As one who has read The Lord of the Rings some twenty times and who now finds it hard to recapture the spell this story once held, this film has brought the tale back to life in a way far surpassing all expectations. Given that the novel has become (to some at least) an emerging European mythology, having several archetypal elements in common with the ancient sagas (including a sense of history, many original proper names and languages, and profound psychological insights), a screen adaptation could have failed in innumerable ways. Nonetheless, Peter Jackson's The Lord of the Rings; the Fellowship of the Ring succeeded in capturing many essential qualities of this remarkable story. While I miss the Northerliness (as C. S. Lewis describes it) of the landscapes depicted in the novel, I was agreeably surprised by the highly surrealistic tone maintained throughout the film - enhanced by the raw New Zealand landscape, the sombre music, the demonic Black Riders and angelic Elves, and not least of all the sheer momentum of the screenplay which hurtles the viewer along at breakneck speed. The surrealism lends support to the central psychodrama of the movie: Frodo's mental struggles with the power of the Ring, the near psychotic sequences when he wears the Ring and is therefore half-in the demonic spirit world, and the palpable courage he and the Fellowship demonstrate in an apparently hopeless quest. Psychodrama (after the tradition of Vertigo and Mirage) is one of the cinematic modalities revived in this film, and it actually surpasses the book in bringing a sense of mortal danger as the Company draws nearer to Mordor. Their sincere display of companionship and love is true to the novel, and remains a core theme despite the special effects and action sequences. And all the while an epic saga having the proportions of Ben Hur or The Bible unfolds on screen. In the final analysis, the character developments contributed as much as the special effects to the success of this movie. Frodo (played by Elijah Wood) is the most memorable character to me, since my image of him from the novel is rather indistinct: pale complexion, dark hair, sensitive, and thoughtful, these were canonical depictions of Frodo. But the expressive and vulnerable looks (enhanced by his being brought down to hobbit size), the voice, and the slightly hypnotic gaze Wood brings to the character all surprised me and confirmed a latent image I had always had of the hero. Except perhaps for his youthfulness (in the book he is older than the other hobbits, though his aging has been arrested by the Ring), these qualities are all compatible with Tolkien's character. And there were other venerable performances, especially Sean Bean's (Boromir), Ian McKellan's (Gandalf), and Christopher Lee (Saruman). Viggo Mortenson and Cate Blanchett both seemed a little light to portray the characters of Aragorn and Galadrial (not all share this view), while Hugo Weaving did not agree with my conception of Elrond - but the soberness of his portrayal grew on me. By all accounts Orlando Bloom and John Rhys-Davies give convincing portrayals of Legolas the Elf and Gimli the Dwarf while Sean Astin, Dominic Monaghan, and Billy Boyd are altogether charming as the other hobbits. The apocryphal material (Liv Tyler's Arwen replacing Glorfindel, Aragorn's allowing Frodo to depart alone, etc.) did not bother me as much as the many omissions and consequent missed opportunities. In any living tale or myth, variations develop over time until a more pure distillation of underlying archetypes is achieved. But I must say that many changes were not necessitated by the medium. More dialogue in Bree is needed, for example Aragorn describing in better detail the Black Riders ( They will come on you...in some dark place where there is no help. Do you wish them to find you? They are terrible! ). It would have helped explain the hobbits' close escapes if we had been informed (as we are in the book) that the Nazgul do not perceive the physical world sharply or clearly - just as Frodo does not when he is wearing the Ring. Instead, their weapons are fear and despair. Another miss: when Frodo was on Amon Hen (Seat of Seeing), a glimpse of Minas Tirith, followed by a flash-back on Gandalf (or at least a voice-over) telling him, take off the ring, you fool! when Frodo was nearly revealed to the Eye would give valuable foreshadowing for The Two Towers. The extra time spent in these sequences could easily have been taken out of the lengthy scenes with the hideous Uruk-hai and the cave troll. And did they forget to reforge Narsil (the Sword that was Broken), or does Arwen bring it to Aragorn later? The musical score is effective and unobtrusive, yet in places not as free as the dramatic landscape it accompanies. Although I would have liked more variations on the central melodic theme (perhaps forthcoming in the two sequels), there are definitely memorable musical passages in the Mines of Moria scenes, as well as in the haunting, modal Lament to Gandalf. This movie bears repeated viewing. The density of material will not be appreciated the first time. It wasn't till my fourth viewing that I noticed the three stone trolls from Bilbo's adventure in the glade where Arwen finds Aragorn and the hobbits; or noticed how the Balrog finds another passage to the Bridge of Kazad Dum (leaping over a flame-filled gulch as in the book) after the path taken by the Company was blocked by the ruin of the Endless Stair. I found the costumes endlessly varying yet impeccable - a new fashion trend should emerge with capes, brooches, waistcoats, etc. The saturation of the red, green, and blue hues in the film print are also delightful and reminiscent of films from the '50s and early '60s. With two sequels of similar scope to be released over the next two years, these motion pictures will give ever greater impetus to the establishment of the Lord of the Rings as a global mythology. Psychologists and sociologists, take note: we are witnessing the formation of an entirely new mythic system which will undoubtedly outlast our time. Tolkien's themes of love, courage, and preservation of beauty against the depersonalized mechanical control of industry and technology are sorely needed today and will become even more precious to forthcoming generations. 