It’s one of the most impressive moments in Lord of the Rings: Ring Fellowship: Boromir, pierced by three giant arrows, is dying in the woods. When Aragorn finds him, Boromir sobs and confesses that he has tried to steal the ring from Frodo and is afraid of the worst. Aragorn helps Boromir bring his sword to his chest and gives the warrior who was killed in battle a rest. Then, in an intimate frame shot, Aragorn hugs the face of a fallen companion and kisses his forehead.
2021 commemorates the 20th anniversary of the Lord of the Rings movie, and it was hard to imagine exploring the trilogy in one story. So, every Wednesday of the year, we go back and forth to find out how and why the film has endured as a modern classic. This is the year of the polygon ring.
Boromir’s death sticks to old and new viewers, unforgettable in its performance and emotional well. I remember being surprised that no one was laughing or embarrassed when I first saw this scene, fascinated by the midnight premiere audience. It was satisfying and shocking to see that level of masculine tenderness on the screen, not to mention one of the biggest movies of the decade.
For the Lord of the Rings trilogy, it would have been easy, following the lead of other early 2000s blockbusters. Responding to the times, self-awareness, self-embarrassment, and seemingly apparent homophobia. But with the quiet power of Boromir’s death scene, Jackson and the company gave a solid mainstream audience in 2001 a different idea of what masculinity would look like— old Thoughts. Taking advantage of the powerful combination of Artagne legends, Tolkien’s biography, and on-screen Mannerism in Hollywood’s Golden Age, filmmakers have created one of the most tragic moments in the Lord of the Rings series. Beyond that, they provided a serious masculine vulnerability, and, well, an expression of fellowship that was almost extinct in the surrounding budget landscape.
Creating an action hero
There are many reasons why masculine expression has changed since the 20th century, but it seems to be the most obvious and obvious. Shadows and threats to the mainstream have grown in Hollywood’s minds for decades: homosexuality. The AIDS crisis of the 1980s and 1990s and the increased visibility of queer activity raised awareness of the existence of queer in the consciousness of the people of Sichette, and Hollywood was about expressing intimacy, physical contact and emotions. It has become more and more sophisticated. Vulnerability between male characters.
Years of box office action movies fellowshipRelease — First article on the Fast and the Furious franchise, First article on the Raimi Spider-Man movie, and The mummy is back — Give an overview of how adult masculinity existed in a popular consciousness. Masculinity meant a male hero, and a lonely male hero. He may be the de facto leader of the team, but if he is equal, they were coded as an adversary, a rival, or at least a source of tension within a moody group. The protagonist was probably interested in female love (probably the only expensive woman), but he had no close male friends with whom he shared his interior life, and certainly he fisted. None of the people who touched it longer contacted.
On its surface is the Lord of the Rings trilogy It seems to fit the picture of what sells to the audience in the early 2000s.In contrast to the fairy tale meandering HobbitThe Lord of the Rings series is a very war story, and war stories are traditionally full of male friendship and competition. But the movie trilogy, if not as a text, is free from Hollywood concerns of the 2000s, just as New Zealand is from other mainland.
The king’s hand is the healer’s hand
Tolkien made extensive use of the image of masculineness that exists in ancient and medieval sources in constructing alternative Anglo myths. He also took conscious inspiration from his time as a World War I soldier, knights and warriors of past stories with the friendships and close ties he witnessed in the realm of combat. I decorated it. This fusion creates a complex update to a worn-out prototype, Jackson & Co.Gives us different heroic types, as interpreted by fellowship alone. However, its Aragorn and Boromir are most closely associated with the chivalry knight blueprint.
More than any other pair of male characters in the trilogy, the two are studies of equal contrast. They are both male races and experienced warriors. Aragorn is a soulful and poetic knight, a brave yet depressing woman who respects history and is brave and chaste. Boromir is more brave, driven by the knight’s desire to protect his hometown, seeing that part of the Round Table champion’s props. Both are suspicious of the other.The quality of the problem is on the other manBut whether he is well worth becoming the leader of Gondor, a noble and representative country of men.
From the beginning of them, with a tense introduction fellowship, Boromir and Aragorn are reflections of each other, including courage and darkness. An elf-raised outsider, Aragorn suspects he should take over the king’s innate rights, but the prince’s confidence and pride in Boromir’s hometown prey on him as the ring promises. .. They seek redemption in their own way that only others can understand and give. But to receive it, and for Boromir’s death to be cinematicly effective, they must have first exposed their flaws to others. Aragorn and Boromir need to be physically and emotionally close so that they do not have the self-reflexive flinch that the audience expects.
War movie heritage
Whether it’s a deliberate plan or an unconscious association by Jackson and his collaborators, many of the Lord of the Rings are mildly masculinity, but their confidence is impeccable with Golden Age Hollywood. It reflects the language on the same screen. The classic war painting is a direct ancestor of the framing, honesty, and not embarrassing impression of the Boromir death scene, and others like it. This is a cinematic call, and the film can bridge the gap between the expectations of the early 2000s audience and Tolkien’s more archaic references and preferences. By showing that what is being shown is part of the past of the film and literature, the film provides a space for the audience to participate in the scene on their own terms, not in 2001.
It was this breathing space that allowed the audience to incorporate many layers and lessons of the scene. The prominent flaws of the LOTR trilogy, but the noble and masculine characters, are known for their actions towards others. Kindness is action, The scene seems to say. Forgiveness is action..
The Lord of the Rings trilogy solves the competition between two classic male members of the Fellowship by carefully revealing mirrored questions, worries, and fears of the future, rather than a masculine contest. .. According to the movie, being a true hero, or being a man, can’t bear the burden of being in a cloud of toxic loneliness. That’s how the ring catches you. You must be brave enough to share your questions, bring each other closer, look in turn, and be seen.
Holding his hand when Boromir dies, Aragorn takes the first real step to claim his innate rights. “I swear to you, I won’t defeat White City.” Boromir, with the same look as relief, asserts: My captain. My king. “This simple declaration says it all: I accept you, I recognize you in turn, thank you.
you are not alone.