The Hobbit: The Bilbo Edition 3.0 (The Final Cut)

The Hobbit: The Bilbo Edition 3.0

An Unexpected Update – 6/01/2020:

Hello everyone! Due to the ample time provided by COVID-19 quarantines, I finally have had time to address frequently reported issues with audio lag. Not only did I find the source of the problem and have a fix, but I am also working on a new subtitled version and experimenting with different file sizes. Expect more updates in the coming weeks, and thank you to everyone who has supported and recommended this adaptation of The Hobbit over the years! 

I’m happy to declare that a 4.0 patched version is available for download! For best viewing experience on a computer, watch in Quicktime or VLC. The file is 6gb and formatted for widescreen. Patch notes will be posted once I have the full update ready to go, hopefully by the end of June (exporting times have been painful and crash-happy, hence the long delay). If you’re low on hard-drive space, here is a 2gb compressed version. Stay tuned, and thanks again for your continued support of this project! 

4 Hour Fan-Adaptation of the Peter Jackson Hobbit Trilogy

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The Hobbit has always had a special place in my heart. One of my earliest memories is that of my father reading The Hobbit to me before bed. Ever since, I’ve had a passion for reading and immersive storytelling. I voraciously read all of Tolkien’s work in elementary school, soaking in the books and films at any chance I could. In middle school I would watch the behind-the-scene bonus material of The Lord of the Rings films almost as attentively as I did the films themselves. It was my childhood dream to work with Peter Jackson and be part of the team that brought The Hobbit to life on the big screen. By the time I was in high school it had been announced the film was being made. I couldn’t have been more excited, even if I was too young to be part of the production.

I vividly remember sitting in the theatre for the first of the Hobbit films with my family, a huge rush of nostalgia and joy washing over me. I knew the book by heart, I’d seen the animated film dozens of times and seen the LOTR films countless more, and here I expected the same quality. Now, let it be said, I really enjoyed the Hobbit films, and I have a lot of respect for the production team that brought my favorite book to life. A lot has been said about what is wrong with the Hobbit trilogy, and I myself could probably go on at length about what in particular was so disappointing about it, but if I had to explain all of that, you probably wouldn’t be here. From my very first viewing, I knew that the film could have been edited down significantly and I knew I had the knowledge and drive to do it myself. So I did.

Although I was not the first to create a Hobbit fan-edit, I was among the first four, and after three years of wide success, international interest, and a flood of comments, praise and constructive feedback, I have put together a final cut of the popular Bilbo Edition edit, a detailed revision of the three Hobbit films into a single, succinct 4-hour fan adaptation modeled after the original source material.

At the time that I first set out on this project, there were only two other available fan-edits that had beat me to the punch; now there are likely over a dozen (a list of some of the best known ones can be found here). I purposefully did not watch any until I had completed my own for fear of being influenced by others’ creative choices of where to cut down, added to the fear that watching other edits first would dissuade me from forging my own. Back in 2015, I was terrified that upon completion of my own edit, I would watch these other edits and find that almost the exact same cuts had been made, and that all of my care and input had been beaten in the race. Much to my surprise and joy, upon skimming through the other available fan edits then and since, I can confidently say that my film is drastically different than any other available. I think it’s really special that several super-fans can have the same idea, execute it, and end up with wildly different, yet still completely enjoyable adaptations. I was really impressed by the other fan cuts, but watching them also also helped me feel more confident in my own original voice and creative decisions.

Where other cuts focused on specifically getting the film down to its barest bones possible (the original 3 hour cut was especially impressive from an editing standpoint, although it felt rushed in its execution; the 2-Hour cut by Fiona van Dahl has since perfected this strategy), or were sacredly bound to the book canon and nothing more, my edit was always about combining the films into a single, faithful adaptation of my favorite book while retaining my favorite parts of the films. In particular, The Hobbit is about Bilbo Baggins, and the trilogy suffered from an overbalance of characters, many of which are not in the book at all. Although I understand why Jackson’s team added a lot of these additions, I knew that at the heart of this trilogy lied a fantastic film centering around the hobbit himself, perfectly embodied and performed by Martin Freeman. This fan adaptation is about Bilbo while being as faithful to the book as possible. I purposefully did not add any new music or scenes from other material, only cutting and rearranging what was already present in the trilogy and deleted footage. Major edits of The Bilbo Edition include, but are not limited to:

  • Jumping straight into the story – although the flashback sequence involving the dragon’s attack on Erebor is fun, I felt that there was more drama to the dwarves’ plight when they were able to explain their situation in their own words.
  • The removal of many extraneous chase and fight sequences; Azog the Defiler has largely been excised, his role dramatically repurposed.
  • The love triangle between Tauriel, Kili and Legolas is completely removed, with Tauriel and Legolas only appearing in passing as brief cameos. Likewise, the subplot of Kili’s injured leg/separation from the company at Lake Town is also excised
  • The barrel scene has been truncated and no longer involves a flight from orcs
  • Much of The Battle of Five Armies has been cut, as even for Jackson standards the original film was pretty gratuitous
  • The troll encounter, the Stone Giants, the Goblin King, and the escape from the Misty Mountains have been drastically shortened for length, tone and pace
  • Gandalf’s investigation of Dol Guldur is entirely cut, as in the book we never leave Bilbo’s point of view, save for Bard during the dragon attack on Lake Town. The Bilbo Edition features a Gandalf just as mysterious, mischievous and mercurial as he appears in the book. Likewise, the White Council has been cut entirely, as has Radaghast the Brown.
  • Beorn’s classic introduction from the book is happily integrated into the film
  • Story shattering plotholes from the original trilogy have been corrected – for example, Smaug would have no way of knowing who Thorin Oakenshield is (he gets this name after fleeing Erebor), nor his obsession with the Arkenstone. Consequently, much of his dialogue has been streamlined and kept faithful to the book. The lengthy cat-and-mouse chase scene involving the dragon and the dwarves has also been removed.
  • Lastly, my major focus beside trimming fat and keeping Bilbo front and center was to maintain tension and suspense in appropriately tense and suspenseful scenes. Jackson had an unfortunate habit of undermining all suspense in the Hobbit trilogy due to constantly switching from one character scene to another, removing any sense of continuity or tension from these admittedly great scenes, if just left to their own devices. As a result, scenes like Bilbo’s encounter with Smaug and the attack on Lake Town are far more streamlined and continuous than in the original trilogy.

It is with with great pleasure that I announce the final cut of The Hobbit: The Bilbo Edition, a labor of love that has captivated me for the better part of three years. This final version has taken into account years of constructive criticism and comments from the Tolkien community and is, in my humble opinion, the best way to enjoy The Hobbit as adapted to film. It balances the best of Peter Jackson’s contributions and visual sensibilities while staying as true to the source material as possible.

For those new to The Bilbo Edition, the 1.0 version was cut together prior to extended edition footage being available. The 2.0 version released two years ago cut the film down considerably while integrating newly released extended edition footage. The final 3.0 revisions and tweaks are as follows:

  • Both the Stone Giants and troll sequence have been cut down significantly for tone and pace
  • Sound irregularities have been touched up and fixed in many scenes, particularly toward the Battle of Five Armies
  • Bilbo’s introduction to Gollum and the Ring has been modified to be more faithful to the source material, taking a similar approach to other available edits
  • Minor, lingering continuity errors have been fixed
  • The Warg attack has been streamlined
  • Minor revisions to dialogue here and there for better continuity and flow

My original plan for this fan adaptation was to make the film as easy to view as possible, something that proved exceedingly difficult over the years. Initially, I had created a 15-part breakdown of the film to pair with the Book-to-Film essays that I published with the 1.0 version back in 2015. The host for those 15 video chapters was taken down soon after, and since then I could not find a sufficient method of releasing those chapter segments.  With the 3.0 version, I have done my best to execute this original plan with updated material and creative choices.

Consequently, I am pleased to announce that The Hobbit: The Bilbo Edition 3.0 can be streamed as a complete 4+ hour film through Google Drive, or can be downloaded for best quality. Going even further, for those who do not have the time or desire to watch the entire film in one sitting, you can now watch all 15 chapter segments at your leisure through the same means. That means if you are currently reading The Hobbit to yourself or to a loved one, you can now watch a chapter of the film directly adapted from the source material as you read it! Not only is this method ideal for younger children or those without four hours to spare in one sitting, but helps to hone in on the rich themes and arcs of the individual chapters inherent to the source material. Each of these video chapters are paired with complementary commentary and analysis regarding the source material’s transition from book to film, both in the original Jackson films and regarding my adaptation’s creative take.

I have also taken the liberty in reviewing a few competing fan cuts for those unsure which to invest time into. Though the many fan cuts out there have different creative visions, and different folks will prefer different fan adaptations, I argue here which of the films I think are best and what makes them distinctive from alternative options.

The final product is an high definition, widescreen, 6.57 gigabyte film running at approximately 4.3 hours, accounting for extended edition footage and an untouched credit sequence. This was a labor of love and I hope that Tolkien fans will appreciate the passion and attention to detail that went into this endeavor.

I had three broad goals in mind for this fan adaptation:

  • Streamline the bulky 8+ hour trilogy into a single, coherent, narratively rich story that is both faithful to the essence of the source material while still maintaining the best of Peter Jackson’s original contributions and deviations.
  • Maintain suspense and tension in iconic scenes and allow for the remarkable acting of all actors involved to shine, particularly that of Martin Freeman and Ian McKellen. Bilbo is the heart and soul of the story and unlike the original trilogy that dodges around him, here he remains front and center as the audience surrogate and the thematically rich protagonist at the core of the story.
  • Provide the best possible fan-adaptation that can satisfy both lovers of the original films and lovers of the source material. Although there are other fan-edits that excel in different areas, I truly believe my film is narratively the superior choice amongst the “long-form” fan-adaptations.

The Hobbit – The Bilbo Edition 3.0 ~ Google Drive Direct Download!

(04/25/18 Patch: After numerous reports of an audio sync issue in the first quarter of the film, I’ve re-compressed the file and re-uploaded with a quick 3.1 fix. All audio issues have been corrected and the full film is available again 🙂 )

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15-Part Book-to-Film Analysis of The Hobbit 

Click the title of the Chapter for an in-depth analysis of the book-to-film translation. Click the time stamp to be taken directly to a streaming, downloadable excerpt of The Bilbo Edition 3.0. For best quality, download at your convenience (all chapter excerpts are under 1 gigabyte)!

Part I. An Unexpected Adventure / Chapter I. An Unexpected Party  / 00:00:00 — 00:30:35 

Part II. Trouble with Trolls / Chapter II. Roast Mutton / 00:30:36 — 00:55:45

Part III. Rivendell / Chapter III. A Short Rest / 55:46 — 01:08:26

Part IV. The Misty Mountains / Chapter IV. Over Hill and Under Hill / 01:08:27 — 01:21:03

Part V. Rings and Riddles / Chapter V. Riddles in the Dark / 01:21:04 — 01:38:27

Part VI. Wargs and Wind / Chapter VI. Out of the Frying Pan and Into the Fire / 01:38:28 — 01:47:49

Part VII. The Skinchanger / Chapter VII. Queer Lodgings / 01:47:50 — 01:59:28

Part VIII. Mirkwood / Chapter VIII. Flies and Spider [and] Chapter IX. Barrels out of Bond / 01:59:29 — 02:20:11

Part IX. Lake Town / Chapter X. A Warm Welcome / 02:20:12 — 02:34:11

Part X. The Desolation of Smaug / Chapter XI. On the Doorstep / 02:34:12 — 02:43:45

Part XI. Smaug the Stupendous / Chapter XII. Inside Information [and] Chapter XIV. Fire and Water / 02:43:46 — 03:06:13

Part XII. Dragon Sickness / Chapter XIII. Not at Home [and] Chapter XIV. Fire and Water [and] Chapter XV. The Gathering of the Clouds / 03:06:14 — 03:22:05

Part XIII. The Battle of Five Armies / Chapter XVI. A Thief in the Night [and] XVII. The Clouds Burst 03:22:06 — 03:48:51

Part XIV. The King Under the Mountain / Chapter XVII. The Clouds Burst [and] Chapter XVIII. The Home Journey / 03:48:52 — 04:12:17

Part XV. There and Back Again / Chapter XIX. The Last Stage / 04:12:18 — 04:20:44

Credits / 04:20:45 — 04:33:45

** all page numbers given in the chapter excerpts are from my personal copy of the book, the 1984 illustrated edition featuring the work of Michael Hague. If you experience technical issues while streaming, try refreshing the url or downloading the file directly. 🙂

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All footage is property of Warner Bros. Entertainment

Thank you to everyone who has supported this project and given constructive and positive feedback over the years. This is my gift to the Tolkien community and I seek no financial gain from this project.

That said, if you are friends with/are Jeff Bezos, please hire me on as a writing consultant for the new Tolkien-inspired show at Amazon. I know some things.

Mae g’ovannen!

The Hobbit: The Bilbo Edition 2.0 (Extended Edition)

Note: This film has been updated with a 3.0 final version, which can be viewed here:

The Hobbit: The Bilbo Edition 2.0 (Extended Edition) 

4.5 Hour Fan-Adaptation of the Peter Jackson Hobbit Trilogy

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After nearly ten months of development, neurotic levels of attention to detail and hundreds of hours editing, reading and critiquing, I can confidently say that the final cut of The Hobbit: The Bilbo Edition – Extended Edition is complete and ready for download.

My original post explaining the overall backstory of this project and my initial cuts can be found here. I encourage you to read that post in full if you haven’t already, as the rest of this post will be scarce in detail about the initial 1.0 Version. The final edit now comes with 20 minutes of additional extended footage, some changing the film dramatically. Major changes of The Bilbo Edition 2.0 include

  • A new introduction to Azog the Defiler
  • New Rivendell scenes
  • The escape from Goblin Town has been streamlined more thoroughly
  • A radically different introduction to Beorn, faithful to the source material
  • Deleted footage of the Battle of Five Armies, dramatically changing the context of some scenes while adding exciting new sequences altogether
  • Thorin, Fili and Kili’s funeral scene, which still baffles me as to why it was cut from the original film

Not only is the final cut of The Bilbo Edition available for direct download, but can also be streamed in 15 parts with complementary commentary and analysis regarding the source material’s transition from book to film, both in the original Jackson films and regarding my adaptation’s creative take. I have also taken the liberty in reviewing a few competing fan cuts – all of the different fan cuts have a different creative vision and different folks will prefer different fan adaptations. I argue here which of the films I think are the best and what makes them distinctive from alternative options.

The final product is a Blu-Ray quality, widescreen, 8 gigabyte film running at approximately 4.5 hours, accounting for extended edition footage and the lengthy untouched credit sequence. This was a labor of love and I hope that Tolkien fans will appreciate the passion and attention to detail that went into this endeavor.

