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Chen G.

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Everything posted by Chen G.

  1. All I can speak to is for the context of this season: Its..yeah...
  2. It certainly doesn't help that the Harfoots look cloying, have cloying Potter-ish names and, in this trailer, deliver cloying, saccharine lines TO THE BLOODY CAMERA:
  3. I think the real issue with this being Gandalf isn't the contradiction of the source material, its that its cloying. Because its very much a "Gandalf is rescued and nurtured by this young Hobbit and so, millennia later, he sees something of her in Bilbo and Frodo. Ahw, isn't it just adorbs?"
  4. Still, @TheUlyssesian's point is well taken, I trust. This emphasis on secrecy and character identites being shrouded in mystery and plot twists, as well as (potentially) redeemable villains with a familial tie to the heroes - all of those elements smack of a Star Wars influence to me, and I don't like it.
  5. Quite. One of the things I do like though: Some people were born to play Dwarves and Peter Mullan is at the top of that list, and now he's playing THE Dwarf!
  6. I'm going to far afield with this and feel free to stop me at any point if you think I'm talking nonesense, but for the meanwhile, humour me. This the first Middle Earth project (well, since Bakshi's) that's helmed by Americans. Could it be that these showrunners have been reared on another, more American fantasy series - Star Wars, for instance - and are importing some of its style, including a prediliction to surprises and plot twists? I can't quite put my finger on it, but something about this show seems Star Wars-flavoured to me.
  7. If the identity of the Stranger is not revealed in this season - which I think its likely - then to base any conclusions on who he might be from the album. Its like...remember those people who tried to find clues to who Snoke was or what's Rey's lineage by looking at Williams' music?
  8. We should be so lucky that it should turn out this isn't Gandalf and those bloody Harfoots undergo a Hobbicaust. But we won't.
  9. I think a lot of people think "Eh, it would just be a blue wizard fullfilling the function of Gandalf" but I feel like if its "not Middle Earth without Hobbits" it sure as hell ain't Middle Earth without Gandalf, and the showrunners know this. You don't play around with something like Gandalf: you don't do a red herring Gandalf, you don't do an ersatz Gandalf: you either do the genuine article, or you don't.
  10. Me too. And its...the panderingest pandering pander ever pandered in the history of pandering!
  11. And not one was more consciously high-fantasy/fairytale looking than this one. Those Wargs!
  12. And that Williams chucked out much of his musical ideas for the piece two entries in certainly didn't help...
  13. Well, the orchestra used to record The Empire Strikes Back is a fair bit larger than the one used for the original...
  14. It is interesting that the arpeggio - which, based on the Rivendell association, I definitely take as a paean to Elvendom at its peak - contains both the shape associated with the Ring (inverted) AND the shape associated with the Fellowship right next to one another. It also seems to me that all these scale patterns hint at the music of both the Hobbits and of mankind, and some of the chords underneath remind me of Beorn and the world of nature. There are some parallel fifths/fourths hiding in there, too: Its like a precis of the entire Middle Earth palette, it seems to me.
  15. I didn't necessarily feel the direction was dispassionate: I actually enjoyed quite a few of the setpieces. My issues with the film with lay elsewhere and are probably more on the page than on the screen: sure, I have issues with the setpieces, with the peculiar choice of having aliens in it, with how long the bloody thing actually takes to really get going, and with the odd look of the film (and you'll recall that I'm not one to complain about films looking "too clean"). But my main issues with the film are probably more conceptual. To me, conceptually, the idea of not letting Indy ride into the sunset and stay there - which is about as perfect a farewell to a character as one could have ever asked for - was a flawed one, and was made all the more lamentable due to Ford's age. I really dislike this tendency to drag our dashing action heroes in their old age back into the fray: there's something miserable about it to me. Having setpieces that conclude with Indy surviving a nuclear explosion or a fall from a ridge in an SUV unscathed is bad enough (although Temple of Doom, which I'm not a huge fan of either, did those things too) but combined with Ford's age I spend much of the movie thinking "nevermind how you survived, Indy: how did you not throw your back out?!" There are just a few too many moments like that in the film for my liking. Then there's the general soapiness of the whole thing: Marion turning up as the estranged wife who becomes remarried with Indy, Mutt turning out to be her and Indy's son. If I felt more privvy to the inner workings of the screenwriting process, I would be more than willing to hang this on Lucas who ever since 1980 had increasingly hinged his stories on familial ties, a tendency I found to be unbearably cheesy ever since. There are probably other flaws that slip from my mind: I only watched the wretched thing once.
  16. Do we have all the drafts available to us? My memory is that we don't. And yes, we do know Lucas and Spielberg butted heads about the alien idea, and while I don't particularly like it in the film, its far, far from the movie's biggest shortcoming.
  17. I always find these "picking apart the creative team to find the party to blame" discussions very reductive. We need a far better understanding to who concieved of each creative choice taken in the script, and who wrote what, before we can start to construct such a narrative. Its just a movie that (1) was in some ways a doomed enterprise from the outset and (2) had - for whatever reason - things go astray in the creative process.
  18. He even appears in the onscreen credits as Sir Lenny Henry, which is something I've not seen since Dame Gwyneth Jones' credit on Quartet.
  19. Its a very nice score, if one manages (and not all would succeed) to divorce oneself from the Howard Shore sound. Except all the Harfoot stuff: that stuff is so saccharine, the album should not be administrated to diabetics!
  20. Right. Even The War of the Rohirrim has the brilliant Brian Cox! To be fair, I think in their mind, probably Peter Mullan (who, all credit to them, was born to play a Dwarf) and Sir Lenny Henry fulfill that function.
  21. It furthers the same central conflict: its effectivelly an expanded retelling of the prologue to The Fellowship of the Ring. We even know that's how it was pitched!
  22. To further this point, look at the wideshot of the Numenorean palace: What's that statue there holding? To me it looks like one thing and thing only:
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