In the Land of Good and Evil: Analysis of Mise-En-Scene in The Lord of the Rings: The Two Towers By Robbin

Zirkle Audiences the world over love to go to the moviesit provides them with an opportunity to escape the real world for a few hours and observe how a team of writers and directors choose to portray life. In 2002, New Line Cinema released Peter Jacksons The Lord of the Rings: The Two Towers. Viewers showed up at theaters in record numbers, prepared to be thrilled by the second film based on the literary trilogy written by J.R.R. Tolkien. The interesting thing about The Two Towers, however, is that it is utterly unreal in relation to modern society and the world in which it exists; the film stays true to the fantasy genre, which is generally considered to be less popular than others. This is due in part to mise-en-scene, which Bordwell and Thompson define as what appears in the film frame....setting, lighting, costume, and the behavior of the figures (112). A friend of mine once stated, Its not anything like the real worldbut after five minutes, you believe it. This sense of realism in an unreal fantasy world is at least partially a result of mise-en-scenes contributions to the theme of good and evil in the narrative of The Two Towers. Realism is a significant aspect of film because it determines whether or not the audience sees the film as authentic or artificial. Realism is truly at the mercy of mise-en-scene, because it is most frequently setting, costuming, lighting and behavior of actors that shape the audiences idea of what is real. When analyzing mise-en-scene, it is a good idea for the conscientious viewer to ask whether or not it is being used for an impression of reality, or for another purpose (Bordwell). In The Two Towers, Jackson uses mise-en-scene to create a new reality by

connecting it to the narrative. Setting, props, costuming and makeup are used to enhance the differences between good and evil. Conventional ideas about these entities are both accessible and relatable, so the audience is able to connect to a story that does not take place in their world. Therefore, the mise-en-scene begins to feel real, as it reasserts and amplifies the distinction between good and evil. When mise-en-scene begins to contribute to the theme of the narrative, the viewers interest is no longer in how the film expresses its realismbut is in the kinds of linkages that connect the represented fictionalized reality of a given film to the visual and social coordinates of our own three-dimensional world [visual credibility]. (Giralt 5) Setting, in particular, defines the difference between good and evil by categorizing certain locations in the film with archetypes, color, crowding, and other elements. In order to do this, Jackson utilizes both preexisting locales and constructed settings. Throughout The Two Towers, setting is used in different shots to demonstrate transitions from evil to good, reinforcing the message of the narrative and also defining itself within the genre. The Two Towers was shot entirely in New Zealand, with many scenes filmed on the plains of Deer Park Heights in Queenstown, which features hills and rocks and provides a backdrop of showy mountains (The Lord of the Rings). This region is home to vast, green plains and sweeping panoramic views that are peppered with large rocks protruding from the ground. The audience first sees the plains when a pack of orcs and uruks are running with Merry and Pippin on their backs. Orcs and uruks are the minions of The Two Towers villain, Saruman, and they have kidnapped two hobbits who are friends of the series protagonist, Frodo Baggins. These creatures are shot against a gray background in close proximity to one another. Because of the way this scene is shot, there is little visual contrast on the screen, and the viewer is forced to

focus on the dark faces and armor of the orcs and uruks against gray rocks, and the crowded conditions in which they live. This scene utilizes setting to emphasize the sheer size of the pack, and to cast these characters literally as dark and lifeless, like the colors with which they are associated. These lifeless colors, paired with their mob-like appearance contributes to these creatures malevolent air and helps the audience to define them as evil. Setting enhances their gruesome appearance and limits the energy in the shot, further aiding their categorization as evil Another notable evil setting is that of Sarumans underground factory. Saruman is the villain in The Two Towers, and uses the underground factory to produce new warriors and weapons for a battle to win Middle Earth. In Showing Saruman as Faber: Tolkien and Peter Jackson, James G. Davis identifies the concept of evil as the industrialized parts of Middle Earth (56-57), so it is no surprise that Jackson powerfully and directly depicts the fabril nature of Sarumans evil through dramatic, startling visual images (Davis 68). The shots of the underground factory are crowded and feature towering rocks and neutral colors (primarily black and gray); a red light washes over everything in the scene. These scenes are lurid, red-lit [and] chaotic, (Davis 55), emphasizing the evil that the heroes of the film are facing. The crowded environment also draws attention to the volume of opposing orcs and uruks that will play a part in the film, and suggests that hell itself might have had opened. Further defined by evil is Wormtongue, the adviser to the king of Rohan, Thoden, whose mind he has poisoned and corrupted. Wormtongues makeup involved adding warts and a scab to a bald patch, painting his tongue so that it might appear clouded and sickly, and giving him a primarily green visage. He dons black robes, and his eyes are blue, but without depth, to