I had three goals in mind for this fan adaptation:

  • Streamline the bulky 8+ hour trilogy into a single, coherent, narratively rich story that is both faithful to the essence of the source material while still maintaining the best of Peter Jackson’s original contributions and deviations
  • Maintain suspense and tension in iconic scenes and allow for the remarkable acting of all actors involved, particularly Martin Freeman and Ian McKellen, to shine. Bilbo is the heart and soul of the story and unlike the original trilogy that dodges around him, he remains front and center as the audience surrogate and the thematically rich protagonist at the core of the story.
  • Provide the best possible fan-adaptation that can satisfy both lovers of the original films and lovers of the source material. Although there are other fan-edits that excel in different areas (check out the 2-Hour Fan Cut by Fiona van Dahl!), I truly believe my film is narratively the superior choice amongst the “long-form” fan-adaptations.

The final version of the fan-adaptation can be downloaded directly through the below Google Drive link:

The Hobbit – The Bilbo Edition 3.0 ~ Google Drive Direct Download!

Edit: As of April 14, the 3.0 version is live and available! Check it out here! For the old 2.0 version, click here.

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15-Part Breakdown of The Hobbit – The Bilbo Edition

Click the title of the Chapter for an in-depth analysis of the book-to-film translation. Click the time stamp to be taken directly to a streaming, downloadable excerpt of The Bilbo Edition 3.0. For best quality, download at your convenience (all chapter excerpts are under 1 gigabyte)!

Part I. An Unexpected Adventure / Chapter I. An Unexpected Party  / 00:00:00 — 00:30:35 

Part II. Trouble with Trolls / Chapter II. Roast Mutton / 00:30:36 — 00:55:45

Part III. Rivendell / Chapter III. A Short Rest / 55:46 — 01:08:26

Part IV. The Misty Mountains / Chapter IV. Over Hill and Under Hill / 01:09:33 — 01:21:03

Part V. Rings and Riddles / Chapter V. Riddles in the Dark / 01:21:04 — 01:38:27

Part VI. Wargs and Wind / Chapter VI. Out of the Frying Pan and Into the Fire / 01:38:28 — 01:47:49

Part VII. The Skinchanger / Chapter VII. Queer Lodgings / 01:47:50 — 01:59:28

Part VIII. Mirkwood / Chapter VIII. Flies and Spider [and] Chapter IX. Barrels out of Bond / 01:59:29 — 02:20:11

Part IX. Lake Town / Chapter X. A Warm Welcome / 02:20:12 — 02:34:11

Part X. The Desolation of Smaug / Chapter XI. On the Doorstep / 02:34:12 — 02:43:45

Part XI. Smaug the Stupendous / Chapter XII. Inside Information [and] Chapter XIV. Fire and Water / 02:43:46 — 03:06:13

Part XII. Dragon Sickness / Chapter XIII. Not at Home [and] Chapter XIV. Fire and Water [and] Chapter XV. The Gathering of the Clouds / 03:06:14 — 03:22:05

Part XIII. The Battle of Five Armies / Chapter XVI. A Thief in the Night [and] XVII. The Clouds Burst 03:22:06 — 03:48:51

Part XIV. The King Under the Mountain / Chapter XVII. The Clouds Burst [and] Chapter XVIII. The Home Journey / 03:52:00 — 04:12:17

Part XV. There and Back Again / Chapter XIX. The Last Stage / 04:12:18 — 04:20:44

Credits / 04:20:45 — 04:33:45

All footage is property of Warner Bros. Entertainment

Thank you to everyone who has supported this project and given constructive and positive feedback. This is my gift to the Tolkien community and I seek no financial gain from this project.

Mae g’ovannen!

One Editor to Another: Reviews of Alternative Hobbit Fan-Edits

Two-Hour Edit, by Fiona van Dahl  – Review, by Daniel Udell

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Hi, my name is Daniel and I am the creator of The Hobbit – The Bilbo Edition fan adaptation. I completed and published my first cut back in June of 2015 when the only competitors were The Tolkien Edit and the There and Back Again fan-cut, both of which had great ideas but in my opinion felt flawed either in execution or design. I intentionally did not to watch either of these fan-edits until my own first draft was complete, though both provided inspiration towards my final draft in the framing of specific scenes and deserve full credit for their influence. I had set out to make the best available fan-adaptation of the Hobbit films, one that successfully paid reverence to the source material without sacrificing the cinematic integrity of Peter Jackson’s style (with an undercurrent of Guillermo Del Toro’s, who drafted most of the pre-production designs and had a heavy influence on the aesthetics of the final films). I am quite happy with the final product and believe I accomplished what I set out to do. I strongly encourage you to watch it at your leisure.

That said, since the publication and subsequent tinkering of my own fan-adaptation, other passionate Tolkien fans have published many more. Among them is the JRR Tolkien’s The Hobbit fan-cut, another 4-hour edit similar to my own, albeit with different artistic interpretations. There is a seven-hour cut that I have heard does an excellent job at trimming the worst parts of the original trilogy without tampering too much with the intended adaptation. And there is the two-hour edit, by Fiona van Dahl.

Now, I am admittedly biased, and I have some stake in seeking recognition for my own adaptation. I’ve put my heart and soul into my own adaptation, though ultimately I’ll have to rely upon others to fully judge it in their own fashion, as the film has an unique artistic interpretation that will make it distinct on its own just like all the other fan-edits. Those admissions aside, I can confidently say that Fiona’s edit is a near-masterpiece and deserves significant appreciation in its craft and skill in adapting the source material as succinctly as it possibly could be.

As a fellow editor and narrative nerd, I immediately could tell that Fiona and I were going about our edits with different philosophies. Whereas I ultimately wanted to pay tribute to Peter Jackson’s impeccable Lord of the Rings films and offer a fan-interpretation representing a scenario where Jackson had the freedom to cut his film down into a single, albeit extended film without the studio pressures and behind-the-scenes drama, while still paying respect to the source material that I love deeply—Fiona, on the other hand, pays tribute to the cherished animated Hobbit film while concentrating and channeling the essence of the original text. By stripping the film of literally everything and anything that did not drive the plot forward, she strips every character and every sequence to its essence from the book, providing a far more nimble, thematically rich film that allows the characters to shine in their narrative context, albeit at the sacrifice of enjoyable performances and Jackson’s vision.

I will say with some confidence, having not seen JRR Tolkien’s The Hobbit edit as of writing this, that I believe the two-hour edit is the best hard adaptation of the source material available. The characters feel mythic and the narrative context of each scene is nearly identical to that of the book. Every encounter feels important and every life-threatening moment feels tense and suspenseful. Although the Jackson interpretations of the characters are enjoyable in their own right, Fiona manages to nail the depiction of Gandalf, Bilbo, Thorin, Thranduil, and Bard impeccably as they appear in the text. Gandalf is mysterious, manipulative and unpredictable, shanghaiing Bilbo into his grander plans while orchestrating geopolitical shifts in the East; Bilbo is adventurous, clever, and adaptable while remaining an individual character with agency amidst the happenings around him; and Thorin is pig-headish but noble at heart, a representative of all the goods and all the evils of dwarves. Thranduil’s role remains as a counterpart to the elves of the West, representing the superiority complex that immortality may bring, and Bard is faithful to his depiction as the mysterious folk-hero intertwined with the fate of the dwarves.

My personal favorite part of the film is how Fiona handles the famous Riddles in the Dark sequence between Bilbo and Gollum. I was always disappointed with how the Jackson adaptation turned what was primarily a horror-oriented and deeply mythological driven passage in the book into a theatrical near-comedy, although still reverent and entertaining in its own right. Fiona manages to not only make that sequence scary, but her introduction to Gollum may be the closest translation to the original material as possible. Gollum felt like an enigma again despite having seen and read all things Tolkien countless times. There is no hand-holding or assumptions that you have seen the LOTR films before, and the scene not only treats the audience like an adult (something I feel the Jackson treatment does not), but it subtly sets up the bulk of LOTR without being self-conscious about it.

Additionally, the treatment of the music from the animated film is used to excellent effect, particularly with the dwarves’ song in Bag End and in the ending credits (which made me emotional, much to Fiona’s credit). I grew up with and loved the animated film immensely growing up, and the animated film still has my favorite depiction of Smaug. Fiona provided me a newfound appreciation for the film and made me nostalgic about it without making me feel that if I hadn’t seen the film previously I would have felt any less impacted. She takes several cues creatively from the animated film, particularly the decision to remove Beorn from the plot entirely. I understand this decision both as a statement of faith towards the animated film and as a writing decision to remove a character that more or less adds nothing directly to the plot, although is iconic in his own right as a creation of Tolkien. Despite my love of Beorn, this omission works and does not reduce the film’s brilliance at all.

However, it is not perfect, as close as it comes. There are two major things I would change, one to improve the existing cut significantly and another to remove a glaring plot hole that I myself didn’t catch in my own edit for some time. First, since Fiona includes Azog’s confrontation with Thorin outside the Misty Mountains and later in the Battle of Five Armies, I was amazed that she also did not include Azog’s backstory with the House of Durin. It is clear in the existing edit that Thorin recognizes Azog in their first confrontation, although it is unclear whether Azog recognizes Thorin specifically. If this scene had been followed with Balin’s description to Bilbo of the Battle of Moria and their clash with Azog at the gate, it would have explained Thorin’s hatred and vengeance, fleshed out the mythology of the world, and raised the stakes that much higher for their ultimate battle to the death on Raven Hill. If this scene were to be cut between the eagles landing on the Carrock and the Company’s arrival to Mirkwood, I believe this would enhance the film tremendously.

My second suggestion is far more critical if this fan-adaptation is to be granted impeachable status. There is a plot hole in the Smaug sequence, which otherwise is fairly similar to my own interpretation of the text. In the original trilogy and retained in several fan-edits, Smaug references Thorin Oakenshield directly as if he has personal knowledge of him. Smaug does not know Thorin, nor would he have ever heard the name Oakenshield since Thorin won the name at the Battle of Moria, long after the dwarves’ exile from Erebor. This breaks continuity and is a rather dumb mistake made by the writers of the original films, but easily missed by editors and viewers not paying close attention (most of our attention is focused on how incredible Smaug looks and sounds). If Smaug’s reference to Thorin is removed, the film cleanses itself of its one and only plot hole and removes any distraction from the overall narrative.

The last thing I want to address is how rewarding it is as a fellow Hobbit-editor to watch these films and see the difference in artistic expression, ideas, and interpretation by different fans around the world. Many approach the material with different philosophies and different goals, which is why I can proudly hold this particular edit up as a superior choice for viewers while still arguing that my own edit is also worth your time. The two succeed, in my opinion, at different things, depending upon what the viewer is interested in.

The Two-Hour Edit, in my opinion, is the best introduction to Middle-Earth and should be viewed by anyone who is new to Tolkien’s works and has not seen the Lord of the Rings films yet. Children might be scared by a few beheadings, but it otherwise would be a very good fit for a first introduction to The Hobbit if you want a full film experience (after reading the book of course). It is also the best for time management and succinctness in editing everything down to its core importance. Those with short(er) attention spans will love this film. Lastly, this film will be enjoyed by anyone fondly familiar with the animated film. This is an immensely enjoyable experience and once the changes I have suggested are made (at least regarding the one plot hole), I’d daresay this film is an almost perfect adaptation of the source material, even without Beorn. I think Beorn can be worked into the film, as seen in my own film, but Fiona’s vision works strikingly well without it.

Now, I believe if you are a fan of the cinematography, style and tone of Peter Jackson’s Lord of the Rings and enjoyed many of his additions to his adaptation of The Hobbit, my film is the best available. While still paying respect to the book, I really do appreciate Jackson’s craft, attention-to-detail, and knack for enriching character development with his memorable takes on beloved characters. Additionally, I maintain a character focus on Bilbo’s journey and provide a spotlight on Martin Freeman’s fantastic performance, who provides a memorable and reverent enactment of the classic character while acting as an anchor and surrogate for the audience in the fantastical world of Middle-Earth. The Bilbo Edition is great for those who have already seen Lord of the Rings but may not be familiar with the books, as it subtly references the earlier films while still serving as its own functional story. I think the artistry and design of Jackson’s vision of Middle-Earth deserves respect, attention, and adoration at times, and my film balances that observance without sacrificing the cinematic or narrative integrity of the film. Lovers of the book will enjoy both films and will find different things to love as well. Despite many similarities, there are things that Fiona cut out that I would not have, and likewise she kept in specific scenes that I found unnecessary. We both implement limited extended edition footage, and we both provide in-depth analyses of our own work in relation to the original text and films. For those with a short attention span or limited time who find the 2-hour running time of Fiona’s cut enticing, I encourage you to check out the 15-Chapter breakdown of The Bilbo Edition 3.0, allowing you to enjoy the film chapter by chapter at your own pace.

I cannot recommend this fan edit enough and I would like to commend Fiona van Dahl for her valuable contribution to the Tolkien community. I encourage anyone interested in sharing The Hobbit with interested newcomers and revisiting the nostalgia of the animated film and the book to check out this film in favor of rewatching or showing the original trilogy.

Just don’t forget to check out mine too. 😉

A great story is like solving a great riddle, and a great riddle should feel like poetry, if Bilbo and Gollum have taught us anything. I hope that you all can find the poetry you remember from Tolkien’s original work in these different fan adaptations and that you encourage excellence in each other when comparing these love-driven fan projects.

Best regards,

Daniel U.

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JRR Tolkien’s The Hobbit Fan-Cut Review, by Daniel Udell

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Dustin Lee’s JRR Tolkien’s The Hobbit Fan-Cut is the same length as The Hobbit: The Bilbo Edition—4 hours, meaning that there is bound to be overlap and similar creative decisions. I went into viewing this film wary that there may be an uncomfortable degree of similarity—that if a viewer had seen one then the other would be made unnecessary to view. This is not necessarily a bad thing, but it would definitely reduce the “uniqueness” of both of our cuts if the other were largely similar. I am happy to report that although about 75% of our films are creatively the same, that other 25% is radically different enough that the two films can be judged altogether separately and a case can definitely be made as to which is the finer of the two. Now, as I am biased, I cannot say that my film is definitively better than Lee’s—however, I can provide a quick summary of the major changes and differences while adding some constructive criticism that I deem worth acknowledging. Viewers with the time and urge to do so will have to decide for themselves which of the two is the better 4-hour adaptation.

Lee transitions from Ian Holmes’s introduction into the main narrative smoothly and quickly, although the jump from narration to narrative is rather abrupt. Right from the get-go, I can see that we have minor creative differences, even if the bulk of our introductions are identical.

Lee segues straight from Hobbiton to the night of the trolls, cutting out any scenes from the road. Although this in of itself isn’t a deal-breaker for the flow of the story, it makes the trek between the Shire and Rivendell seem far shorter than it is in the book or The Bilbo Edition. Interestingly, he incorporates Extended Edition footage during the troll attack that I found unnecessary, though it works well. Lee also includes a brief exchange between Gandalf and Bilbo outside of Rivendell that I deemed cutting out.

We largely have the same creative vision of Rivendell save for one difference—we both include an Extended Edition scene that the other didn’t. Lee does not keep the deleted scene of Bilbo inspecting the shards of Narsil and the mural depicting Sauron and the One Ring, but does keep Elrond and Gandalf’s argument about their quest to Erebor; I on the other hand included the Narsil scene and decided against using the argument. I think my sequence sets up Rivendell better for our return in Lord of the Rings and the broader world, while Lee’s does a better job of showing that the Gandalf’s machinations rubbing against the will of other guardians of Middle-Earth.

