade and realises it’s only a play for the throne and is immediately struck down for it.

If you’re aware of Tolkien’s lore, you’d know that this is a one-to-one retelling of the original story that was written and explains how the War between Rohan and Dunland began. This is where the similarities end as the film pivots to showcase the perspective of Hera, the Helm’s daughter, who was originally unnamed in Tolkien’s works.

The film’s trailer speaks of a great war before the War of the Rings, and based on it, we expect it to contain multiple back-to-back action sequences – but we are glad to be wrong. Despite the overarching conflict between two major factions, the film takes its time in exploring the land and its people, much like the Jackson films. Not only that, but it finally explores, or at least creates, the lovely lore of the film’s main protagonist, Hera, and her relationship with Wulf, the main antagonist.

What is absolutely impressive about this film is that, despite it taking liberties with the source material, it still respects the original work that was laid out before it. In our opinion, it makes no attempts to actively disparage Middle-Earth and its inhabitants. Lore purists don’t have to worry as the events of the film are largely non-canon and do not try to be, unlike other adaptations in recent memory.

Of course, it explores all of this in beautiful animated stylings that are made by Sola Entertainment. Combine this with a bold female protagonist, and you’d think this would be a Hayao Miyazaki/Studio Ghibli film, but it is not. The film is directed by Kenji Kamiyama, known for his works in “Ducktales,” “Ghost in the Shell,” the 2019 to 2023 “Ultraman” series, and more. It comes as no surprise that, under his hand, we have an exceptional film for those who can’t get enough of Middle-Earth.

Throughout the film, there are several goosebumps scenes, such as Helm’s rally call and his stand at Helm’s Deep. There is also the beautifully bright opening sequence, as well as the climactic battle between Hera and Wulf, both of which are nothing short of hair-raising. If you love the music of the original trilogy, then there’s something for you, as Stephen Gallagher, the music editor of Jackson’s films, composed the score for the film.

Since we are rattling off names, why not mention the cast? The imposing yet kind Helm Hammerhand is played perfectly by Brian Cox; through his performance, he gives the old but unbroken king a powerful presence whenever he opens his mouth. Contrasting this is Gaia Wise, a relatively new actress who is still looking to expand her repertoire. Despite this, she is able to play the part of a headstrong princess who is able to find the perfect balance between joy, grief, rage, and ferocity all in one mix.

Sitting in the middle of this spectrum is Luke Pasqualino’s Wulf, a phenomenal actor in his own right. Though we eventually despise his character, Pasqualino is able to give Wulf a tone of grief hidden among his lines, implying that there is a deep sadness and loss hidden among his rage in some scenes — it is a tone that would not be easily captured by a lesser actor.

However, this isn’t to say that this film is free of flaws; far from it. Our chief grievance primarily focuses on the animation. Though we praise the artistry behind it, especially when everything is still, we can’t help but notice that it is quite choppy while in motion, as if minimal frames were used in creating them. Furthermore, eagle-eyed viewers can easily notice that some 3D models were used in making the film, specifically for moving background characters. Though these are minor characters in the distance whose only role is to make the set feel alive, we can’t help but be distracted by their awkward and unnatural movements.

Another flaw can be found in Hera, particularly with her dialogue. It’s good, but feels a tad too modern; it doesn’t have that old English tone and weight that we are used to in this world. We find this somewhat weird, especially since this is set centuries before the stories took place. Another nitpick of the main lass is her white outfit that we largely see her wear throughout the film — it look overtly modern and feels very out of place. Hera’s body-hugging getup is amazing design-wise, but it feels like it belongs to Final Fantasy XIII rather than Middle-Earth, which somewhat ruins the immersion of the film. It is most likely a design choice to help the animation problem, as animating a flowing dress or cape on horseback all the time is quite expensive and labour-intensive.

Not only that, but when you stop to digest the film for a moment, you can make the argument that there was no good reason for it to be made in the first place, as, though it expands the story of Rohan, it does nothing in enriching the story of “The Lord of the Rings,” save for a little cameo in the end. It never dabbles in philosophy, nor does it ever discuss anything profound compared to the original trilogy (perhaps that is the point, as it tries to break free from its shadow, but isn’t able to do so). Knowing this, the filmmakers still pushed ahead and created a film that was made for the dedicated fan base and not for the general public.

Despite all of this, “The Lord of the Rings: The War of the Rohirrim” is a beautiful film that takes you back to the world of Middle-Earth one more time as we explore the conflict between Rohan and Dunland. Though it is unable to reach the height of the 2000s trilogy, the film is packed with powerful voice acting in an equally stunning animated world; it is a feast for fans of the franchise and perhaps no one else, unfortunately. It is still an amazing film that can help you prepare for upcoming “Lord of the Rings” films in the future, but it isn’t a must watch.

“The Lord of the Rings: The War of the Rohirrim” will be in cinemas on 12th December.