suggest that the audience doesnt know what is beneath them. The intention behind Wormtongues costuming and makeup was to make him appear to be archetypally evil, so that his character was communicated on many levels (The Lord of the Rings). Wormtongues costuming and makeup is especially effective, because it allows the audience to label him as evil before he speaks or moves on the screen. It is due to this visage that the audience can be sure that he has poisoned the kings mind before any other characters accuse Wormtongue of doing so. His black hair and soulless eyes are a foundation for the more repulsive elements of his appears, such as the scab on his head and his clouded tongue. Immediately, Wormtongue is a believably vile character who is to be mistrusted, if only due to his appearance. The King of Rohan, Thoden, undergoes a literal transformation from evil to good shortly after the audience is introduced to his character. This transformation does not appear artificial, which helps to contribute to fantasy-based realism, in which anything can happen, so long as it looks to be authentic. When the audience first encounters Thoden, he is under Wormtongues spell, and is being controlled by evil. His appearance is decrepit at besthis skin is withered and wrinkling, and appears to be paper thin. His hair has grown long and white, and his eyes have taken on the same clouded, soulless look that we see in Wormtongue. After the wizard Gandalf arrives at the Golden Hall in Edoras (Thodens castle), we begin to see the first signs of good combating evil as he draws Wormtongues evil from Thoden using magic, and in doing so, removes the evil which has aged him (Thoden). After Gandalf has done this, Thodens long hair begins to recede into his head, and his hair begins to darken. His skin returns to a healthy tone and his eyes regain a certain sparkle, and lose their clouded

appearance. This transformation was a serious undertaking for the makeup staff, and involved three different sets of makeup, all of which was stippled onto the face of the actor playing Thoden. Each makeup application took at least half of a day (The Lord of the Rings). The attention to detail in the makeup for Thoden is remarkable, and once again, contributes to realism. When he transforms, the image does not appear to be entirely computer generatedthis is because of the three different makeup applications that helped Thoden to appear as if he was truly becoming younger. While Thoden is never a truly evil character, he is inhabited by evil when the audience first encounters him, and he seems to be without any energy or motivation to live. This appearance helps to explain Thodens support of Wormtongues selfish and deplorable actions, and allows Thoden to be labeled as an archetypal good character. After Thoden has been reclaimed from the grips of evil, his appearance is heroic and an air of youth restoredthis vitality alludes to his regaining control over his life and kingdom once more, and redefines Thoden as a good man. Returning to the plains of Rohan, we see a great deal of contrast once it is overtaken by our heroes, Aragorn, Gimli and Legolas. In visual contrast to the previous scene crowded by orcs and uruks, these shots incorporate a great deal of greenery and blue sky. Shots focus on these three men standing on the large rocks with a great deal of color from both the plains and sky behind them, surveying the pastoral scenery while they seek out their friends. These shots are Spartan, with exclusively natural surroundings, and feature the heroic efforts of these three characters, associating the liberated land with good in the film as they move quickly from placeto-place, casting looks of worry and concentration in the direction of the cameras lens. The high color saturation of these shots also injects energy into the narrative, and redefines the