The first major difference between Lee’s cut and The Bilbo Edition is that he cuts the stone giants out completely, for understandable reasons. In my experience, the scene brought a lot of joy to me when I saw it for the first time in theaters and it carries with it a certain nostalgic spark and nod to the original text. However, by trading this off, Lee segues into the goblin attack much more quickly and smoothly.

The next major difference here is the introduction and treatment of Azog the Defiler. In Lee’s cut, the Great Goblin taunts Thorin and introduces Azog in concept, later for him to be introduced in person during the Warg attack outside. In The Bilbo Edition, Azog is introduced in his original flashback at Moria and then is reserved off screen until his surprise return at the Battle of Five Armies, seeking revenge for himself and the Goblin King. Azog is one of the most controversial elements of the original films and the most differently treated amongst the different fan-cuts. Every single one I’ve seen treats him as a different character. There is something exciting about this and it proves that the character, to some degree, works, but was made to be too much of a Wiley Coyote in the original trilogy. Nonetheless, Lee uses Azog as an old nemesis of Thorin to great world-building effect and later focuses on this in the final battle, whereas I include Azog as a more sinister memory that returns to haunt the dwarves as a whole later at the end of the film. I have no criticism of Azog’s treatment in Lee’s take, although it is drastically different than my own or any other cuts’.

It should be also noted that Lee cuts the Gollum scene the exact same way as Fiona van Dahl does in her Two-Hour Cut, and it really works well. After seeing how well this treatment worked in both of their cuts, I decided to follow suit and do the same. There really isn’t a better way to handle this scene if the intent is to keep to the source material. However, Lee does decide to keep the Wilhelm scream during the flight from the goblins scene; I understand that perhaps not everyone hates or even notices the Wilhelm scream, but I do, and I know for many that it takes the viewer out of the illusion of the film. I can abide the Wilhelm scream from the Helm’s Deep battle from The Two Towers, but that’s about it. Anywhere else and it immediately takes me out of the experience.

Lee and I both wisely cut the death of the Great Goblin and transition straight to the company’s escape from the mountain. Here we diverge again, where Lee decides to introduce Azog and keeps much of his attack on the dwarves as it is in the trilogy, though without his duel with Thorin. I, however, cut out all traces of orcs and frame it as a pure adaptation of the source material. Viewers can decide for themselves which interpretation they prefer; both work. More importantly is the transition from the arrival of the Eagles into Beorn: Lee includes an overdub of dialogue from Gandalf while the Eagles are in flight and then segues straight to Beorn’s home without any formal introduction or deleted scenes. I follow a more faithful adaptation of the book and manage to include the Eagles dropping the Company off at the Carrock and the original introduction of Beorn from the deleted scenes. It still baffles me that Jackson filmed this iconic scene and then chose not to use it, and I’m quite proud of my inclusion of it. Lee provides more backstory on Beorn, whereas I give more time and care towards his introduction. Again, viewers can decide for themselves which works best.

Although Lee and I both remix the sound and music marking Gandalf’s departure from the company at Mirkwood and go about it in similar ways, Lee does so with an overdub of Beorn’s dialogue, whereas I strictly use music to convey the necessary information. I think both work in their own way. We both cut the magic river from Mirkwood out, which I think was wise. Lee includes a little more combat with the spiders and the way he edits the fighting makes Bilbo’s murder of the baby insect slightly more morally ambiguous; some viewers might not care at all, and on a technical level it’s seamless, but from a narrative stand point I think a certain element of the scene is lost and I refer back to my own analysis of the scene as evidence. Lee keeps the introduction of the Mirkwood elves understated and cuts Tauriel out entirely.

Now I can confidently say that up until our meeting with Thranduil, both Lee and I had envisioned largely the same concept for the film with small creative differences. It is here that the two diverge significantly and continue in different creative directions until their conclusions. Viewers will certainly prefer one to the other from here on out; the differences are too distinct for one film to substitute for the other as far as 4-hour cuts go.

Lee smoothly intercuts flashback scenes from Smaug’s attack on Erebor amidst Thorin’s dialogue with King Thranduil and it works very effectively. However, during the escape in the barrels Lee decides to keep a tightened version of the orc attack and the blockade at the river gate. On a technical level this works fine, but I found that this scene needlessly stalled the plot and upped the stakes unnecessarily, whereas The Bilbo Edition features a strict flight from the elves while still maintaining the excitement of the rapids. Lee introduces Bolg the Orc here rather abruptly, although the character is later used to good effect. One critique I have here is that Legolas gets a lot of gratuitous screen time, which detracts from his iconic scenes in The Lord of the Rings.

Lee includes some minor expositional dialogue transitioning from the river to Bard that I cut out and he creatively includes a brief Intermission at Bard’s introduction. For a 4-hour film, it’s not a bad idea and I commend the concept (though I think the best place for an intermission is the transition from the Eagles saving the company to Beorn’s introduction). He and I more or less treat Bard and the journey to Lake Town the same way. However, we distinctly treat Lake Town itself differently. Lee gives a lot of attention, screen time and plot relevance to the Master of the Lake, whereas I keep him as minimally as possible in the background. Lee does this so he can keep Bard’s capture by the guards and eventual escape later to ratchet up tension during the dragon attack. I personally hated this idea in the original trilogy and was glad to cut it out completely from my adaptation. I think the Master is characterized too cartoonishly in the original trilogy and he is largely unaltered in Lee’s version. If you liked the Lake Town shenanigans in the original films then you may prefer Lee’s vision; if you found it annoying and distracting like I did, then you’ll likely prefer my streamlined take.

There are some minor editing changes leading up to the dwarves being accepted into the city by the Master, but there is an awkward transition immediately afterwards of the company sailing towards the Lonely Mountain. Their new clothes imply a longer stay, but the transition to “Welcome!” to immediately leaving is slightly jarring. However, by using earlier footage of the entire company trekking through the wilderness Lee cleverly implies that all 14 members are present at Erebor, leaving none behind. Additionally, Lee streamlines the sequence at the hidden door but at the cost of Bilbo losing the vital role he plays in both the original films and The Bilbo Edition.

My biggest criticism of the entire film is Lee’s treatment of Smaug’s dialogue with Bilbo. As I’ve written about before, the original films have an unforgivable plot hole with Smaug mentioning Thorin Oakenshield by name—Smaug would have no idea and little interest in Thorin, as he is just another dwarf to him, and even if he did know him as the grandson of the king he deposed, Smaug could in no way know of his title Oakenshield, as this name was given to Thorin long after they were exiled from Erebor. Lee not only includes this terrible dialogue, but focuses on it as a central plot point at the expense of cutting other iconic and original dialogue! This is something I cannot overlook, although the Two-Hour Fan-Cut makes the same mistake to a lesser degree. I strongly advise Lee to revise this scene and to cut out any remark by Smaug towards Thorin. I understand that it foreshadows the dragon sickness that follows, but it undermines the entire narrative integrity of the film.

Lee also decides to keep the cat-and-mouse chase of Smaug and the dwarves inside Erebor, which I cut entirely. Although I hate this sequence from the original films, Lee makes it bearable and he creates a clever cut between Smaug breathing fire and the igniting of the furnaces. This would have worked well had he included the iconic and controversial golden statue scene, but for reasons that escape me he took the time to include the furnace scenes but cut out the statue, leaving an easily fixed continuity error unchecked with a gold-flecked Smaug breaking loose from the Front Gate despite never having interacted with gold inside.
Furthermore, by keeping the Lake Town drama between the Master and Bard, Lee keeps the bad habit of Jackson breaking up suspenseful scenes by trying to juggle too much or trying to inject humor into a humorless situation. I understand that this is largely a matter of taste and that there are plenty of viewers who will prefer this version, but as the Smaug sequence is my favorite part of the book and film, I cannot stand seeing the tension of the scene broken up by the Sunday-morning cartoon antics of the Lake Master. Otherwise, Lee does a fine job of trimming the dragon fight and includes the son’s vital role in slaying the dragon. This is something I cut entirely; again, viewers will have to decide for themselves which adaptation they prefer.

One stroke of genius, I’ll admit, that Lee adds into his film is a brief shot of the windlance set ablaze when Bard is escaping his prison. This is a completely added scene of Lee’s that he digitally manipulated and it looks fantastic. I honestly think I only noticed it because I’m an editor and I’ve been staring at this footage for far too long. Any casual viewer will assume the shot was always part of the film and I have to commend that. It explains why the windlance is never used, despite given screen time earlier.

The reunion of Bard and his family on the shores is largely the same in Lee’s take and my own, although he includes the Master’s annoying servant, which I do not. He then directly transitions to Thorin suspecting his companions of hiding the Arkenstone, despite not showing any scenes of them looking for it. This is not necessary, but it strikes as an odd thing to cut out. Lee cleanly introduces the elves again in Dale and adjusts his introduction of the orc army in accordance with his earlier creative decisions. One of my favorite parts of Lee’s revision is his complete rewriting of the subtitles and dialogue between Azog and Bolg outside Erebor. He recontextualizes their presence and interaction seamlessly. The Bilbo Edition frames the scene similarly, although largely through the use of body language rather than the altering of subtitles to convey the necessary exposition.

Lee includes a nice deleted scene of Bofur saying goodbye to Bilbo at the Front Gate, something I decided against including myself, despite genuinely liking the scene. I kept it out for pacing reasons, but it works fine in Lee’s film. As we enter into the Battle of Five Armies we breach another major difference between our two films: I ultimately decide to use the deleted version of Dain’s introduction from the Extended Edition and the subsequent gnarly battle between the Ironfoot and the elves. Lee strictly uses the footage from the original film. Both work, though achieve drastically different tones. That said, as a result he cannot use the extended chariot scene later in the battle, which I use with great excitement. Otherwise, our BOFA sequences are largely similar in execution. Lee does an excellent job of intercutting Dain’s combat scenes into a single sequence rather than spread out throughout the battle.

Another wise decision by Lee is to have Dwalin’s word’s against Thorin in the throne chamber directly segue to him approaching the company a changed man. I follow a tighter version of Jackson’s original vision of Thorin shaking off his dragon sickness, but I grant that Lee does a far cleaner job of it with simply dialogue and narrative transitions. Once the company breaches the Front Gate, Lee also includes some goofy combat sequences that are admittedly very fun; I however decided to cut them out to maintain tone throughout the battle. A minor scene cut from Lee’s film is Thranduil surveying his own dead and deciding to retreat. He is instead seen simply shaking off Gandalf’s request for support, leaving more coldly than one might expect.

Fili and Kili’s death, which I attribute off screen as a nod to the book, are handled exceptionally well by Lee’s adaptation and is one of the better fan-cut versions I’ve seen. However, by keeping Thorin’s final duel with Azog (in of itself a fine decision), I noticed another small plot hole / continuity error: Thorin fights with Orcrist in hand despite losing it in Mirkwood to the elves. I never noticed this before since I cut the fight sequence fairly early on in my own editing process for narrative reasons, but upon rewatching the fight, it’s clear that Thorin inexplicably has it back in this scene. Though some may not notice this, it can also be distracting by including the fight.

Lee includes some of the brief extended Beorn combat scenes and the essential Thorin funeral sequence, which still astounds me that it was cut from the theatrical version at all. Like The Bilbo Edition, the ending of the film is left untouched and the credits are not tampered with to cut out actors who don’t appear in the fan-cut.

Overall, on a technical level I think Lee has done a fantastic job and for large stretches he and I are of a similar mind in how we approach the material. Where we differ in vision is largely in the second half and what he does differently he does well. The only scene I take major objection to is his treatment of Smaug and the forced Lake Town drama. The character of Smaug is nearly sacred to me and to see him used poorly in this fan-edit, to paraphrase the dragon itself, “drives me mad.” That said, the film does a remarkable job of cutting the excess and fat of the 8+ hour trilogy and is worth watching for those who did not mind the orcs in Mirkwood and Jackson’s vision of the politics of Lake Town. For those who, like me, were rubbed the wrong way by both and needed a more faithful adaptation of the source material, you may want to swing towards The Bilbo Edition.

Ultimately I hope viewers will engage and provide their own insights into which of the two 4-hour adaptations works best and will help other viewers and editors alike in selecting the best fan-cut for their own personal tastes and needs. There are quite a few to choose from, so I hope that my comments, although admittedly biased, are helpful in aiding viewers in parsing out which adaptation is worth risking the time investment for. I hope that no matter which film you watch and which version you prefer that you sincerely receive joy from these films and appreciate the immense work and love put into all of them.

The Hobbit: The Bilbo Edition 3.0 (with Extended Edition scenes and a 15-part chapter-by-chapter breakdown) can be downloaded below. Thank you for your time, appreciation and support!

Edit: As of April 14, 2018, TBE 3.0 is now available through direct download without the need for torrents! Enjoy!🙂

The Hobbit – The Bilbo Edition (3.0) ~ Google Drive Direct Download!

Best regards,

Daniel

The Hobbit – Book to Film Analysis: Part 15

The Hobbit – Book to Film Analysis

CHAPTER NINETEEN – THE LAST STAGE

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Gandalf and Bilbo return to Rivendell on the first of May, greeted with song by the elvenfolk in the valley. At a great feast Gandalf recounts their tale to Elrond and the assembled guests, and Bilbo learns parts of the story that he himself was not involved in. Bilbo learns that Gandalf had left them at Mirkwood to meet with a “council of white wizards.” They had successfully driven the Necromancer from his dark hold in the south of Mirkwood, but Gandalf laments that they had failed to banish the entity from the world entirely. Elrond suggests it will be a long age before such time can pass.

After a week of rest Bilbo and Gandalf set off again for the Shire. When they return to where they had been attacked by trolls they find the treasure the dwarves had buried for safekeeping and put it in bags to be slung across their (unfortunate) pony. As they approach the greenery of Hobbiton, Bilbo conceives a poem to mark the occasion.

Approaching Bag End, Bilbo finds an alarming crowd of Hobbits outside his door making off with his belongings. An auction had been set up, as he had been believed to be dead, and it takes many months of convincing the bulk of Hobbiton he is truly Bilbo Baggins and alive. Some of his cousins who had intended to move into his home never truly believed him and were never on good terms again. Most of his furniture he has to buy back.

Although he had earned the respect of wizards, dwarves, men and elves, the people of Hobbiton forever after considered Bilbo “queer.” Bilbo bought lavish gifts for his Tookish relatives with his newfound wealth; he placed Sting upon the mantle and displayed his mithril coat. The Ring he kept a close secret and only used it to escape unwanted visitors. He grew into old age and lived happily for a long time.

Many years later he is amidst writing his memoir—There and Back Again, a Hobbit’s Tale—when he hears a knock at the door. To his surprise it is Gandalf and Balin, who had come to visit and share news of the East. Balin tells Bilbo that Bard had resettled Dale and ruled a prosperous kingdom of Men. The old Master of Lake Town met a bad end, and having fallen to dragon sickness himself ran away with much of the gold from Dain and died alone in the wilderness when abandoned by his companions. The new Master of the Lake now presided over a flourishing and rich settlement that brought favor and song to the region. Bilbo cannot believe that the old prophecies had come true, and Gandalf reminds him that luck had nothing to do with it, and that despite Bilbo’s part to play, he was only a small fellow in a wide world. They rejoice together over tales and tobacco.

