“With or without honor, men bleed just the same” – Wulf
Expanding Peter Jackson’s beloved Lord of the Rings saga, Warner Bros. presents The War of the Rohirrim, the franchise’s inaugural animated film. Taking place 200 years before Bilbo discovers the One Ring, it shines a light on Héra, a compelling new character and aspiring shieldmaiden of Rohan.
The Lord of the Rings, a franchise remarkably resistant to Hollywood’s sequel-and-reboot mania, took an unexpected turn with Warner Bros. and New Line’s animated prequel. While questions surrounding rights retention swirled, the project offered a compelling blend of the familiar and the fresh. Returning as executive producers were Peter Jackson and Fran Walsh, the architects of the original cinematic saga, while Kenji Kamiyama (“Ghost in the Shell: SAC”) brought his distinctive directorial style. The voice cast further bridged the gap between old and new, featuring Brian Cox as King Helm Hammerhand and the rising talent of Gaia Wise as Héra. Notably, Miranda Otto reprised her iconic role as Éowyn as the film’s narrator, and the delightful surprise of Billy Boyd and Dominic Monaghan voicing the Orcs Shank and Wrot added a delightful touch of nostalgia.
In the heart of Rohan, amidst a brewing storm of treachery and war, The Lord of the Rings: The War of the Rohirrim unveils the saga of Héra, daughter of the legendary King Helm Hammerhand. Destined to be a shieldmaiden, Héra’s path is violently altered when a neighbouring lord’s marriage proposal ends in tragedy, igniting a vengeful war. As Helm’s kingdom is besieged by a relentless army and internal betrayals, Héra must rise above the chaos, proving her strength and forging her destiny amidst the flames of conflict.
Credits: Warner Bros
While it may not replicate the cinematic grandeur of the live-action trilogy, this film earns its place within the Tolkien tapestry. The filmmakers deftly uphold the established mythology and tone, a vital achievement for any adaptation. A delightful highlight is the fleshing out of characters previously confined to the appendices.
The shift to a human antagonist, Wulf, portrayed by Luke Pasqualino, provides a welcome departure from the familiar Sauron and Orc threats. Though driven by a compelling, if somewhat predictable, thirst for revenge, Wulf ultimately lacks the iconic weight of his predecessors. The film’s surprising visceral edge, marked by strikingly graphic action sequences, adds a distinctive and compelling layer to the familiar swordplay.
Beneath the well-worn path of revenge, with its predictable cycle of grief and retribution, Héra’s rich emotional landscape truly captivates. It’s in the nuanced exploration of her inner world, rather than the rote action, where the film truly shines. A distinct echo of Middle-earth, both nostalgic and invigorating, resonates throughout the narrative. Miranda Otto’s narration, imbued with the fortitude of Éowyn, elevates the story with its gravitas. And those fleeting, enchanting glimpses of iconic creatures? They ignite a spark of wonder that lingers long after the credits roll.
Ultimately, however, the film struggles to fully break free from the familiar trappings of its revenge narrative. Despite compelling character work and evocative nods to a beloved fantasy world, it doesn’t quite ascend to the heights of its predecessors. It’s a film punctuated by moments of genuine brilliance, yet it ultimately falls short of recapturing the singular magic that defined the earlier works.
“The Lord of the Rings: The War of the Rohirrim” Review
The Lord of the Rings: The War of the Rohirrim expands the Lord of the Rings lore with an animated prequel focusing on Héra, a shieldmaiden of Rohan, and the violent conflict that shapes her destiny. While it successfully maintains the franchise’s tone and offers nostalgic nods, the film’s predictable narrative, and forgettable villain prevent it from reaching the heights of the live-action trilogy.