setting as good now that the orcs and uruks have moved through, carrying Merry and Pippin and fleeing from Aragorn, Gimli and Legolas. In the same vein, Sarumans underground factory is cleansed of evil in one of the final scenes, in which the Ents, tree shepherds who are offended that their quarries have been cut down to fuel the factory, take action. The audience witnesses their attack to reclaim their natural lands and seek vengeance for crimes against their race. This scene incorporates a great deal of sky, because it is filmed at the mouth of the underground factory. In the director and writers commentary, Jackson notes that a model of the dam was used in this scene so that the water coming down could be real and dramatic. The use of real water also emphasizes the implication that that land in particular is being cleansed and reborn, and has been redefined as good. Both the plains and factory settings are designed in a way that not only shows reclamation from evil, but also one that contributes to realism through their believable visualizations. A medieval factory is not realistic at first, but its adherence to what Westerners learn medieval armories looked like contributes to its feasibility. For example, the audience sees fires burning and crude levers and pulleys being used to lift things. Weapons are forged by hand and the setting appears to be hot, crowded, and dirty. The association with evil also contributes to realism. The scene in which the Ents attack Sarumans underground factory is thoroughly unrealistic in reality, but in the world that Jackson has created, lifelike tree shepherds could easily bring down a dam. Again, the association with the narrative contributes to realism and makes the images that are shown on the screen more plausible.

In contrast to Sarumans underground factory, the scenes which take place on the plains are plausible, except for the orcs and uruks. In this instance, makeup and costuming are used to contribute to realism within the genre, and to emphasize the evil in these characters. Each of the orcs and uruks features a black face, scraggly, sweaty hair, a slash for a mouth, and black armor. Their appearance is crude and militant, visually defining their role in the story. In the arts of costuming and makeup in the fantasy genre, realism relies on adherence to the characterin this case, the orcs and uruks must truly look like another race of beings that are vile and abhorrent. Thanks to the makeup and costuming teams, their sweaty hair and hallowed visages contribute to this sense of realism while casting these characters as evil. Throughout the aforementioned scenes, but particularly the scene in the Golden Hall, props are used to contribute to the authenticity and mystical nature of the film. Furthermore, props help to remind the viewers and the characters that evil is brewing in Middle Earth, and that a storm is ready to strike. The first time that we encounter this reminder is when the audience sees Gandalf use his staff to draw Sarumans evil out of Thoden. This staff is incredibly large and white; the actor playing Gandalf is well over six feet tall, and the staff comes up to his shoulder. The audience often sees Gandalf brandishing it before himself, a symbol of good and power. When he enters the Golden Hall, Gandalf conceals this staff, knowing that Thodens mind has been overtaken by Wormtongue. He reveals the staff and saves Thodens life, with a great deal of attention in the shot drawn to his staff, which channels Gandalfs positive energy. This staff is an ever-present sign of power and a reminder that the two towers are at work (The Lord of the Rings). Furthermore, a staff which channels energy is a thoroughly mystical prop, but it contributes to a sense of realism within the fantasy genre, making it believable.

Props also serve to suggest that good and evil are not always distinguishable, and this is aided by setting, costuming and makeup. While most of the spaces previously mentioned are initially presented as inhabited by evil, its presence is not static in those settings. Additionally, Wormtongue is an archetypal evil character, yet he is depicted as having deep and real feelings for Eowyn, Thodens niece in a monologue that he issues before he is ejected from Edoras following Gandalfs arrival. In these cases, good and evil may seem recognizable, but those very definitions can be superficial and are almost always in flux. We understand the characters first as they appear due to the archetypes that are created through mise-en-scene, but this can be changed through this medium, or through other aspects of the narrative. Furthermore, heroism is much the sameit is never static, and it is often misunderstood. A prime example of this is the Ents, who, as noted, are tree shepherds, but also notably look like trees. The Ents are ambiguous characters visually, and the audience is not entirely sure where to place them: one saves Merry and Pippin from the attack of an orc, but shows little interest in involving his race in the battle for Middle Earth. This ambivalence changes, however, when the Ents see that trees have been massacred to fuel Sarumans factory, which they then destroy. The Ents are the oft-overlooked heroes of The Two Towers, yet the audience doesnt know what to think of them until the last half-hour of the film, in which they attack the factory. In this situation, miseen-scene works to create ambiguity to keep the audience guessing and to remind us that no being is pure good or pure evil, and heroes are often hidden among us. Throughout the film, weapons are also a reminder of ever-present danger. On a basic level, the audience knows that swords, bows, arrows and axes will be used to fight the war that is coming, but they also represent something more profound: the eternal struggle between good