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The Hobbit – The Bilbo Edition // Part XV. There and Back Again

Chapter 15 – There and Back Again

I have not changed much from the ending of the film so I’m afraid there is not much to say. I think Peter Jackson ended the film on a high note by keeping it short and sweet with an emphasis on Martin Freeman digesting his return to normalcy. The brief interactions with other hobbits at the auction are a real treat and I can’t get over how cool Bilbo’s travel outfit is. His final moments with Gandalf knowingly hint at future events to come without being overbearing, and there is a true sadness in seeing the two part ways. Ian McKellen was born to play this role and it often goes unsaid how much of these films are supported by his remarkable skill, and I believe Martin Freeman deserves the same respect and gratitude for his part in making The Hobbit films as enjoyable as they are. Above all else, those two actors anchor everything else around them. Their characters in film feel just as iconic as the book characters they portray.

I have left the credits untouched out of respect for all those who were a part of these films, whether they were cut from this fan adaptation or not.

I would like to thank everyone who has taken the time to read these summaries and analyses and I hope you have enjoyed this process as much as I have. It has been a labor of love and I hope fans of Tolkien and Peter Jackson’s The Lord of the Rings can enjoy this adaptation for years to come.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition

The Hobbit – Book to Film Analysis: Part 14

The Hobbit – Book to Film Analysis

CHAPTER EIGHTEEN – THE HOME JOURNEY

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Bilbo wakes up alone and cold amongst the rocks of Ravenhill. As his senses come to he spies elves scouring the rocks and dwarves mending the Front Gate, but no sign of living goblins or orcs. He guesses that the battle is won, although the feeling of the air is that of sorrow, not joy. A man nearby searches amongst the rocks and Bilbo calls out to him. When the man reacts perplexed, Bilbo remembers he is still invisible and takes off the Ring. The man is relieved to find Bilbo, as Gandalf had hoped he was not amongst the dead. The man carries Bilbo back to camp and is brought to an overjoyed Gandalf.

Gandalf brings Bilbo to a tent where Thorin lays in bed, dying of grievous wounds. Thorin beckons Bilbo to him and the two make peace and depart as friends. Thorin apologies for his words and deeds at the Front Gate and praises Bilbo, who afterwards weeps in mourning.

Here the omniscient narrator recounts the events missed by Bilbo in the battle. The Eagles had been spying on the goblins above the Misty Mountains for some time, aware they were up to some great scheme. On the eve of battle they sensed a great disturbance in the East and came with haste to the rescue of the beset armies beneath Erebor. However, the armies were still vastly outnumbered when out of nowhere, Beorn appeared and began ravaging the goblin forces. He appeared as a giant in his wrath and he slew countless enemies, and it seemed that no arrow or spear could pierce him. He bore an injured Thorin away from battle and returned with renewed fury, slaying Bolg himself. Beorn’s arrival turned the tide and many of the goblin legions began to flee.

The morning of Bilbo’s awakening many of the soldiers are out ranging, hunting the fleeing goblins, while the grievously wounded remained in the valley. Gandalf tells Bilbo that the Eagles have joined in the hunt for the goblins or returned home. He explains that Dain honored their leader with a gold collar and gave his eternal thanks. Days later Thorin is buried; Bard lays the Arkenstone on his chest and the Elvenking lays Orcrist, taken from Thorin in Mirkwood, in his tomb as well as a final gift. Dain takes his seat as King under the Mountain, as both Kili and Fili have died defending Thorin in battle. Dain honors the arrangement before the battle and gifts one-fourteenth of the treasure hoard to Bard so that Esgaroth can be restored. Bard uses this great wealth to help the Master rebuild, while giving precious emeralds to the Elvenking. Bard wishes to give Bilbo a handsome portion of the reward, but he will only accept two small chests of gold and silver, enough that a pony could comfortably carry both.

Bilbo says goodbye to the remaining company, though Balin invites him to feast in their renewed halls if he ever returns this way. Bilbo invites them all for tea in return, but reminds them not to knock. The elves retreat thinner in number back to Mirkwood, although are thankful that the dragon and goblins are largely dead, leaving their northern borders safe for many years to come. Gandalf, Bilbo and Beorn follow them to Mirkwood, although say goodbye before entering the forest, instead taking a long northern route around the woodland realm. Before leaving, Bilbo gives the Elvenking a silver necklace gifted to him by Dain. When the king asks what this is for, Bilbo admits it is repayment for all of the food and drink he stole while hiding in his palace in Mirkwood. The king names him Bilbo the Magnificent and elf-friend and wishes him well for the remainder of his life.

Gandalf, Beorn and Bilbo brave dangers along the northern road, but Bilbo is well protected and they eventually make it safely to Beorn’s home, where they stay the winter. Beorn’s descendants rule the region for many generations, taking the shape of bears and hunting goblins in terror until the region is peaceful and less wild. Gandalf and Bilbo stay until spring, beginning their trek across the Misty Mountains. Turning back at the very peak where they were first captured by the goblins, Bilbo sees Mirkwood in the distance, and beyond that, the dim shape of the Lonely Mountain with sun reflecting off its snowy peak.

“‘So comes snow after fire, and even dragons have their ending!’ said Bilbo” (279, 1984).

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The Hobbit – The Bilbo Edition // Part XIV. The King Under The Mountain

The second half of the Battle of Five Armies is admittedly more clunky and thrown together than the first half. It really is clear that Jackson was forced to think on the fly for many of these scenes, and it shows. Thorin’s awakening from his dragon sickness is awkward and melodramatic, though necessary due to the changes in his film-counterpart character.

It’s a shame that Jackson cut out the chariot scene from the theatrical cut, because as silly as it is at times, it might be the most exciting sequence he’s filmed since the Oliphant take-down in Return of the King. I’ve cut most of the fat from it and for an isolated sequence I think the inclusion of the chariot charge is a fun addition that is worth adding. It contextualizes the geography of the battle more and gives more memorable moments to an otherwise rather bland battle sequence, despite its iconic place in Tolkien’s writing.

Bilbo’s interactions with Gandalf are lovely and I really cannot speak more highly of Martin Freeman here. We get a nice send-off with Thranduil that keeps with his film character and we get one last cameo from Legolas as a means of exposition. That said, even the fighting here seems more clunky than what Jackson typically delivers. Many orcs fall to their “death” from a simple whack to their chest armor – one in particular is knocked out by Legolas’s horse simply arriving.

Due to the over abundance of Legolas and Tauriel interference in the original footage, the Ravenhill action scenes are difficult to cut and as a result may appear slightly less fluid than other action scenes. This is especially apparent once Bilbo arrives. Fili and Kili’s deaths have also been sadly cut, although upon review I’ve found this in line with the original text, which only mentions their deaths in passing in a rather off-hand manner.

Beorn is only briefly seen, despite his crucial role in the text. The movie would make it seem that the Eagles were the deciding factor in the battle, but according to the book it is Beorn’s wrath as a giant bear that ultimately turns the tide. Even with the extended scene footage, there was not enough to properly convey this so instead his arrival coincides with the death of Thorin, providing a bittersweet moment of victory.

Richard Armitage and Martin Freeman share a beautiful last moment together and Bilbo’s brief unconsciousness allows for a useful narrative device to skip over the drawn-out fight with Azog without losing Thorin’s poignant victory over him.

It is outrageous to me that the crucial funeral scene was cut from the theatrical version and the original film now feels completely lacking without it. Here we learn in The Bilbo Edition that Fili and Kili did not survive the battle and that Dain has taken up the mantle of King under the Mountain. The scene is well-acted and well executed and ends the sequence on a high note.

Ultimately this sequence represents a cleaning up of a rather shoddy climax to an uneven film and an even more uneven trilogy, but with the right rearranging and the right balancing I believe it reads as a much more satisfying and much more coherent ending to an exciting and somber finale.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition

The Hobbit – Book to Film Analysis: Part 13

The Hobbit – Book to Film Analysis

CHAPTER SIXTEEN – A THIEF IN THE NIGHT

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Days pass as both sides prepare for war. The dwarves spend most of their time organizing the great treasure hoard and Thorin now speaks openly of the Arkenstone, bidding the others to look for it.

“‘For the Arkenstone of my father,’ he said, ‘is worth more than a river of gold in itself, and to me it is beyond price. That stone of all the treasure I name unto myself, and I will be avenged on anyone who finds it and withholds’” (250, 1984).

Bilbo is afraid when he hears this; he has been hiding the Arkenstone in a bundle of rags that he has been using as a pillow of late. He does not mention the Arkenstone to Thorin, instead intending to use it for other purposes. Meanwhile, the ravens bring news of Dain’s approach, reporting that he is about two days march from Erebor. Roac the Raven continues to give counsel to Thorin.

“‘But they cannot reach the Mountain unmarked,’ said Roac, ‘and I fear lest there be battle in the valley. I do not call this counsel good. Though they are a grim folk, they are not likely to overcome the host that besets you; and even if they did so, what will you gain? Winter and snow is hastening behind them. How shall you be fed without the friendship and goodwill of the lands about you? The treasure is likely to be your death, though the dragon is no more!’”

Thorin doubts this and intends to allow the armies outside to freeze while he sits comfortably (despite having little to no food) inside Erebor, while Dain assaults the shivering hosts outside. Bilbo decides that night that he must do something. He convinces the guard for the night, Bombur, to rest while Bilbo takes his place. Bombur gladly obliges and once he is gone Bilbo slips on the Ring and shimmies down a rope past the Front Gate. As he is making his way across the valley terrain towards the enemy camp he stumbles and falls in a stream and the splash alerts nearby guards. He might have escaped had he not then sneezed. Soon he is surrounded. Bilbo answers their questions politely and asks to be taken to their king and to Bard, whom he remembers from Lake Town. The elves question his business and Bilbo retorts that it is his own and that if they ever wish to leave this accursed and cold land they had better take him to a fire to dry off and then to their leaders. He warns them that he only has a few hours to spare and they escort him back to their camp.

Soon after Bilbo sits before a fire while a very perplexed Elvenking (still unnamed) and Bard stand before him—the two are baffled by the sight of a hobbit wearing elven mithril underneath a dirty traveling cloak. Bilbo warns them of the oncoming army of Ironfoot soldiers, which they know nothing about, and cautions them to seek a resolution soon to avoid the difficulties of winter for all parties. He brings forth the Arkenstone and both the Elvenking and Bard are awe-struck by its beauty and Bilbo’s audacity to offer it. Bilbo offers it as a means of negotiating with Thorin and subsequently earns the Elvenking’s respect. He is welcomed into their camp with honors but Bilbo declines, insisting that he must return before midnight to wake Bombur.

As Bilbo is escorted out of the camp, an old man wrapped in a dark cloak approaches him. To Bilbo’s great joy it is Gandalf, who gives him words of praise and caution. He sends Bilbo off on his way and the hobbit waits atop the Front Gate until he is ready to wake Bombur. That night he dreams of eggs and bacon.

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The Hobbit – Book to Film Analysis

CHAPTER SEVENTEEN – THE CLOUDS BURST

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The next day a messenger arrives at the Front Gate requesting a new audience with Thorin. He obliges and is later met by a group of twenty, including the Elvenking, Bard, and a cloaked old man carrying a wooden case. When Thorin refuses to change his mind about reparations for Lake Town while the elves linger, the old man opens the case and reveals the Arkenstone within. Bard asks if this revelation will change Thorin’s mind, who goes mad with rage. He demands to know how they stole the Arkenstone and Bilbo timidly admits guilt. Thorin nearly throttles the hobbit and prepares to throw him over the gate when Gandalf reveals himself, shedding off his disguise.

Bilbo explains that he took the Arkenstone as his one-fourteenth share and did with it as if it belonged to him. Thorin renounces any friendship with Gandalf or Bilbo and banishes the latter. Bard asks if Thorin will trade the Arkenstone for a fair settlement and bitterly Thorin agrees. He declares that he will buy the Arkenstone back with one-fourteenth of the gold and silver of Erebor, though no jewels will be given, and that Bilbo has forfeited all reward save for the mithril coat on his back. As Bilbo shimmies by rope down the gate, Thorin thinks to himself whether Dain could help him capture the Arkenstone back by force so that he will not have to pay. The two parties agree to meet the next morning to give Thorin time to ready his payment, without deceit, so that the Arkenstone can be returned and that the elven host can depart. As the leaders of the host leave, Thorin sends out ravens to Dain to alert him of the changed situation and to ride in haste.

The next morning the men and elves are shocked to find Dain’s army having arrived early, having traveled throughout the night. Envoys of Dain come unarmed to their camp and ask why a host besets Erebor, but Bard will not allow them to reach the Mountain. Bard knows if he allows Dain’s army to meet with Thorin, the gold will never be repaid and that the new army’s supplies will help Thorin survive the winter longer than the elves can lay siege. When messengers approach the Front Gate to retrieve the promised payment, they are met only with arrows. Thus, the three armies prepare for bitter battle.

Surprisingly, it is Bard who wishes to strike first, while it is the Elvenking who wishes to proceed with caution, wary over starting a war simply over gold. Meanwhile, Dain prepares to strike while the opposing host deliberates and prepares archers. An initial volley begins between the two opposing forces and it seems that war is inevitable. Just before the two main armies clash – Gandalf suddenly appears between the two and orders them to stop. Just then, in the distance over the hills a great cloud of bats can be seen heading towards Erebor. Below them is a great, dark host racing towards them. Gandalf warns them that Bolg, son of Azog who was killed by Dain’s father at Moria, has allied himself with those who seek revenge for the Great Goblin’s death in the Misty Mountains. All of these months they have planned and prepared in secret a vast army to raze and ravage the South in vengeance; however, once they received word of Smaug’s death they instead made directly for Erebor, knowing that it would attract all kinds of folk. By traveling underground north of Mirkwood in secret, they had avoided the attention of the ravens and were now upon them. With this, Gandalf beckons for the Elvenking, Bard, and Dain to come together to formulate a plan to stop the oncoming threat, or else they shall all perish.

Soon the goblin hoard is upon them and there is a great battle. Warg riders stream into Dale. Bilbo slips on the Ring to avoid being directly targeted amongst the chaos. The elves are the first to charge the goblin host, with cold fury and long memory of ancient evils. As the first wave of goblins begin to retreat, the dwarves strike from behind, sending the goblins reeling and fleeing, their wolves turning on them and feasting upon the dead and wounded. However, this is only the first wave, and the dwarves, men and elves soon realize that the rest of the enemy host had circled around the Mountain and were now falling upon them from all sides. The battle grows ugly and dark.

As night comes on, a sudden crash comes from the Front Gate and the combatants see Thorin and company, dressed in war armor bright and gold, rush into combat with a loud war cry. Although the dwarves and men of the Lake rally to him, they too are soon outnumbered and surrounded. Bilbo finds himself sticking close to the elves and Elvenking on Ravenhill, and there Gandalf sits on the ground apparently working up some final attempt at a magic weapon to use against the goblins. The battle rages on and Bilbo begins to despair, believing the battle lost and all of his friends dead. He wishes that Smaug had kept the treasure over these brutes and laments that all of the wonderful men and elves and dwarves must die for naught.

