Hobbiton is an important place for The Lord of the Rings. So, what makes The Lord of the Rings sound so distinctively like The Lord of the Rings? What gives this inimitable film trilogy such a unique place in film music history? 1. Quite an achievement when you consider it was also the first fantasy film to win Best Picture, ever. Nor do they fully encapsulate what a phenomenon these films were - the third film, Return of the King still stands alongside Ben-Hur (1959) and Titanic (1997) as having won the most Academy Awards in history.
Such numbers, however, don’t quite do Shore’s Rings achievement justice. Shore - a former Saturday Night Live musical director - wrote well over one hundred separate musical themes for these films, and for their hobbits, elves, and dwarves. Howard Shore’s scores for Peter Jackson’s three Rings films ( Fellowship of the Ring in 2001, The Two Towers in 2002, and Return of the King in 2003) are so complex they stand practically alone in film music history. Here are some of my favorites.I once described the music for The Lord of the Rings as epochal. One of my favorite discoveries this year has been ambience videos on YouTube that capture the look and special feel of the world of The Lord of the Rings. I want to live in Middle-earth, with all of its beautiful elvish cities, and warm hobbit holes, and feasts and pipes and smoking chimneys. And once you’ve entered that world, it’s hard to shake. I won’t enter the “is it a Christmas movie” debate (because anything can be a Christmas movie, really) but I will admit I enjoy a trilogy binge this time of year. The perfect escapism for this cozy time of year. They’re also great, big, comfy fantasy movies. Probably because the films-and their subsequent extended edition DVDs-originally released around Christmastime.
I don’t know that the trilogy is particularly festive content-wise, but it is something families tend to watch this time of year. There’s been a lot of talk this year about The Lord of the Rings‘ status as a Christmas movie.
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