@HereAndGone2 comments on "Culture War Roundup for the week of December 15, 2025

Culture War Roundup for the week of December 15, 2025

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HereAndGone2 1mo ago

Seeing as I'm off on a Tolkien tangent, and with the third season of Rings of Power lurking out there in post-production, here are some of his comments about the proposed film version of LOTR:

1957 letters to Rayner Unwin

(1)

You will receive on Monday the copy of the ‘Story Line’ or synopsis of the proposed film version of The Lord of the Rings. I could not get it off yesterday …

The ‘Story Line’ is (as might be expected) on a much lower level of art and perceptiveness than the pictorial material. It is in some points bad, and unacceptable, but is not irremediable, if the author of it (a certain Morton Grady Zimmerman) is open to criticism and direction. The ending is badly muffed. Though a lot of time is said to have gone into it, it reads like a production of haste, after a single reading, & without further reference to text. (My criticisms are not directed to the orc-idiom in which it is written, but to the effect which, it appears to me, the directions would have in a visual presentation – not to mention dialogue.) Mr Ackerman’s line of talk was that a big object to the group was ‘pleasing the author’. I have indicated to him that will not be easy.

Quite crudely: displeasing the author requires a cash equivalent! Only the prospect of a very large financial profit would make me swallow some of the things in this script! But I had the impression that there is not much ‘money’ in this proposition. In that case they had better be a bit more artistic!

An abridgement by selection with some good picture-work would be pleasant, & perhaps worth a good deal in publicity; but the present script is rather a compression with resultant over-crowding and confusion, blurring of climaxes, and general degradation: a pull-back towards more conventional ‘fairy-stories’. People gallop about on Eagles at the least provocation; Lórien becomes a fairycastle with ‘delicate minarets’, and all that sort of thing.

But I am quite prepared to play ball, if they are open to advice – and if you decide that the thing is genuine, and worthwhile.

(2)

Ackerman. What a letter! Just like the man, when I met him. But I came to the conclusion then that he was, in spite of his style, a genuine enthusiast … Cobb and Lackey obviously have real talent … and the comparison of Cobb with Rackham is just. Also Cobb’s taste and style seems on the whole to fit the L. R. better than I should have thought possible. I should say that he can be sinister without great distortions. He is certain to prove less good on anything noble or admirable (we all are, and Americans specially). But in any case, the visual art is not of such a superlative order that it could carry the stupidities and vulgarities of the script. And I am afraid we must take a stand there, as you have very clearly indicated: either the script-writer must be humble and co-operative, or his ‘visual’ colleagues must go unpublished.

...My chief criticism of the project, so far, is this. There is an internal dislocation. The chief and special talent of the group obviously lies, and will lie, in the scenic, & pictorial. The script-writer should consider this. On the contrary, he wants feverish action, and simply cuts out parts in which climate and scenery are the chief interest, such as ‘The Ring goes South’ or ‘The Great River’. Whereas the distant view and approach of the 3 sinister mountains, or the unrolling of the Anduin, would be just the things this group would do admirably.

However, we shall see. Grateful as I am, & should be, for the abundance of people who profess enjoyment of The Lord of the Rings, I wish that the commonest reaction of admirers was not the desire to tinker with it! However, a good deal of alteration is inevitable in a change of medium. But the Zimmerman alterations are the wrong way round. In a visual form marvels, like flying on eagles, want reducing not increasing.

(3) 1958 letter

Of course, I will get busy on this at once, now that Easter is over, and the Dutch incense is dissipated. Thank you for the copy of the Story-line, which I will go through again.

I am entirely ignorant of the process of producing an ‘animated picture’ from a book, and of the jargon connected with it. Could you let me know exactly what is a ‘story-line’, and its function in the process?

It is not necessary (or advisable) for me to waste time on mere expressions if these are simply directions to picture-producers. But this document, as it stands, is sufficient to give me grave anxiety about the actual dialogue that (I suppose) will be used. I should say Zimmerman, the constructor of this s-l, is quite incapable of excerpting or adapting the ‘spoken words’ of the book. He is hasty, insensitive, and impertinent.

He does not read books. It seems to me evident that he has skimmed through the L.R. at a great pace, and then constructed his s.l. from partly confused memories, and with the minimum of references back to the original. Thus he gets most of the names wrong in form – not occasionally by casual error but fixedly (always Borimor for Boromir); or he misapplies them: Radagast becomes an Eagle. The introduction of characters and the indications of what they are to say have little or no reference to the book. Bombadil comes in with ‘a gentle laugh’! …

I feel very unhappy about the extreme silliness and incompetence of Z and his complete lack of respect for the original (it seems wilfully wrong without discernible technical reasons at nearly every point). But I need, and shall soon need very much indeed, money, and I am conscious of your rights and interests; so that I shall endeavour to restrain myself, and avoid all avoidable offence. I will send you my remarks, particular and general, as soon as I can; and of course nothing will go to Ackerman except through you and with at least your assent.

(4) 1958 letter to Forrest Ackerman with commentary on the film treatment

If Z and/or others do so, they may be irritated or aggrieved by the tone of many of my criticisms. If so, I am sorry (though not surprised). But I would ask them to make an effort of imagination sufficient to understand the irritation (and on occasion the resentment) of an author, who finds, increasingly as he proceeds, his work treated as it would seem carelessly in general, in places recklessly, and with no evident signs of any appreciation of what it is all about …

The canons of narrative art in any medium cannot be wholly different; and the failure of poor films is often precisely in exaggeration, and in the intrusion of unwarranted matter owing to not perceiving where the core of the original lies.

Z … has intruded a ‘fairy castle’ and a great many Eagles, not to mention incantations, blue lights, and some irrelevant magic (such as the floating body of Faramir). He has cut the parts of the story upon which its characteristic and peculiar tone principally depends, showing a preference for fights; and he has made no serious attempt to represent the heart of the tale adequately: the journey of the Ringbearers. The last and most important part of this has, and it is not too strong a word, simply been murdered.

Bonus "why didn't the Eagles just fly the company to Mordor?" answer

Here we meet the first intrusion of the Eagles. I think they are a major mistake of Z, and without warrant.

The Eagles are a dangerous ‘machine’. I have used them sparingly, and that is the absolute limit of their credibility or usefulness. The alighting of a Great Eagle of the Misty Mountains in the Shire is absurd; it also makes the later capture of G. by Saruman incredible, and spoils the account of his escape. (One of Z’s chief faults is his tendency to anticipate scenes or devices used later, thereby flattening the tale out.) Radagast is not an Eaglename, but a wizard’s name; several eagle-names are supplied in the book. These points are to me important.

...At the bottom of the page, the Eagles are again introduced. I feel this to be a wholly unacceptable tampering with the tale. ‘Nine Walkers’ and they immediately go up in the air! The intrusion achieves nothing but incredibility, and the staling of the device of the Eagles when at last they are really needed. It is well within the powers of pictures to suggest, relatively briefly, a long and arduous journey, in secrecy, on foot, with the three ominous mountains getting nearer.

Just imagine what he would have thought of McKay and Payne's shrunken distances so Khazad-dum is only a stroll away from Eregion! Or the magic teleporting so people cover vast distances in hours not days! Or, of course, the layout of the Numenorean ships where they can stow all the horses, troops, supplies, etc. below in the vast, TARDIS like holds.

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