As a red sun begins to rise, Bilbo sees in the north something distant fluttering in the sky. Still invisible, he begins to cry—“The Eagles are coming!” As the elves around him begin to look to the sky, a stone cast from the battle strikes Bilbo’s helmet hard and he is knocked unconscious.

//

The Hobbit – The Bilbo Edition // Part XIII. The Battle of Five Armies

Considering the behind-the-scenes drama during production of the final film, I think Peter Jackson pulled off the Battle of Five Armies respectably, knowing his limitations and strengths. By rearranging the order of some events clarity of continuity is more easily maintained. By shortening the timeline to a series of days rather than weeks, the tension builds more steadily than it would have with a more faithful adaptation of this sequence.

For example, it makes more sense for Bilbo to receive his mithril coat in this sequence than in the previous one, and again Martin Freeman shines as the voice of reason. The scene of him handing over the Arkenstone to Thranduil and Bard is especially well done and nails the essence of the text remarkably. Gandalf’s reintroduction is also handled well without becoming a strange plot distraction. Lee Pace continues to steal every scene he is in.

The confrontation at the Front Gate is adapted well and Richard Armitage puts in an admirable performance for what is admittedly difficult dialogue to deliver. Although the ravens of Erebor are largely cut, it does seem that Roac of Carc does get a quick cameo in before Dain arrives. If you haven’t seen the behind-the-scenes featurette about the making of Dain, I highly encourage you to do so. I think Dain’s design is immediately iconic and his brief role in the greater Tolkien mythos is cemented by such a memorable first introduction. I would have liked the Ironfoot dwarves’ look to be more aesthetically distinct, as they tend to blend in with the grays of the orcish armor in the later battle scenes, and there’s an unfortunate abundance of cloned elven warriors in the crowd shots. It seems odd that in The Lord of the Rings films’ large crowds looked relatively distinct, whereas in the Hobbit films they appear fairly cookie-cutter and generic.

The tension that builds to the ultimate battle is well executed and moves at an even pace without dragging. By cutting out the fat and excess of the original footage, we have a much more focused and even-handed battle sequence that demonstrates the overwhelming odds, the forced camaraderie of the dwarves and elves, and the chaos and sorrow of war. It is strange to see Bilbo fight alongside Gandalf and Bard in Dale, but I suppose it might be just as strange to see him hide in a corner while wearing the Ring. Film Bilbo is less arrogant than his book counterpart, but he is more brave in some aspects.

One minor detail I would have liked changed is the color palette of the entire battle sequence. It is overall very brightly lit and remains so throughout its duration. In the text the battle continues into dusk and then through the night, with the Eagles not arriving until sunrise. Jackson cuts the battle down to a single day, which in of itself is fine, but that shift into literal darkness to then only be saved by the rising of the light is lost in the adaptation, which is a shame. The overarching symbolism is what makes the description in the book so memorable.

Although the violence between the elves and dwarves is more than jarring, the reaction of the company within Erebor mirror our own and we get a sense that the parties involved have bitten off more than they can chew, all for the sake of a heap of gold.

Also, were-worms. Discuss.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition

The Hobbit – Book to Film Analysis: Part 12

The Hobbit – Book to Film Analysis

CHAPTER THIRTEEN – NOT AT HOME

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Back in the secret passage in the side of Erebor, the company sits in total darkness and fear for the dragon’s return. They sit like this, eating little and sleeping less, for what seem like days, too fearful to make a noise or venture further into the tunnel lest the dragon below wait for them to lower their guard and destroy them at the first opportunity they decide to poke their heads out. Thorin finally begins to despair and tries to desperately open the entrance again with the help of the other dwarves, but Smaug has destroyed the other side into rubble. The dwarves believe they will die in this tunnel, but Bilbo finally decides that their only option is to go down and risk the dragon, one that might not even be there.

As they near the exit they come upon total darkness, so much so that Bilbo tumbles out into the treasure cavern mistaking it for more tunnel. The dwarves, terrified, remain still and hiding within the tunnel while Bilbo tentatively explores. Abandoning caution to the wind, Bilbo calls out desperately for Smaug to stop hiding and to kill them already, but he is only answered by silence. He notices a white gleam atop the treasure hoard and begs the dwarves for a match to light a torch with. After many minutes of outright refusal, Bilbo finally begins yelling for a torch and the dwarves fashion him one to make him stop, although they still refuse to leave the safety of the tunnel while Bilbo explores.

With torch in hand Bilbo begins creeping out into the darkness, making his way towards, up and into the treasure hoard itself. The Dwarves see from their remote corner the hobbit climb up and up to the top of the mound of treasure; they see him stoop to pick something up, but he is too far away and the chamber too dark for any of them to think anything of it. However, as Bilbo investigates the strange gleam he saw, he discovers the Arkenstone that the dwarves had spoken of before. Bilbo is dazzled and seduced by its beauty and decides to keep it for himself as his one-fourteenth of the share. He suspects it will cause trouble later, but for the time being he puts it in his deepest pocket.

Bilbo continues to explore the massive treasure hoard until a bat swoops down and startles him, causing him to fall and drop the torch, losing his light and becoming lost. He begins to call to the dwarves for help and more light, and after resolving that Bilbo would not be yelling if a dragon were attacking him, they light more torches and begin creeping out into the mountain to find Bilbo. At the sight of the treasure hoard, the dwarves suddenly become emboldened. Forgetting about the dragon, they now speak loudly and excitedly, rummaging through the treasure and fanning out without caution. As the other Dwarves go about looking for their favorite variant of treasure, Thorin silently seeks out the Arkenstone, although says nothing of it at the time.

The dwarves begin to take down the armor from the walls and change their wardrobe, Thorin dresses in a coat of gold-plated rings with a silver-hafted axe in a belt encrusted with scarlet stones. It is here that he gifts Bilbo the infamous mithril coat as part of his reward. Bilbo reminds Thorin that arming themselves means nothing in the face of the dragon and that they should focus on escaping the mountain for the time being, not the treasure. Thorin agrees and leads the company through the halls of Erebor to the Front Gate. They reach the gate to find bright sunlight and cold wind leaking in. Though it has been two days since they last heard the dragon, they are wary of its possible return. They decide to make for an old lookout post for shelter near the southwest corner of the Mountain.

Upon reaching the lookout tower several hours later, most of the company collapses into sleep and rest. Those who remain awake keep a lookout for the dragon and discuss further plans. All throughout the day they neither hear nor see sign of Smaug and wonder to themselves what might have happened to the beast. All they can see and hear are the countless birds flocking towards the mountain.

//

The Hobbit – Book to Film Analysis

CHAPTER FIFTEEN – THE GATHERING OF THE CLOUDS

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As the company waits in the lookout tower for the return of the dragon, mulling over a new plan to formulate, birds continue to flock to the Mountain. The dwarves discuss the history of birds in the region—crows, thrushes, and the intelligent race of Ravens that once served the Dwarf-kings of old, when the thrush from the “doorstep” perches next to a window in their tower. It attempts to communicate with them, but none in the company can understand its speech. It leaves momentarily only to return with a giant and ancient Raven who speaks the common-tongue. He introduces himself as Roac, son of Carc, and claims to be 153 years old. He brings tidings of the death of Smaug and the dwarves rejoice.

Roac warns the company that they are not the only ones to hear these tidings and cautions that an army of elves marches upon the mountain while the people of Lake Town accompany them in search of recompense for their losses by the dragon’s wroth. Roac provides a final word of advice to Thorin specifically: “‘Your own wisdom must decide your course; but thirteen is a small remnant of the great folk of Durin that once dwelt here, and now are scattered far. If you will listen to my counsel, you will not trust the Master of the Lake-men, but rather him that shot the dragon with his bow. Bard is he, of the race of Dale, of the line of Girion; he is a grim man but true. We would see peace once more among dwarves and men and elves after the long desolation; but it may cost you dear in gold. I have spoken’” (242, 1984).

Thorin is furious at the concept of hosts marching to claim their treasure and orders Roac to send word to the dwarves of the surrounding lands, particularly to his cousin Dain of the Iron Hills. Roac declines to say whether this is good or bad, but agrees to tend news as bid. The company then races back to the Mountain to prepare defenses. They begin to fortify the Front Gate while ravens continue to bring them news of the oncoming hosts. They learn that some of their ponies survived and Fili and Kili go off to locate them. Once they are brought back with the remaining stores of food they had left they are sent back riderless to their masters back down the Running River.

One night they see many lights of fire blossom in the ruins of Dale. The armies have approached under cover of dusk and scouting parties have been sent to investigate the newly fortified Front Gate. The elves play music in the distance and Bilbo pines to join them, and the company brings out harps and instruments of their own to play their own music in return. Bilbo’s heart begins to darken as he realizes the Dwarves sing of war while the elves’ music reminds him of celebration and feasting.

The next morning Bard comes to the gate with a small group of followers and provides fair terms for recompense—he reminds Thorin that Smaug stole much treasure from the ruins of Dale and that this should be returned; furthermore the people of Esgaroth lost their homes and lives due to the involvement of the dwarves, albeit indirectly, and that they should be repaid in one-twelfth of the treasure so that they can rebuild their homes and lives. Thorin, lustful of the gold he has long searched through the past few days in pursuit of the Arkenstone, denies Bard any parley and refuses any settlement as long as an armed host stands before his gate. He commands that all of the Elves be sent back to their woodland realm and that the men of the Lake put down their arms, and then he will consider treating over just recompense. Bard claims he cannot dismiss the elves as they helped them in their hour of need after the dragon attacked, and that he will return soon once Thorin has had time to mull over his options.

Soon later more envoys come to the Front Gate and offer similar terms; Thorin responds with an arrow shot directly at the speaking messenger, whose shield is splintered on impact. The envoys declare the Mountain besieged, although they promise not to raise a weapon towards the dwarves inside. They intend to allow the dwarves to starve until they surrender and agree to fair settlement. Thorin grows into a dark fury and Bilbo wishes to be anywhere else but stuck in the filth-filled halls of Erebor, still rank with the stench of dragon.

//

The Hobbit – The Bilbo Edition // Part XII. Dragon Sickness

I think this particular sequence is a good example of balancing faithfulness to the source material and Peter Jackson’s original additions. As I’ve said before, Jackson’s best additions are those involving character development and interpersonal moments. As the Arkenstone plays a larger role in the film than in the book (it is a rather sudden plot device in the text), Thorin’s obsession with it requires more fleshing out. I think Richard Armitage’s performance here is nuanced and Balin, Dwalin and Bilbo all get opportunities to demonstrate how this change over Thorin affects them and the company as a whole. We see their transition from loyal companions to exasperated soldiers over a matter of days and it comes off as an organic transformation, albeit a grim one.

Bilbo’s character is drastically different here than his book counterpart. Book Bilbo, somewhat shockingly, takes the Arkenstone for selfish reasons and intends to keep it for the time being; Film Bilbo, however, keeps it only because he sees Thorin’s obsession over it and wonders if Thorin having it would do more harm than good. This is a monumental shift and one for the better in my opinion. Balin and Bilbo’s discussion over dragon sickness is a much needed added scene that contextualizes this transformation and the dilemma at Bilbo’s feet. It offers nice development for both characters, as we see that Balin truly is the wisest of the dwarves and that Bilbo now holds a crucial part in the remainder of the story. Bilbo’s later confrontation with Thorin is made especially more impactful by his brief interaction with Oakenshield over the acorn, which might be one of my favorite original scenes of the film. We see that Thorin’s humanity is not lost entirely and that there is an inherent goodness in Bilbo that even the dwarves can see and appreciate. The fear of attack however draws Thorin back to his basest instincts and he returns to dragon sickness to defend his hoard.

The people of Lake Town are wisely portrayed as refugees rather than an army egged on by the elves to take recompense for Esgaroth. Bard excels as a natural leader and again his previous character development pays off. We now care about his continued success as opposed to him being a relatively new and random character opposing Thorin in the text. The Front Gate is drastically different in the films than it is described in the text and I quite prefer the film depiction. It is more in line with the aesthetics of later fortresses in LOTR, particularly Moria, and it gives a very clear sense of scale and positioning between Erebor and Dale. The book makes the Front Gate far more remote and rough in appearance making it difficult to judge exactly where the different armies are in relation to it.

Apart from his introduction in a flashback sequence in Part II, this is where Azog returns to play a vital role in The Bilbo Edition. Azog is an interesting character. I was initially quite taken aback when I saw him for the first in theaters, thinking he was a very cool adversary for Thorin to struggle with. When we first meet him in Balin’s flashback of the Battle of Moria, I imagined that we would not see him again until the Battle of Five Armies where Thorin would realize his old nemesis still lived. This would give Azog satisfactory time to build up in our minds as a potential enemy and then his eventual appearance at the end could have made for a very exciting duel. Instead, he is largely a Wiley Coyote throughout the trilogy while the company is largely Road Runner. It removes any and all threat by him and his presence at the end of the film is accordingly dulled as a result. Azog has now become a rather infamous orc captain in the same vein as the orc captain seen in the siege of Minas Tirith in LOTR. I’ve always liked the unique orc designs and I think Azog shines best when allowed to simply exist within the context of orcs existing in variety and differing levels of authority like any other species of Middle-Earth. Other fan edits interweave Azog throughout the films to differing effects (the two-hour fan edit does a remarkable job in particular), but I am quite satisfied with my own adaptation of this unique orc.

Gandalf is also introduced here again rather than later, as he does not appear in the book until the very moment before battle begins between the five armies. Although thematically this is not as faithful as the book’s depiction of Gandalf as a mysterious, random, and somewhat supernatural character, it is faithful to Peter Jackson’s depiction of Gandalf as a political mover and shaker in the later films. His deliberations in Part XII with Bard and Thranduil (any opportunity for Lee Pace to shine as the elf-king should be treasured) nicely hint at the looming threat of Sauron without overselling it or poking too much attention at the continuity. We know enough that Gandalf is aware of Sauron’s spirit preparing to return out of Dol Guldor, but it isn’t until his full realization regarding the One Ring in LOTR does he realize that Sauron has fully returned in his base of Mordor. This distinction is important, I think, because it indicates that Sauron’s spirit outside of Mordor is a menace, but a manageable one by Gandalf and the other guardians of Middle Earth—he is only truly back in force once he has regained his old foothold during the peacetime between the events of The Hobbit and LOTR and it is this realization that sets off the events of LOTR.

We are given just enough information in Part XII to suspect what Gandalf’s urgent matters were that caused him to abandon the company at Mirkwood, and one could even speculate whether the orc army is pursuing Gandalf or if he is racing ahead of them to warn others of the impending threat. Azog’s speech indicates that the Mountain is an important location and that now that Smaug is gone, the armies that gather there now are in a vulnerable spot for annihilation.