and evil. In one of the first shots of Sarumans underground factory, the audience sees orcs casting crude weapons with hooked ends that will be used in an upcoming battle. When Aragorn, Legolas and Gimli find the pile of carcasses on the plains of Rohan, a head is speared onto a sword. And finally, after Gandalf saves Thoden, he encourages the king to grasp his sword. This suggestion is significant, because Gandalf seems to sense that after gripping the sword, Thoden will remember that Wormtongue has betrayed him. These instances directly communicate that war is coming, but also allude to the deeper meaning of the war for Middle Earth: this is more than a battle for land and people; it is a battle between all that is good in the world and all that is evil in the world. In all of these instances, weapons represent the conflict between good and evil and remind the audience that there is a very thin line between each side: all carry weapons; each side fights for the same cause. These weapons are realistic, but it is in this case that good and evil are ambiguous to the narrative. Every character is ready to use these weapons, to fight to the death, until the battle is won. This ambiguity contributes to a number of questions for the audience: is killing always wrong? What if it is not done for a noble purpose? Does Sarumans army believe that their purpose is noble? These questions of morality fit well into a narrative that plays with the idea of good and evil and heroism. There are times when weapons in The Two Towers look evil and gruesome, such as in the Battle of Helms Deep when an army of ten-thousand orcs and uruks are thrusting them into the air, threatening the people of Rohan. In contrast, however, weapons begin to take on another form when they are in the hands of other beings, such as the Elves of Rivendell who come to the aid of Rohan just before the Battle of Helms deep so that the Kingdom of

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Rohan is not massacred. Cast against their blue robes, the elves longbows appear mystical and strike a sense of gratitude for the protection they provide into Rohan and the audience. These spontaneous moments of ambiguity surrounding violence contribute to a sense that war is never wholly good or bad, and that there is no such thing as a true hero or villaindefining good and evil depends wholly upon whose side you sit. The Lord of the Rings: The Two Towers is a story that we can all understand on a basic level. Perceptions of differences between good and evil are very basic to Western audiences, and are learned at an early age. Therefore, the conflict that is depicted in The Two Towers is, on the surface, not especially complex. Furthermore, realism is significant, but a film based upon a fantasy book is obliged to adhere to fantasy-based realism, which is different and unfamiliar for many audiences. It is the additional elements that make The Two Towers special, particularly its interplay with mise-en-scene. Setting, costuming, makeup and props all contribute to promoting fantasybased realism, but perhaps more importantly they also help to define the narrative so that characters are not forced to provide extended monologues about in order to impart the significance of specific scenes. Mise-en-scene helps to enhance and highlight the deepest conflict in the narrative without making explicit statements, forcing the audience to consider where the line between good and evil truly lies.

Works Cited Bordwell, David, and Kristin Thompson. The Shot: Mise-en-Scene. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008. 112-160. Print.

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Davis, James G. Showing Saruman as Faber: Tolkien and Peter Jackson. Tolkein Studies 5 (2008): 55-71. Project MUSE. Web. 1 Apr. 2011. <http://muse.jhu.edu/journals/tks/ summary/v005/5.davis.html>. Giralt, Gabriel F. Realism and Realistic Representation in the Digital Age. Journal of Film and Video 62.3 (2010): 3-16. Project MUSE. Web. 1 Apr. 2011. <http://muse.jhu.edu/ journals/jfv/summary/v062/62.3.giralt.html>. The Lord of the Rings: The Two Towers. Peter Jackson. 2003. Film.