The world of Middle Earth is no stranger to animation. Audiences are likely most familiar with the Oscar-winning live-action adaptations of J.R.R. Tolkien’s works directed by Peter Jackson, but Jackson’s work is predated by the animated adaptations released between 1977 and 1980 that partly inspired his journey through Middle Earth. The Lord of the Rings: The War of the Rohirrim (2024) marks the first time in over 40 years that a story set within Tolkien’s fantasy world is told via animation. The anime art style offers a bold interpretation of Middle Earth that provides a unique viewing experience for viewers of this epic new tale while staying true to what has always made this world of orcs, hobbits, and wizards so appealing.
The War of the Rohirrim takes place nearly 200 years before The Fellowship of the Ring (2001), chronicling the last stand of King Helm Hammerhand (Brian Cox) as he fights to preserve his kingdom and his people’s freedom against Wulf (Luca Pasqualino), a Dunlending lord seeking vengeance. Amid the unfolding war, Helm’s daughter Héra (Gaia Wise) proves herself worthy of defending her home and her family’s legacy while attempting to appeal to the good she believes still lies within Wulf’s soul.
The story in The War of the Rohirrim almost immediately proves worthy of a big-screen adaptation. With only the most avid Tolkien fans familiar with this particular tale, this film introduces wider audiences to a different era of Middle Earth. Considering so much of the story is untapped ground, it would have served director Kenji Kamiyama and the film’s several writers well to further flesh out certain parts of this Middle Earth as well as the characters within it. Most of what viewers learn about these aspects prominently comes from expository dialogue from the characters or plot-driven exposition delivered by an omniscient narrator; I would have preferred to see these developments occur more naturally through deeper character interactions. However, with a saga as large as this, perhaps the only way to do so would either be through an extended cut (similar to those that Jackson released for each of his Middle Earth films) or via a limited series rather than a feature film.
Luckily, any narrative and character shortcomings hardly detract from the larger plot. Héra is given the most characterization and for good reason. She is one of the better representations of a female heroine seen in films of this nature as of late and one of the most intriguing characters within the entirety of Middle Earth lore. One of the film’s greatest thrills lies in seeing her grow more capable as a warrior and a leader while never losing sight of her humanity as she tries to rescue Wulf from the dark path he travels. Héra is a strong character from the film’s opening scenes, but the growth and maturity she gains along her journey through action and tragedy make her a hero one can only root for.
Wise’s vocal performance as Héra is just as powerful as the character herself. Wise imbues her with a tender hope that gets utilized repeatedly while applying subtleties of Shakespearean drama to the more intense scenes, matching Cox’s booming presence as her father. Wise and Cox stand out most in The War of the Rohirrim, and they each bring a determination to their roles that add weight to the larger-than-life characters they play.
The visual spectacle that The War of the Rohirrim delivers is another key ingredient that allows the feature to reach greater heights. The decision to showcase this story and this world through an authentic anime lens is inspired. The style brilliantly lends itself to Middle Earth, providing a distinct sense of scope with sweeping shots of gorgeous mountainous landscapes that almost appear photorealistic. When the fantasy action ensues, whether through hand-to-hand combat or larger war scenes featuring clashing armies, the style allows for fluidly detailed movement that separates itself from traditional American hand-drawn animation. Upon seeing it in action in the film, it’s clear that this was the best way to showcase this story visually. The one facet that could have been better is the facial animations in several scenes. This is not an issue encountered during the entire film, but there are scenes where the characters’ faces appear less expressive than in other scenes, creating a distraction.
Tackling this feature with this kind of animation and with an authentic helmer who has experience telling acclaimed stories utilizing the anime art form like Kamiyama should be applauded. It is not the typical decision allowed by a major studio like Warner Brothers, let alone given a theatrical wide release. Should the film be successful, it would be welcome to see other studios take similarly authentic steps to attempt this style with other major franchises. Not only does it feel like a breath of fresh air but it also allows the Japanese culture associated with the art form to be embraced by Western audiences who may not typically embrace it on their own, leading to more diverse and original means of storytelling.
The War of the Rohirrim is a welcome return to Middle Earth that does not disappoint. Although it doesn’t match the greatness of Jackson’s original trilogy, it certainly makes a grand case for telling more stories within this world. One can only hope that any future creative decisions about the execution of these stories prove as intriguing and successful as those seen in this film.
Review Courtesy of Evan Miller
Feature Image Credit to Warner Bros. Animation via The Hollywood Reporter