I think it was wise of Jackson to kill off the Master—Stephen Fry does a memorable job but the cartoonish characterization would have been jarringly off with the rest of the film’s tone. By removing any politics between Bard and the Master we can focus on Bard’s new leadership and the more interesting politics between the dwarves, elves and men. Bard’s parley with Thorin is handled especially well, keeping both sides sympathetic to the audience. On the obvious hand, Bard is just in requesting aid for Lake Town to rebuild with a portion of the treasure; on the other, Thorin is right to be suspicious of an armed host at his doorstep; even if he were to let the Lake-men in, once the Front Gate comes down there is nothing to stop the elves from marching in by force against the thirteen dwarves. Thranduil’s lust for the elven jewels in possession of the dwarves is an interesting adaptation of his more general greed in the book. The use of force makes Thranduil a dangerous opportunist rather than a bloodthirsty warlord—a careful distinction.

My only regret about the source material of the film is that the Ravens of Erebor were cut from production – I understand the difficulties of talking ravens in a somewhat adult tale, but hey, if you got talking spiders and dragons, I think it could be done with the right approach. I had entirely forgotten about Roac of Carc from the book and was pleasantly surprised by his role in relation to the politics of Erebor.

Lastly, we are reminded that Bilbo is the audience surrogate and his incredulity at Thorin’s belligerence mirrors our own. This narrative device weaves in and out of the adaptation but comes back in full strength here for the remainder of the film.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition

The Hobbit – Book to Film Analysis: Part 11

The Hobbit – Book to Film Analysis

CHAPTER TWELVE – INSIDE INFORMATION

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The company stands before the secret door deliberating on what to do next for some time. Eventually Thorin interjects and announces that it is time for Bilbo to do what he was hired for. He goes on at length about earning his reward and having confidence in Bilbo, but the hobbit becomes cross and silences him, threatening to refuse if he continues to carry on about earning his portion of the treasure. Bilbo cites that he has rescued the company twice already in situations not stipulated in the quest’s contract, having earned at least some reward for just that, but agrees to carry on with his task of investigating the mountain largely due to his own confidence in the errand. He asks if anyone will accompany him inside; all of the dwarves sit silently aside save for Balin, who is quite fond of Bilbo, and agrees to come in part of the way and to call for help if necessary.

Tolkien then provides a rather interesting summary of dwarves from the perspective of the omniscient narrator, a passage worth critiquing I think:

“The most that can be said for the dwarves is this: they intended to pay Bilbo really handsomely for his services; they had brought him to do a nasty job for them, and they did not mind the poor little fellow doing it if he would; but they would all have done their best to get him out of trouble, if he got into it, as they did in the case of the trolls at the beginning of their adventures before they had any particular reasons for being grateful to him. There it is: dwarves are not heroes, but calculating folk with a great idea of the value of money; some are tricky and treacherous and pretty bad lots; some are not, but are decent enough people like Thorin and Company, if you don’t expect too much” (197, 1984).

I think one could argue at length how disquieting this description is by Tolkien—it’s hard to parse out whether this is the narrator’s bias speaking or Tolkien describing exactly what the dwarves represent in his overall narrative. He almost seems to demonize them in a way that is reminiscent of 20th century semitic stereotypes. While his later dwarvish character, Gimli, certainly falls into a redeeming “hero” archetype, it seems overly strange to dismiss an entire race of folk in Middle-Earth as “not heroes,” and I am not entirely sure where the bias falls, or where it is intended to fall. I will leave this subject for something of discussion in the comments or elsewhere.

Bilbo enters the tunnel with Balin and after a short while Balin departs with a “Goodluck!” and nothing more. Wary of the echoes of his feet, Bilbo plucks up his courage, puts on the Ring, loosened his sword in its sheath, “tightened his belt, and went on.” As he descends deeper into the mountain, the tunnel grows warmer and he begins to see a dim glow at the far end. The glow grows redder and redder as he approaches. He begins to hear a strange sound, a “throb in his ears, a sort of bubbling like the noise of a large pot galloping on the fire, mixed with a rumble of a gigantic tom-cat purring. This grew to the unmistakable gurgling noise of some vast animal snoring in its deep sleep down there in the red glow in front of him” (198, 1984).

Here I will quote at length directly, as Tolkien’s prose here is something worth appreciating:

“It was at this point that Bilbo stopped. Going on from there was the bravest thing he ever did. The tremendous things that happened afterwards were as nothing compared to it. He fought the real battle alone, before he ever saw the vast danger that lay in wait. At any rate after a short halt go on he did; and you can picture him coming to the end of the tunnel, an opening of much the same size and shape as the door above. Through it peeps the hobbit’s little head. Before him lies the great bottom-most cellar or dungeon-hall of the ancient dwarves right at the Mountain’s root. It is almost dark so that its vastness can only be dimly guessed, but rising from the near side of the rocky floor there is a great glow. The glow of Smaug!

“There he lay, a vast red-golden dragon, fast asleep; a thrumming came from his jaws and nostrils, and wisps of smoke, but his fires were low in slumber. Beneath him, under all his limbs and his huge coiled tail, and about him on all sides stretching away across the unseen floors lay countless piles of precious things, gold wrought and unwrought, gems and jewels, and silver red-stained in the ruddy light.

Smaug lay, with wings folded like an immeasurable bat, turned partly on one side, so that the hobbit could see his underparts and his long pale belly crusted with gems and fragments of gold from his long lying on his costly bed. Behind him where the walls were nearest could dimly be seen coats of mail, helms and axes, swords and spears hanging; and there in rows stood great jars and vessels filled with wealth that could not be guessed.

To say that Bilbo’s breath was taken away is no description at all. There are no words left to express his staggerment, since Men changed the language that they learned of elves in the days when all the world was wonderful. Bilbo had heard tell of and sing of dragon-hoards before, but the splendor, the lust, the glory of such treasure had never yet come home to him. His heart was filled and pierced with enchantment and with the desire of the dwarves; and he gazed motionless, almost forgetting the frightful guardian, at the gold beyond price and count.” (198-199, 1984)

Finally snapping out of his trance, Bilbo creeps to the nearest corner of the treasure hoard and grasps a large two-handed cup, as heavy as he can carry. He looks up at the dragon cautiously. Smaug “stirred a wing, opened a claw, the rumble of his snoring changed its note.

“Then Bilbo fled. But the dragon did not wake—not yet—but shifted into other dreams of greed and violence, lying there in his stolen hall while the little hobbit toiled back up the long tunnel.” Bilbo hurried back up the tunnel with his heart racing, and by the time he reached an overjoyed Balin he was in a daze. Balin lifted him and carried him out of the tunnel to the awaiting Dwarves who praised and fawned over Bilbo, pledging their service and their families to come to him if he was ever in need.

Amidst their celebrations and excitement, however, deep below them the dragon suddenly awoke, bellowing and trampling about so that ground trembled as if the mountain had suddenly become a volcano fit to burst. The secret door nearly closed on them had a rock not blocked it from shutting entirely. The Dwarves “forgot their joy and their confident boasts of a moment before and cowered down in fright. Smaug was still to be reckoned with. It does not do to leave a live dragon out of your calculations, if you live near him. Dragons may not have much real use for all their wealth, but they know it to an ounce as a rule, especially after long possession; and Smaug was no exception. He had passed from an uneasy dream (in which a warrior, altogether insignificant in size but provided with a bitter sword and great courage, figured most unpleasantly) to a doze, and from a doze to wide waking. There was a breath of strange air in the cave. Could there be a draught from that little hole? He had never felt quite happy about it, though it was so small, and now he glared at it in suspicion and wondered why he had never blocked it up. Of late he had fancied he had caught the dim echoes of a knocking sound fro far above that came down through it to his lair. He stirred and stretched forth his neck to sniff. Then he missed the cup!

“Thieves! Fire! Murder! Such a thing had not happened since first he came to the Mountain! His rage passes description—the sort of rage that is only seen when rich folk that have more than they can enjoy suddenly lose something that they have long had but have never before used or wanted. His fire belched forth, the hall smoked, he shook the mountain roots. He thrust his head in vain at the little hole, and then coiling his length together, roaring like thunder underground, he sped from his deep lair through its great door, out into the huge passages of the mountain-palace and up towards the Front Gate.” (200, 1984)

The dragon soared out in the night in a fury, blasting fire upon the mountainside and the surrounding lands, seeking out the thief that would steal from him. The Dwarves panicked, completely exposed on the side of the mountain. They then realize that they left Bombur and Bofur down with their supplies below them; it is Thorin who demands they be saved and not abandoned, and in a desperate move of courage and comradery the Company risks obliteration by the dragon to throw down ropes and to haul up a terrified Bombur and Bofur. As soon as they are brought up the dragon swoops over the mountain above, raining fire upon them. They are barely able to rush into the secret door and close it as much as they dare when flames destroy the little plateau where they once stood, the screams of their ponies below them indicating Smaug’s wrath. They flee and Smaug chases after them, his roars growing distant. The Company waits in the tunnel for a long while, the sound of the dragon’s wroth growing louder and dimmer as he wheels around the mountain searching in vain for his prey.

As dawn comes the dragon retires back to his “golden couch” – after some initial blaming of Bilbo for upsetting the dragon, Bilbo crossly puts the Dwarves back in their place and is the only one to suggest a plan of action. At this point he has become the de facto leader of the Company and offers to descend back into the lair of the beast with his Ring on to see if he can spot a weakness to be used against the dragon. The next day he descends back down into the tunnel; “had he known more about dragons and their wily ways, he might have been more frightened and less hopeful of catching this one napping.”

Creeping as quietly as he can, Bilbo feels very highly of himself. “‘Old Smaug is weary and asleep,’ he thought. ‘He can’t see me and he won’t hear me. Cheer up Bilbo!’ He had forgotten or had never heard about dragons’ sense of smell. It is an awkward fact that they can keep half an eye open watching while asleep, if they are suspicious.

“Smaug certainly looked fast asleep, almost dead and dark, with scarcely a snore more than a whiff of unseen steam, when Bilbo peeped once more from the entrance. He was just about to step out on to the floor when he caught a sudden thin and piercing ray of red from under the dropping lid of Smaug’s left eye. He was only pretending to sleep! He was watching the tunnel entrance! Hurriedly Bilbo stepped back and blessed the luck of his ring. The Smaug spoke.” (204-2015, 1984)

Here I will simply quote the remainder of the chapter in full, as it is my favorite part of the entire book and is worth reading for yourself, if you have the time. My summarizing of it would not do the dialogue justice. Extra points if you read Smaug’s lines out loud to yourself in Benedict Cumberbach’s voice.

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“Well, thief! I smell you and I feel your air. I hear your breath. Come along! Help yourself again, there is plenty and to spare!”

But Bilbo was not quite so unlearned in dragon-lore as all that, and if Smaug hoped to get him to come nearer so easily he was disappointed. “No thank you, O Smaug the Tremendous!” he replied.

“I did not come for presents. I only wished to have a look at you and see if you were truly as great as tales say. I did not believe them.”

“Do you now?” said the dragon somewhat flattered, even though he did not believe a word of it.

“Truly songs and tales fall utterly short of the reality, O Smaug the Chiefest and Greatest of Calamities,” replied Bilbo.

“You have nice manners for a thief and a liar,” said the dragon. “You seem familiar with my name, but I don’t seem to remember smelling you before. Who are you and where do you come from, may I ask?”

“You may indeed! I come from under the hill, and under the hills and over the hills my paths led. And through the air. I am he that walks unseen.”

“So I can well believe,” said Smaug, “but that is hardly your usual name.”

“I am the clue-finder, the web-cutter, the stinging fly. I was chosen for the lucky number.”

“Lovely titles!” sneered the dragon. “But lucky numbers don’t always come off.”

“I am he that buries his friends alive and drowns them and draws them alive again from the water. I came from the end of a bag, but no bag went over me.”

“These don’t sound so creditable,” scoffed Smaug. “I am the friend of bears and the guest of eagles. I am Ringwinner and Luckwearer; and I am Barrel-rider,” went on Bilbo beginning to be pleased with his riddling.

“That’s better!” said Smaug. “But don’t let your imagination run away with you!”

This of course is the way to talk to dragons, if you don’t want to reveal your proper name (which is wise), and don’t want to infuriate them by a flat refusal (which is also very wise). No dragon can resist the fascination of riddling talk and of wasting time trying to understand it. There was a lot here which Smaug did not understand at all (though I expect you do, since you know all about Bilbo’s adventures to which he was referring), but he thought he understood enough, and he chuckled in his wicked inside.

“I thought so last night,” he smiled to himself. “Lake-men, some nasty scheme of those miserable tub-trading Lake-men, or I’m a lizard. I haven’t been down that way for an age and an age; but I will soon alter that!”

“Very well, O Barrel-rider!” he said aloud. “Maybe Barrel was your pony’s name; and maybe not, though it was fat enough. You may walk unseen, but you did not walk all the way. Let me tell you I ate six ponies last night and I shall catch and eat all the others before long. In return for the excellent meal I will give you one piece of advice for your good: don’t have more to do with dwarves than you can help!”

“Dwarves!” said Bilbo in pretended surprise. “Don’t talk to me!” said Smaug. “I know the smell (and taste) of dwarf—no one better. Don’t tell me that I can eat a dwarf-ridden pony and not know it! You’ll come to a bad end, if you go with such friends, Thief Barrel-rider. I don’t mind if you go back and tell them so from me.” But he did not tell Bilbo that there was one smell he could not make out at all, hobbit-smell; it was quite outside his experience and puzzled him mightily.

“I suppose you got a fair price for that cup last night?” he went on. “Come now, did you? Nothing at all! Well, that’s just like them. And I suppose they are skulking outside, and your job is to do all the dangerous work and get what you can when I’m not looking—for them? And you will get a fair share? Don’t you believe it! If you get off alive, you will be lucky.”

Bilbo was now beginning to feel really uncomfortable. Whenever Smaug’s roving eye, seeking for him in the shadows, flashed across him, he trembled, and an unaccountable desire seized hold of him to rush out and reveal himself and tell all the truth to Smaug. In fact he was in grievous danger of coming under the dragon-spell. But plucking up courage he spoke again.

“You don’t know everything, O Smaug the Mighty,” said he. “Not gold alone brought us hither.”

“Ha! Ha! You admit the ‘us’” laughed Smaug. “Why not say ‘us fourteen’ and be done with it, Mr. Lucky Number? I am pleased to hear that you had other business in these parts besides my gold. In that case you may, perhaps, not altogether waste your time.

“I don’t know if it has occurred to you that, even if you could steal the gold bit by bit—a matter of a hundred years or so—you could not get it very far? Not much use on the mountain-side? Not much use in the forest? Bless me! Had you never thought of the catch? A fourteenth share, I suppose, or something like it, those were the terms, eh? But what about delivery? What about cartage? What about armed guards and tolls?” And Smaug laughed aloud. He had a wicked and a wily heart, and he knew his guesses were not far out, though he suspected that the Lake-men were at the back of the plans, and that most of the plunder was meant to stop there in the town by the shore that in his young days had been called Esgaroth.

You will hardly believe it, but poor Bilbo was really very taken aback. So far all his thoughts and energies had been concentrated on getting to the Mountain and finding the entrance. He had never bothered to wonder how the treasure was to be removed, certainly never how any part of it that might fall to his share was to be brought back all the way to Bag-End Under-Hill.

