Tolkien Would Have Hated the LOTR Movies

Art produces secondary belief , and story-making is the highest form of art. It’s not about bewitchment or delusion, but, as Tolkien says, “[it seeks] shared enrichment, not [slavery.]”TOLKIEN

We love movies. Blockbuster after blockbuster punching our eyeballs, and we don’t have to do any work for it. Just sit there and let the colors and the noise and the nonsense pummel you. Tolkien states in his essay on Fairy-Stories that drama is a bogus, substitute magic. “A visible and audible presentation of imaginary men in a story. That is in itself an attempt to counterfeit the magician’s wand.”

Sorry, Elijah Wood! You may have nice, expressive eyes but you contributed to a medium that Tolkien describes as de facto flawed.

So what do we do about this? Are all movies, and all scriptwriters just doomed to occupy the lowest levels of story-making? To languish in the lowest levels of Dante’s Heaven (or Hell?) What are the reasons Tolkien gives for this? Pure story-making, he thinks, is different than stage-plays (or movies) because they focus on characters instead of things. This is a key distinction he is making: writers have to think through their characters to give a story verisimilitude, but Tolkien wants the setting to be a character too. Care about the trees, the grass, the roads and the skies. This doesn’t mean that Fantasy is only about being fanciful, rather it is about truth. It’s not enough to tell a reader that the your world has pink grass unless you have a reason for it. “The keener and cleverer is the reason, the better fantasy it will make.”

The best television I have ever watched, now that it comes to mind, are stories that try to give a place a personality. The first season of True Detective does this, as does FX’s first season of Fargo. These stories are not Fantasy; rather tales about the human condition contending with a world that is mostly absurd and hostile. Tolkien might approve of the way in which well-don detective stories invite viewers to participate in catharsis, and then re-orient their view of life after being pushed to the edge of the surreal.

But the surreal is not “Other Time,” the surreal is attached to our world. The fantasy writer has to make a sub-creation, a Secondary World the reader’s mind can enter. We don’t like fairy-stories because there are tiny creatures in them, we like them because we like stepping behind the curtain. All stories are true unless they betray our trust.

 

 

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