Moview Review: The Hobbit: An Unexpected Journey A tale of everyman heroism

MANILA, Philippines -  Far from being a trip to Nowhere, Peter Jackson’s first in the highly-anticipated Hobbit trilogy should be one joyous ride for all those who still have a hard time accepting that the Lord of the Rings franchise is truly over, and should be a nice icebreaker for new fans and those who found the Rings trilogy somewhat grim and too layered.

If you recall, J.R.R. Tolkien first wrote The Hobbit, back in 1937, as a children’s book and fantasy fable. It was the success of The Hobbit that had adult readers egging him to produce something in the same vein, but with a mature audience squarely in mind — and this resulted in his writing the Lord of the Rings, an altogether more political, detailed world, that still maintained the more fantastical elements that made The Hobbit such a hit, even for an unintended older readership.

A young hobbit, Bilbo Baggins (Martin Freeman), is at the center of this tale, and to truly understand this as a prequel of sorts, the film opens with Bilbo, as an older man (Ian Holm), writing his life’s adventures for Frodo’s perusal (a cameo courtesy of Elijah Wood). We’re then transported to that earlier time, with Gandalf (the wonderful Ian McKellan) “drafting” Bilbo to help the 13 warrior dwarves reclaim their lost kingdom from the dragon (Smaug) that upset the Middle Earth order. Once again, we’re treated to a world of elves, trolls, goblins, fairy queens, evil warrior orcs, wizards, giant birds, fleet of foot rabbits, Necromancers and numerous other fantasy figures.

Being filmed in 3D, in pioneer fashion by using HFR (or High Frame Rate, which means 48 frames per second, as opposed to the traditional 24), means much higher definition and an almost hyper-real quality to the film’s resolution. The magnificence of the panoramic New Zealand landscape takes full advantage of the film technique, and it’s in the outdoor shots that the film’s cinematography comes to life.

As for the drama within the film, the best scenes here would be those of Bilbo and Gollum (Andy Serkis). The schizo-paranoia of Gollum is wonderfully placed in counterpoint by the downplayed characterization Freeman imbues in his Bilbo. Never more than a reluctant hero, Freeman makes Bilbo a true everyman, someone ordinary and humdrum who finds heroism in himself, without undergoing some vital transformation.

The scenes of the dwarves confronting and making their escape from the goblins are impeccably choreographed with a dizziness and attention to detail that rival Steven Spielberg at his Indiana Jones and Tintin best. While the film runs for some two hours and 45 minutes, one does get wrapped up in the vivid storytelling that’s on display. There are some sequences that betray just how much Jackson wanted to cram into the film treatment; but given the lighter, more humorous approach that is genuinely found in the original material, one welcomes the enthusiasm, and I can only hope that the second film can maintain this high standard.