Now a nasty suspicion began to grow in his mind—had the dwarves forgotten this important point too, or were they laughing in their sleeves at him all the time? That is the effect that dragon-talk has on the inexperienced. Bilbo of course ought to have been on his guard; but Smaug had rather an overwhelming personality.

“I tell you,” he said, in an effort to remain loyal to his friends and to keep his end up, “that gold was only an afterthought with us. We came over hill and under hill, by wave and wind, for Revenge. Surely, O Smaug the unassessably wealthy, you must realize that your success has made you some bitter enemies?”

Then Smaug really did laugh—a devastating sound which shook Bilbo to the floor, while far up in the tunnel the dwarves huddled together and imagined that the hobbit had come to a sudden and a nasty end.

“Revenge!” he snorted, and the light of his eyes lit the hall from floor to ceiling like scarlet lightning. “Revenge! The King under the Mountain is dead and where are his kin that dare seek revenge? Girion Lord of Dale is dead, and I have eaten his people like a wolf among sheep, and where are his sons’ sons that dare approach me? I kill where I wish and none dare resist. I laid low the warriors of old and their like is not in the world today. Then I was but young and tender. Now I am old and strong, strong, strong, Thief in the Shadows!” he gloated. “My armour is like tenfold shields, my teeth are swords, my claws spears, the shock of my tail a thunderbolt, my wings a hurricane, and my breath death!”

“I have always understood,” said Bilbo in a frightened squeak, “that dragons were softer underneath, especially in the region of the—er—chest; but doubtless one so fortified has thought of that.”

The dragon stopped short in his boasting. “Your information is antiquated,” he snapped. “I am armoured above and below with iron scales and hard gems. No blade can pierce me.”

“I might have guessed it,” said Bilbo. “Truly there can nowhere be found the equal of Lord Smaug the Impenetrable. What magnificence to possess a waistcoat of fine diamonds!”

“Yes, it is rare and wonderful, indeed,” said Smaug absurdly pleased. He did not know that the hobbit had already caught a glimpse of his peculiar under-covering on his previous visit, and was itching for a closer view for reasons of his own. The dragon rolled over. “Look!” he said. “What do you say to that?”

“Dazzlingly marvellous! Perfect! Flawless! Staggering!” exclaimed Bilbo aloud, but what he thought inside was: “Old fool! Why, there is a large patch in the hollow of his left breast as bare as a snail out of its shell!”

After he had seen that Mr. Baggins’ one idea was to get away. “Well, I really must not detain Your Magnificence any longer,” he said, “or keep you from much needed rest. Ponies take some catching, I believe, after a long start. And so do burglars,” he added as a parting shot, as he darted back and fled up the tunnel.

It was an unfortunate remark, for the dragon spouted terrific flames after him, and fast though he sped up the slope, he had not gone nearly far enough to be comfortable before the ghastly head of Smaug was thrust against the opening behind. Luckily the whole head and jaws could not squeeze in, but the nostrils sent forth fire and vapour to pursue him, and he was nearly overcome, and stumbled blindly on in great pain and fear. He had been feeling rather pleased with the cleverness of his conversation with Smaug, but his mistake at the end shook him into better sense.

“Never laugh at live dragons, Bilbo you fool!” he said to himself, and it became a favourite saying of his later, and passed into a proverb. “You aren’t nearly through this adventure yet,” he added, and that was pretty true as well.

The afternoon was turning into evening when he came out again and stumbled and fell in a faint on the ‘doorstep’. The dwarves revived him, and doctored his scorches as well as they could; but it was a long time before the hair on the back of his head and his heels grew properly again: it had all been singed and frizzled right down to the skin. In the meanwhile his friends did their best to cheer him up; and they were eager for his story, especially wanting to know why the dragon had made such an awful noise, and how Bilbo had escaped.

But the hobbit was worried and uncomfortable, and they had difficulty in getting anything out of him. On thinking things over he was now regretting some of the things he had said to the dragon, and was not eager to repeat them. The old thrush was sitting on a rock near by with his head cocked on one side, listening to all that was said. It shows what an ill temper Bilbo was in: he picked up a stone and threw it at the thrush, which merely fluttered aside and came back.

“Drat the bird!” said Bilbo crossly. “I believe he is listening, and I don’t like the look of him.”

“Leave him alone!” said Thorin. “The thrushes are good and friendly—this is a very old bird indeed, and is maybe the last left of the ancient breed that used to live about here, tame to the hands of my father and grandfather. They were a long-lived and magical race, and this might even be one of those that were alive then, a couple of hundreds of years or more ago. The Men of Dale used to have the trick of understanding their language, and used them for messengers to fly to the Men of the Lake and elsewhere.”

“Well, he’ll have news to take to Lake-town all right, if that is what he is after,” said Bilbo; “though I don’t suppose there are any people left there that trouble with thrush-language.”

“Why what has happened?” cried the dwarves. “Do get on with your tale!”

So Bilbo told them all he could remember, and he confessed that he had a nasty feeling that the dragon guessed too much from his riddles added to the camps and the ponies. “I am sure he knows we came from Lake-town and had help from there; and I have a horrible feeling that his next move may be in that direction. I wish to goodness I had never said that about Barrel-rider; it would make even a blind rabbit in these parts think of the Lake-men.”

“Well, well! It cannot be helped, and it is difficult not to slip in talking to a dragon, or so I have always heard,” said Balin anxious to comfort him. “I think you did very well, if you ask me—you found out one very useful thing at any rate, and got home alive, and that is more than most can say who have had words with the likes of Smaug. It may be a mercy and a blessing yet to know of the bare patch in the old Worm’s diamond waistcoat.”

That turned the conversation, and they all began discussing dragon-slayings historical, dubious, and mythical, and the various sorts of stabs and jabs and undercuts, and the different arts devices and stratagems by which they had been accomplished. The general opinion was that catching a dragon napping was not as easy as it sounded, and the attempt to stick one or prod one asleep was more likely to end in disaster than a bold frontal attack. All the while they talked the thrush listened, till at last when the stars began to peep forth, it silently spread its wings and flew away. And all the while they talked and the shadows lengthened Bilbo became more and more unhappy and his foreboding grew.

At last he interrupted them. “I am sure we are very unsafe here,” he said, “and I don’t see the point of sitting here. The dragon has withered all the pleasant green, and anyway the night has come and it is cold. But I feel it in my bones that this place will be attacked again. Smaug knows now how I came down to his hall, and you can trust him to guess where the other end of the tunnel is. He will break all this side of the Mountain to bits, if necessary, to stop up our entrance, and if we are smashed with it the better he will like it.”

“You are very gloomy, Mr. Baggins!” said Thorin. “Why has not Smaug blocked the lower end, then, if he is so eager to keep us out? He has not, or we should have heard him.”

“I don’t know, I don’t know—because at first he wanted to try and lure me in again, I suppose, and now perhaps because he is waiting till after tonight’s hunt, or because he does not want to damage his bedroom if he can help it—but I wish you would not argue. Smaug will be coming out at any minute now, and our only hope is to get well in the tunnel and shut the door.”

He seemed so much in earnest that the dwarves at last did as he said, though they delayed shutting the door—it seemed a desperate plan, for no one knew whether or how they could get it open again from the inside, and the thought of being shut in a place from which the only way out led through the dragon’s lair was not one they liked. Also everything seemed quite quiet, both outside and down the tunnel. So for a longish while they sat inside not far down from the half-open door and went on talking.

The talk turned to the dragon’s wicked words about the dwarves. Bilbo wished he had never heard them, or at least that he could feel quite certain that the dwarves now were absolutely honest when they declared that they had never thought at all about what would happen after the treasure had been won. “We knew it would be a desperate venture,” said Thorin, “and we know that still; and I still think that when we have won it will be time enough to think what to do about it. As for your share, Mr. Baggins, I assure you we are more than grateful and you shall choose your own fourteenth, as soon as we have anything to divide. I am sorry if you are worried about transport, and I admit the difficulties are great—the lands have not become less wild with the passing of time, rather the reverse—but we will do whatever we can for you, and take our share of the cost when the time comes. Believe me or not as you like!”

From that the talk turned to the great hoard itself and to the things that Thorin and Balin remembered. They wondered if they were still lying there unharmed in the hall below: the spears that were made for the armies of the great King Bladorthin (long since dead), each had a thrice-forged head and their shafts were inlaid with cunning gold, but they were never delivered or paid for; shields made for warriors long dead; the great golden cup of Thror, two-handed, hammered and carven with birds and flowers whose eyes and petals were of jewels; coats of mail gilded and silvered and impenetrable; the necklace of Girion, Lord of Dale, made of five hundred emeralds green as grass, which he gave for the arming of his eldest son in a coat of dwarf-linked rings the like of which had never been made before, for it was wrought of pure silver to the power and strength of triple steel. But fairest of all was the great white gem, which the dwarves had found beneath the roots of the Mountain, the Heart of the Mountain, the Arkenstone of Thrain.

“The Arkenstone! The Arkenstone!” murmured Thorin in the dark, half dreaming with his chin upon his knees. “It was like a globe with a thousand facets; it shone like silver in the firelight, like water in the sun, like snow under the stars, like rain upon the Moon!”

But the enchanted desire of the hoard had fallen from Bilbo. All through their talk he was only half listening to them. He sat nearest to the door with one ear cocked for any beginnings of a sound without, his other was alert for echoes beyond the murmurs of the dwarves, for any whisper of a movement from far below.

Darkness grew deeper and he grew ever more uneasy. “Shut the door!” he begged them, “I fear that dragon in my marrow. I like this silence far less than the uproar of last night. Shut the door before it is too late!”

Something in his voice gave the dwarves an uncomfortable feeling. Slowly Thorin shook off his dreams and getting up he kicked away the stone that wedged the door. Then they thrust upon it, and it closed with a snap and a clang. No trace of a keyhole was there left on the inside. They were shut in the Mountain!

And not a moment too soon. They had hardly gone any distance down the tunnel when a blow smote the side of the Mountain like the crash of battering-rams made of forest oaks and swung by giants. The rock boomed, the walls cracked and stones fell from the roof on their heads. What would have happened if the door had still been open I don’t like to think. They fled further down the tunnel glad to be still alive, while behind them outside they heard the roar and rumble of Smaug’s fury. He was breaking rocks to pieces, smashing wall and cliff with the lashings of his huge tail, till their little lofty camping ground, the scorched grass, the thrush’s stone, the snail-covered walls, the narrow ledge, and all disappeared in a jumble of smithereens, and an avalanche of splintered stones fell over the cliff into the valley below.

Smaug had left his lair in silent stealth, quietly soared into the air, and then floated heavy and slow in the dark like a monstrous crow, down the wind towards the west of the Mountain, in the hopes of catching unawares something or somebody there, and of spying the outlet to the passage which the thief had used. This was the outburst of his wrath when he could find nobody and see nothing, even where he guessed the outlet must actually be.

After he had let off his rage in this way he felt better and he thought in his heart that he would not be troubled again from that direction. In the meanwhile he had further vengeance to take. “Barrel-rider!” he snorted. “Your feet came from the waterside and up the water you came without a doubt. I don’t know your smell, but if you are not one of those men of the Lake, you had their help. They shall see me and remember who is the real King under the Mountain!”

He rose in fire and went away south towards the Running River.

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The Hobbit – Book to Film Analysis

CHAPTER FOURTEEN – FIRE AND WATER

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It’s important to note that in the text, a whole chapter passes by where the dwarves investigate Erebor while the dragon is away, leaving them and the reader in the dark as to Smaug’s or Lake Town’s fate. As these events are depicted in a different order in the film, I connected Chapter 12 and Chapter 14 directly and will come back to Chapter 13 in Part XII.

The people of the Lake Town see dim flashes of glowing light high up in the dark clouds looming around the mountain, and in the dusk their excitement grows as they see a golden flash of light mirror off of the Lake’s surface near the mountain’s base. They believe that it is the prophecy coming true and gold flowing into the lake from the rich mines of Erebor. One man however—later named Bard in passing—begs for the people of Lake Town to take up arms, as he recognizes that the only explanation for these flashes of light, now drawing nearer, is the dragon.

The people of the Lake prepare themselves surprisingly quickly, arming themselves with bow and dart before Smaug reaches them, his great girth hurtling over the surface of the lake like a lightning bolt. The Lake people lower the bridge so that it will not be destroyed.

As Smaug approaches the town, the dragon finds he dislikes how far the settlement is into deep water, something he is wary of. “If he plunged into it, a vapor and a steam would arise enough to cover all the land with a mist for days; but the lake was mightier than he, it would quench him before he could pass through” (230, 1984).

As the dragon passes overhead the people of the Lake fire arrows and darts at him, rattling off of his armored hide and set aflame by his breath. Smaug is infuriated that the Lakemen would dare attempt battle with him, as “no one had dared to give battle to him in many an age,” nor would they if Bard was not ordering the men to fight to the last arrow in the Master’s stead.

Smaug lights the surrounding countryside ablaze and then wheels back around to attack the Lake Town itself. The people of the Lake had prepared, however, and had dowsed their homes and buildings in water to control the flames as much as they could. Although the people of Lake Town initially manage to beat off the first streams of dragon breath with water, they are soon overwhelmed and the town is engulfed in flame. Men jump into the water everywhere. Women and children evacuate in boats. The Master attempts to flee in his gilded boat amidst the confusion and chaos.

Up above Smaug is enjoying his sport; he does not mind the people evacuating, as he intends to let them come ashore where he will wait to devour them, or watch them starve waiting in the water. Meanwhile there are still men attempting to bring him down with arrows. “Their captain was Bard, grim-voiced and grim-faced, whose friends had accused him of prophesying floods and poisoned fish, though they knew his worth and courage. He was a descendant in long line of Girion, Lord of Dale, whose wife and child had escaped down the Running River from the ruin long ago. Now he shot with a great yew bow, till all his arrows but one were spent. The flames were near him. His companions were leaving him. He bent his bow for the last time” (231, 1984).

Just then the old thrush from the mountain descends and perches on Bard’s shoulder, bearing tidings and news of the bald spot in the dragon’s underbelly. As Smaug wheels back towards the crumbling town, Bard readies his last arrow.

“‘Arrow!’ said the bowman. ‘Black arrow! I have saved you to the last. You have never failed me and always I have recovered you. I had you from my father and he from of old. If ever you came from the forges of the true king under the Mountain, go now and speed well!’

“The dragon swooped once more lower than ever, and as he turned and dived down his belly glittered white with sparkling fires of gems in the moon—but not in one place. The great bow twanged. The black arrow sped straight from the string, straight for the hollow by the left breast where the foreleg was flung wide. In it smote and vanished, barb, shaft and feather, so fierce was its flight. With a shriek that deafened men, felled trees and split stone, Smaug shot spouting into the air, turned over and crashed down from on high in ruin.

