Release Date
27-06-2025
The Lord of the Rings: The War of the Rohirrimwas always bound to face an uphill battle, from the shadow of the original trilogy looming over it to being a 2D-animated film in a Western market far more used to 3D. It faced skepticism and was cursed with poor marketing, the tragedy of which is far greater having seen the film and basked in how well it manages to achieve its ambitions.
Directed by Kenji Kamiyama (Ghost in the Shell: Stand Alone Complex) and produced by Peter Jackson,War of the Rohirrimexpands on a short tale from the appendices ofThe Lord of the Rings. It is the tale of Rohan; the war that nearly destroyed it, the might of King Helm Hammerhand, who defended it, and the courage of his daughter, Hera, who found the hope needed to save it.
Capturing the Magic of the Past
To say that this filmcaptures the feeling of Peter Jackson’s trilogyis more than a little subjective because there is so much that contributed to that “feeling”. That trilogy was a monumental labor of love on behalf of so many creative artists and actors, beyond Peter Jackson’s strong guiding hand alone. What makesThe Lord of the Ringsspecial will differ from person to person.
However, for those to whom the music and aesthetic ofThe Lord of the Ringswere central to their love for the story,War of the Rohirrimrecaptures the tone and vision of Jackson’s films effortlessly. It shouldn’t be too much of a surprise given the number of producers and writers who worked on those films, but as they say, too many cooks can spoil the broth. It’s a relief, then, that they didn’t, because this film needed more than just surface-level similarities.
Stephen Gallagher’s score is epic and soaring as often as it is tragic and beautiful. The production team was giventhe full cooperation of WETA Workshop, something reflected in every sword, shield, and suit of armor, among other things. Then there’s Middle Earth itself, where every shot of Edoras, Helm’s Deep, and beyond, is as majestic and awe-inspiring as the live-action panning shots that first instilled wonder in this world.
How the Action Translates to Animation
In the months leading up to the film’s release, I was skeptical about the visual quality, or at the very least its consistency. Perhaps it was a consequence of bad editing, and it’s not as if the marketing was doing this film many favors to begin with. And yet,War of the Rohirrimis beautiful.There is a blending of 2D and 3Dthat rarely feels jarring, save for some over-ambitious character animation.
If the animation’s greatest crime is ambition, then it speaks highly of the rest of the film, which is consistently polished throughout, whether during battle or a simple exchange of words. When swords clash, there’s a healthy blend between a faster, more grounded interchange of blows and more pronounced, spectacular action that takes full advantage of the medium.
The Moments That Linger
Even going in with optimism, I was not expecting to love the action this much. That being said, the occasional awkward shot could kill some of the dramatic moments, and large battleswith many active participants leaned heavier on CGI. On the whole, the moments in between the action, where Kamiyama’s skill as a director shined, were the most impressive.
The character animation is consistently smooth throughout, emphasizing the subtlest gestures and expressions, and allowing moments to linger in meaningful ways. The way the charactersfeel- especially during inconsequential moments - might be the film’s most important stride toward capturing the heart behindThe Lord of the Rings.
An Old Tale of Middle Earth, Told Anew
To elaborate, let’s finally discuss the story and the characters themselves. When Lord Freca comes to Rohan, intending for his son, Wulf, to secure Hera’s hand in marriage, Helm rejects the offer, seeing through his thinly veiled play at the throne. The banter between them is strong, and what few lines they can draw upon from the original appendix are adapted and spoken brilliantly,especially by Brian Cox as Helm, who suggests they take their business outside.
The king does not permit brawls in his house, but men are freer outside.
But when Freca’s insults go too far, he learns all too quickly why Helm’s name is “Hammerhand,” as his first punch kills Freca, a deed for which Wulf declares vengeance. It’s a phenomenal set-up, but of course it is. Tolkien laid a tantalizing groundwork - the hard part is building onto it, and for all the reasons described above, it finds its footing easily, but it finds its stride through the performances.
Strong Performances vs Weak Characterization
Take Yazdan Qafouri’s performance as Hera’s brother Hama, for example. As she sees her brothers off to a battle, he speaks softly, perhaps fearful, but with bountiful hope nonetheless, wondering if songs will be sung about him in the future. Combined with the fluid character animation, the voice acting elevates the characters above what would be flat archetypes in a lesser story.
Unfortunately, good voice acting can only go so farand some charactersareflat. Wulf starts as a fine villain, but even Luke Pasqualino’s delicious portrayal of his descent into madness can’t save him from feeling like an underwhelming foe. Had there been a little more to him, or a secondary threat added to the climax, perhaps this could have been abated.
And there are more like Wulf - characters who could have been more, which is both a limitation of the time allotted to tell this story and a testament to how much I wanted to know them. But for every character that went underdeveloped, another shined despite the limitations. Characters like Olwyn, Hera’s fierce and trusted ally, who was voiced brilliantly by Lorraine Ashbourne.
The Story of Hera
Whereasthe original short story was centered around Helm,War of the Rohirrimis Hera’s story. Voiced by Gaia Wise, she’s a classical fantasy heroine in all the most refined, striking, and heartfelt ways. She’s a born adventurer who was inspired by tales of the Shield Maidens of Rohan and yearns to defend her land in the same way.
Perhaps she’s a bit plain for some, but look at her battle in a wedding dress and tell me that she isn’t iconic. If aestheticisnarrative; if images can speak to us like words, then Hera’s aesthetic strengths carry with them a profound depth. They speakforher, just asThe Lord of the Ringshas done before, gripping audiences through the sheer force of the cinematography. But the depths of her character are also drawn out by Helm, just as she draws out his vulnerable side.
The Story of Helm
Helm is not ignorant of his daughter’s skill. When he disallows her from fighting, he does so because heknowsexactly how brave she is. If he must already live knowing that his sons may die on the battlefield, he would do anything to save her from war’s cruelty. Ultimately, this is a tale of a father and daughter, and the scenes they share are among the best in the film.
Some were disappointed that Helm was not the sole protagonist, but frankly, it would be a lie to watch how his story unfolds here and claim he was done a disservice. When Helm shouts, daring his foes to face him, Brian Cox’s performance is on the level of Ian McKellen as Gandalf orthe late Christopher Lee as Saruman. It is a joy to behold and the highlight of the experience.
The Lord of the Rings: The War of the Rohirrimisn’t perfect. It deserved to be longer, to flesh out its cast, but it wouldn’t have needed much more to be great, and that is worth remembering. It will likely be a financial failure, but it was by no means anarrativeone, and its charms weren’t solely nostalgia so much as they were derived from the simple joy of earnest storytelling.
The Lord of the Rings: The War of the Rohirrimis now playing in theaters.
