Cover Story

'Baptized imagination'

COVER STORY: The creative men and women behind the Lord of the Rings trilogy didn't always accept or understand Tolkien's themes, but his worldview still comes through powerfully in the films. The result is a profoundly Christian vision for the postmodern world

Issue: "Lord of the Rings," Dec. 20, 2003

SURROUNDED BY TOWERING palms, the Four Seasons Hotel Los Angeles sits just blocks from Beverly Hills' famous Rodeo Drive, shopping Mecca for the rich and famous (or those who think they are or who hope to be). Within a short walk is the large building that houses Larry Flynt Publishing, headquarters of Hustler magazine; Mr. Flynt's elegant black Rolls Royce is frequently parked in front of the hotel during the lunch hour, just as it was on a sun-soaked afternoon earlier this month.

A guest at this posh, quintessentially California hotel shouldn't be surprised to find himself rubbing shoulders with actor Robert Duvall in the dimly lit, tastefully appointed lobby bar or brushing against rapper LL Cool J at the concierge desk. The Beverly Hills Four Seasons is perhaps one of the last places on earth one would expect to find a doorway into a fantasy world of another sort: J.R.R. Tolkien's Middle Earth.

And yet this turned out recently to be the case, as WORLD sat down with the creative forces (both in front of the camera and behind it) responsible for this month's The Return of the King, the final installment in director Peter Jackson's film trilogy of Tolkien's Lord of the Rings tales.

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The film, which arrives in theaters on Dec. 17, is the crowning triumph of a series that seems to have only improved with each installment. It is epic not just in the scale of its battles, in the scope of its story, or in the sheer magnitude of its sets, but also in its tightly knit narrative that includes moments of startling intimacy.

Director Jackson, writers Philippa Boyens and Fran Walsh, and gutsy producers at New Line who gave this mammoth project a green light deserve credit for committing this beloved tale to film in such a powerful, and ultimately faithful, manner. But in talking to Mr. Jackson and others involved in the project, it's clear that these films say more about the strength of the source material-the power of Tolkien's myth-than anything else. Nearly half a century after the books were first published, the history of Middle Earth still has the ability to capture imaginations, and, perhaps more significantly, communicate fundamental Christian truths.

That Tolkien's faith (he was a committed Roman Catholic) deeply influenced his writing is without question. The author himself said that The Lord of the Rings "is a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision." Many of the writers, actors, and other creative talent behind the films don't seem to accept or understand this worldview; yet it consistently made its way into the trilogy.

Whatever the personal convictions of the film's collaborators, not only will audiences find here virtues like valor, fealty, honor, and self-sacrifice, but also Tolkien's more explicitly Christian concepts of absolute truth, good and evil, and the sure hand of Providence.

The striking thing about sitting in a cramped hotel room at the Four Seasons with the filmmakers and a dozen other members of the press was that such topics were even on the table. Tolkien's ideas were questioned, misunderstood, and distorted-but they were discussed with both respect and lively interest.

The fragmented process of filmmaking often keeps those involved, especially the actors, from being fully engaged in the larger story. But nearly everyone involved in this project was invested in Tolkien's myth. "I think in playing a hobbit, I was at the very center of his ideology and his perspective of what was good and what was wrong with the world," Elijah Wood, who plays Frodo, told WORLD. "I think those themes that are very important in the story to Tolkien ... became very important to me. I think I agreed with them before, but I think even more so after."

By all accounts, the tone of the production was set at the top. Special-effects designer Richard Taylor noted that it was his job "to pursue [Peter Jackson's] vision over and above Tolkien's vision," but from the start, Mr. Jackson was committed to preserving the essence of Tolkien's vision.

"We made a real decision at the beginning that we weren't going to introduce any new themes of our own into The Lord of the Rings," he said. "We were just going to make a film based upon what clearly Tolkien was passionate about." Both Mr. Jackson and other cast members referred to the paperback copies of the trilogy used during filming as their "bible."

But the filmmakers' didn't always seem to agree with the themes in the "bible" that they were faithfully translating. Mr. Jackson himself isn't sure that he buys all of Tolkien's ideas. "I don't know whether evil exists," he said. "You see stuff happening around the world, and you believe it truly does ... I think evil exists within people. I don't know whether it exists as a force outside of humanity."

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