Full on the town he fell. His last throes splintered it to sparks and gledes. The lake roared in. A vast steam leaped up, white in the sudden dark under the moon. There was a hiss, a gushing whirl, and then silence. And that was the end of Smaug and Esgaroth, but not of Bard.” (232, 1984)

The people of the Lake make for the shore for safety, and although they are not entirely aware of it at the time, over three quarters of their population have survived. Their woods, fields, pastures, boats and cattle had largely remained undamaged. On the shore the people of Lake Town lament Bard’s death and decry the Master that abandoned them, but Bard rises from the water and declares that he still lives and the people of the Lake hail him as King Bard. The Master intervenes, however, distracting the people’s momentary urge for new leadership by laying the blame upon the dwarves that brought the dragon’s wroth upon them. The people realize that the now unguarded treasure will help them rebuild, and for the time they agree to work together to survive until the treasure can be reached. They assume the dwarves are dead and Bard claims to still serve the Master for now, although he may return to Dale as King and settle all those who wish to follow him upon the reclaimed city.

That night many die of sickness or cold and Bard tends to the ill. Bard sends for messages requesting aid to the woodland realm of the elves, and three days after the fall of the dragon a mighty elven host marches towards the Lake. The Elvenking had been notified of the events at Lake Town before Bard’s messages met him; indeed, word traveled fast beyond the woodland realm, even as far west as the Misty Mountains, even to Beorn’s ears and that of the goblins of the caves — everywhere, news of the dragon’s death was heard and muttered. Although the Mirkwood elves had marched upon the mountain for its unprotected treasure before hearing news from Bard, they now diverted their course to give aid to the survivors, arriving five days after the death of the dragon.

Over the next six days, the elves assist the people of the Lake in felling trees and building makeshift huts and homes for the survivors, while the Master begins planning a new and larger Lake Town in a new location. No one dares go near the carcass of the dragon, and for many years its massive bones can be seen resting amidst the ruins of the town, although none dare to swim in those parts or to seek the treasure that fell from the beast’s scales. Eleven days after the death of Smaug, a host of elves and men march toward the Mountain to seek the treasure and refuge.

//

The Hobbit – The Bilbo Edition // Part XI. Smaug the Stupendous

It should be said right off the bat that Peter Jackson went out of his way to fashion this iconic scene with his own vision and that the film adaptation and the original text are drastically different. That said, I think the changes made in the film adaptation work extraordinarily well and effectively heighten what was once an iconic dialogue sequence between a now overconfident Bilbo and a proud dragon, into a horror sequence where Bilbo is very much in danger and may not live to tell this tale. Unlike Book Bilbo, Film Bilbo is not safely positioned by an exit and happily chatting away with a dragon for reconnaissance; he is now in the thick of the treasure hoard seeking the Arkenstone, which isn’t even a plot element in the book yet. The treasure hoard, already impressive in the book, is presented in mythic proportions. I like the idea of the dragon positively bathing himself inside the ocean of gold as opposed to simply sleeping on top of it like a giant cat.

Jackson does a fantastic job adapting the iconic dialogue into a new context. While keeping much of the lines true to the book, Film Bilbo delivers his lines as a desperate way to survive in the face of impossible odds, rather than his cocky book counterpart who simply buys time while he looks for a weakness in the dragon’s defenses. Smaug looks incredible and all the credit in the world should go to the effects team who brought him to life.

I also like that film Smaug senses the Ring on Bilbo, introducing an interesting thought experiment—what would happen if Smaug had the Ring? How drastically different would LOTR have been if Smaug had teamed up with Sauron, or if Sauron had to fight Smaug to retrieve the One Ring? Even more interesting is that it seems that the Ring wanted to be caught by Smaug, adding a nice layer of continuity to the entire sequence.

Martin Freeman excels here, seeing as he is essentially acting alone largely to a green screen. The sense of scale and sense of terror and quick thinking is evident in every shot. The melding of the live action with the special effects is seamless. I love the idea of Smaug as this diva-like brute that takes his interaction with Bilbo, the farthest thing from a threat, as an opportunity to monologue about himself. It takes inspiration from the text but the power dynamic is drastically different. In the book, Bilbo ultimately has the upperhand with a suspicious and amused Smaug; in the film, Smaug’s pride and self-absorption is the only thing that saves Bilbo’s life.

Something I was very glad to cut out from the original trilogy was the egregious plot-hole involving Smaug gloating to Bilbo about tempting Thorin with the Arkenstone. I am baffled that Jackson and the other writers thought this was a good idea, as it makes absolutely no sense. Smaug has no idea who Thorin is, and even if he did, he would know him as Thorin son of Thrain son of Thror, not Oakenshield. The name Oakenshield was given to Thorin long after their expulsion from Erebor, after his confrontation with Azog at Moria. Some fan edits have kept this part in and I implore that they revise and cut it out. It’s a huge distraction and ultimately is a massive plot-hole that detracts from the quality of the film’s continuity with the masterfully maintained LOTR films.

Bilbo and the dwarves are also much more involved in their responsibility of Lake Town’s fate. In the book they’re largely unaware of what is going on and some hardly care; Bilbo only suspects that he gave too much information to Smaug. I like that the dwarves recognize their own blame in the death of innocent lives on the Lake for their own greed and recklessness. It also nicely sets up Thorin’s descent into dragon sickness.

At Lake Town we see the enhanced characterization of Bard pay off. If the films were true to the book, we would be first introduced to Bard here. This could have been interesting had the dwarves come to Lake Town in another manner, but I like the symmetry of Bard’s last stand with that of Girion’s. It highlights the subtle theme in the book of descendants avenging their ancestors and we get a more fleshed out hero as a result. I would have liked to see Bard commanding other archers, and Lake Town as a whole is far less prepared for the dragon attack in the film than in the book. That said, the attack on Esgaroth is thrilling and Jackson gets to stretch his horror-muscles amidst the chaos.

Due to the limitations of the editing process, one has to suspend disbelief in a few areas. First, assume all the dwarves are together outside Erebor and that the missing ones are simply off screen. Second, assume that Bard has the black arrow tucked away in his large coat. Some fan edits keep Bard’s son in to great effect, others cut him out. I personally prefer the scene without the son, although there is slightly better continuity with the son due to the way the entire sequence was originally filmed. If I could change anything about this, I would have swapped the son with the thrush from Erebor, which was completely cut from the original trilogy, sadly. It’s a nice moment in the books, but I can understand why it might have been difficult to sell in the adaptation. That aside, I am quite pleased with the final outcome of The Bilbo Edition version of this scene. This is my favorite part of the book and I put extra care into making this sequence as thrilling as it should be, from start to finish.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition

The Hobbit – Book to Film Analysis: Part 10

The Hobbit – Book to Film Analysis

CHAPTER ELEVEN – ON THE DOORSTEP

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After three days on the Lake the company arrives at the slopes of Erebor where a donation of ponies awaits from Lake Town’s coastal villages. The men escorting the company refuse to stay with them even for a night while they make camp, afraid to be so near to the mountain. They believe more in the existence of the dragon than in Thorin’s prophetic return. The land around them is “bleak and barren” and there are no paths to the mountain left, so they make their way slowly and silently up the slopes with their ponies and provisions in tow.

They soon reach Ravenhill from which they can see the ruins of Dale at a distance from the Front Gate of Erebor. The company is exceedingly cautious around as they venture closer to the mountain—they do not know if the dragon is out hunting or resting somewhere outside along the slopes, as opposed to residing within the mountain. Wisps of smoke appear to drift from the Front Gate, indicating that the dragon indeed lives, though remains inside. After many days of sending quiet search parties further up the mountain, Bilbo, Fili and Kili by chance find the secret path to the secret door, although none of them can figure out how to open the hidden entrance.

The path too treacherous and narrow for them to carry their provisions, the company, save for Bofur and Bombur, climb up to the hidden door and lower ropes down the cliff face for the two dwarves left behind to tie and send up supplies with. Bofur is eventually brought up by rope as well, but Bombur refuses and says that the rope won’t carry him, nor can he can’t squeeze through the narrow path. Thus, he stays down the cliffside with the ponies.

They spend days upon the “doorstep,” unable to open the door. Bilbo spends much of the time looking back out on the world towards Mirkwood and the lands beyond, trying to reason how to open the door. The other Dwarves eventually give up trying to force their way in and begin exploring other mountains paths or exercising the ponies along the slopes. Bilbo occasionally pours over the map decrypted by Elrond, although the dwarves give it little attention. Some of the dwarves suggest Bilbo use his magic ring to investigate the Front Gate, much to his disapproval. After many days and with low spirits, Bilbo watches the sunset over Mirkwood and sees a new moon appear over the clouds. Nearby, a thrush loudly bangs a snail against the rocks. Suddenly Bilbo realizes what is happening and  calls out to the dwarves to come back quickly, risking the noise reaching the dragon inside.

They all rush to the doorstep as the sun sinks below the clouds, and as evening falls nothing happens. The company begins to despair. Then at the last moment a single beam of red sunlight shines through a gap in the clouds and lands upon the flat mountain wall, and with a crack a slice of stone falls out of place revealing a keyhole. They call for Thorin to come quickly with the key before it disappears, and with seconds to spare he comes forth and places it into the keyhole. The door silently pushes open with the full force of the dwarves’ efforts, just as the light fades away. Inside darkness seems to pour out and the corridor descends steeply down into the mountain’s heart.

//

The Hobbit – The Bilbo Edition // Part X. The Desolation of Smaug

Peter Jackson wisely cuts this chapter from several days to a single day. The focus remains on Bilbo’s essentiality to the quest’s success, a common theme of the story, and the nostalgia and weariness of the dwarves as they approach the mountain. They are a little loud in the film adaptation compared to their book counterparts, seemingly not so worried about the dragon roaming about outside, but I suppose this can be forgiven. The sense of awe and reverence once the door is opened is well executed, and Martin Freeman carries an excellent performance leading up to its reveal.

For the sake of continuity, please just assume or imagine that the missing Dwarves are present and simply out of frame. I understand why Jackson left several in Lake Town; if he had done the same thing and cut out Tauriel, Legolas and the orc raid out, it could have worked quite well. You might have had an interesting emotional conflict—imagine if Thorin left behind Fili, Kili, Bifur and Bofur so that if the others perish by the dragon’s wroth, the line of Durin still survives and part of the company still lives. This is then followed by the reverse happening, where the dragon abandons the mountain and leaves to raze Lake Town, leaving the seniors of the company, especially Thorin, in tremendous guilt and anguish at leaving his friends and family to die in hellfire for his own meddling. This could have then transitioned well into Thorin’s burgeoning dragon sickness, as he is more drawn to the abandoned gold than his burning family. A wasted opportunity, but an interesting thought experience nonetheless.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition

The Hobbit – Book to Film Analysis: Part 9

The Hobbit – Book to Film Analysis

CHAPTER TEN – A WARM WELCOME

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The company drifts into the territory of the Long Lake beneath the Lonely Mountain, a looming presence that gives Bilbo an eerie and ominous feeling. The omniscient narrator mentions that by chance Bilbo had been lucky, as all other roads through Mirkwood to the East had fallen into disuse or disarray, either by natural calamity, misuse or fallen to darker creatures. Having avoided the Elvenking’s gaze, he in fact managed to take the safest route. The narrator also mentions that somewhere, Gandalf had heard that these roads were too dangerous to trek and was hastily finishing his business elsewhere to come seek out the Company. His affairs elsewhere “does not come into this tale” (175, 1984).

As the river leads into Long Lake, Bilbo sees for the first time Lake Town, built right upon the water in a calm bay guarded by an alcove of rocks. The narrator introduces the ruins of Dale in the distance, home to “wars and deeds which were now only legend.” Once their barrels are netted and roped to shore by the lake people and left overnight, Bilbo cuts their tethers and begins releasing the dwarves from the barrels. They are all miserable, hardly able to move, starving, and waterlogged. After much groaning and grumbling, the four most able—Thorin, Bilbo, Fili and Kili—approach a set of absent-minded guards watching the bridge leading from the coast to Lake Town.

Thorin introduces himself and demands to meet Lake Town’s master. When asked who his companions are, he introduces Fili and Kili as “the sons of my father’s daughter” (I find it a little odd that he simply doesn’t say “my sister’s sons,” or why we never hear about this sister in anyway earlier or later). The guards demand that they give up their arms, but they admit they have none, all taken—including Orcrist—by the elves in Mirkwood. Bilbo says nothing about Sting hidden in his cloak. The guards bring the dwarves and Bilbo to a great feast-hall where the Master of the Lake is hosting elven guests. As soon as the doors open Thorin announces himself and his return to their homeland. By now word has spread and the town is vibrant with whispers and rumors of old prophecies and songs fulfilled. The elves at the feast stand in outrage, recognizing the dwarves as the escaped prisoners of the Elvenking. Thorin claims that their imprisonment was wrongful and before the Master can choose a side, the people begin crowding around and outside the feast hall singing for the returned dwarves, who they believe will return riches and life to the region.

By popular demand, the rest of the dwarves are welcomed into the town and they are celebrated as heroes to slay the dragon. They are given places of honor at the feast tables and fed and pampered. For a week this goes on and they grow merry and fat and strong again, while poor Bilbo suffers a terrible cold despite all the festivities. He does not forget that they still have a dragon to deal with and is very anxious. Word reaches the Elvenking in Mirkwood. Now aware of their quest, he deduces that they are no match for Smaug and are likely attempting burglary, or something like it. The men of the Lake don’t know this, however, so the king sends his spies to the edges of the Lake and beyond to keep an eye on the goings-on’s of the company.

At the end of a fortnight Thorin requests provisions from the Master for a trek to the Lonely Mountain. The Master had hoped that they were frauds and would eventually be found out so that the people would go back to their businesses, but he figures that the dragon will make short work of them, although will gladly take the rewards of the mountain if by chance they are successful. With three boats full of arms, food and provisions, the company is escorted to the far shore where a set of ponies await them to take them up the slopes of Erebor.

//

The Hobbit – The Bilbo Edition // Part IX. Lake Town

This chapter is surprisingly brief and lives up to its title. Jackson adapted this narrative segue in a completely different direction. Not only is Bard never mentioned in this chapter, but there is little animosity in Lake Town to strangers. The film depiction of Lake Town is gorgeous and well done aesthetically, but it’s never clear why the dwarves must sneak in. If we saw elves in Lake Town it would make more sense, but the elves from the book are cut from the film for some reason, and so we have a somewhat needless sense of urgency. With the provided material, it is salvageable, but there are some narrative inconsistencies here based on how the original adaptation was handled.

That said, we get important exposition on Smaug’s missing scale knocked off by Girion and character development for Bard, who has yet to be introduced in the book. For such a pivotal character in the plot, it’s important to value his life so that his sacrifice before the dragon means as much as it should. We see his wisdom, his love of family and safety, and why he is considered an outsider (communal shame toward his ancestor Girion failing to slay the dragon). The Master is well represented by Steven Fry, although I was glad to cut much of the political nonsense from the original films. I like the idea that Jackson is satirizing humans for their needless bureaucracy and the political manipulation of the poor masses, but he definitely went overboard to the point of it detracting from the plot and becoming cartoonish in its villainous depiction.

That said, the sequence works in transitioning the company from Mirkwood to the slopes of Erebor relatively quickly while establishing Lake Town, Bard and the people of the Lake, and there it succeeds relatively well, plotholes regarding security and sneaking aside.

Full Fan-Adaptation of The Hobbit Trilogy – The Hobbit: The Bilbo Edition