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When it comes to J.R.R. Tolkien adaptations, Peter Jackson’s Lord of the Rings trilogy is a tough act to follow. Look no further than the Hobbit movies, which floundered in their efforts to capture the original films’ success. Then there’s The Lord of the Rings: The Rings of Power, whose attempts to cram everything we love about Middle-earth into too-short seasons make for unwieldy (if still fun) TV.
Enter The Lord of the Rings: The War of the Rohirrim, an anime prequel from director Kenji Kamiyama (Blade Runner: Black Lotus) that centers on the legendary kingdom of Rohan, 183 years before The Lord of the Rings. While certainly indebted to Jackson’s Lord of the Rings trilogy, The War of the Rohirrim doesn’t just seek to replicate its predecessors’ formula. Instead, it plays with tone and structure to forge a path that is far bleaker. That path starts with the medium of anime, which offers a new angle into Tolkien on a visual and thematic level.
‘The Lord of the Rings: The War of the Rohirrim’ trailer teases an epic battle for the fate of Rohan
Kamiyama and screenwriters Phoebe Gittins and Arty Papageorgiou frame The War of the Rohirrim as a historical tale told by The Lord of the Rings‘ Éowyn (Miranda Otto, returning in voiceover). Her voice acts as a bridge between the medium of live action and anime, with anime acting as a vehicle for live-action Éowyn’s storytelling. While we never see any live action scenes, the hint of them becomes the film’s baseline reality. Anime, with its heightened, stylized qualities, serves as a representation of legend.
And truly, there is no one better to tell this legend than Éowyn, as War of the Rohirrim‘s heroine Héra (voiced by Gaia Wise) is essentially Éowyn from 183 years in the past.
The War of the Rohirrim is what you’d get if you Éowyn had a solo film.
Credit: Courtesy of Warner Bros. Pictures
The War of the Rohirrim is based on a short section of Tolkien’s appendices, in which Héra is but an unnamed daughter. However, in fleshing her out, the film is able to add new depth to the story, all while making sure Héra is the kind of person Éowyn would actually be telling a story about.
Like Éowyn, Héra is the daughter of a king of Rohan: the formidable Helm Hammerhand (voiced by Succession‘s Brian Cox). She’s also a headstrong rider and fierce fighter, one who aspires to be just like the shieldmaidens of old. It’s not hard to see Éowyn looking up to her and using her story to inspire the next generation of shieldmaidens, years down the line.
That story kicks off in earnest when the Dunlending lord Freca (voiced by Shaun Dooley) proposes that Héra marry his son (and her childhood friend) Wulf (voiced by Luke Pasqualino). Yet that marriage is the last thing both Héra and Helm want. In fact, Helm sees the proposal as such an affront that he challenges Freca to a fight. Here, we see another benefit of incorporating Héra further into the story. Her presence and development add new layers to Helm, as we get a better sense of his relationship to his family. His protectiveness of Héra carries shades of Théoden’s own protectiveness over Éowyn, but he has an added element of bloodthirsty bravado that carries over into his brawl with Freca.
That fight is the first of many skirmishes The War of the Rohirrim has to offer, and it’s as uncompromising as one might expect when a man named “Hammerhand” is involved. All it takes is one mighty punch for Helm to kill Freca outright, but the feud between Helm’s family and Freca’s is far from over. Wulf, in his grief, vows revenge.
And revenge he’ll get! Years later, Wulf has amassed enough of an army that he can march on Rohan. In the war that follows, Helm, Héra, and the Rohirrim must retreat to the Hornburg stronghold, where they’ll make one last stand to save their people.
Sound familiar? That’s because the story of Helm Hammerhand is basically the prototype for The Two Towers‘ Battle of Helm’s Deep. After all, he’s the reason the Hornburg comes to be known as Helm’s Deep! Yet The War of the Rohirrim is no Helm’s Deep retread. It’s a brutal, lengthy siege that pushes everyone involved to new, desperate limits.
The War of the Rohirrim’s siege sequence isn’t just Helm’s Deep 2.0.
Credit: Courtesy of Warner Bros. Pictures
While the battles in the Lord of the Rings trilogy are gargantuan undertakings, and unquestionably the best fantasy set pieces put to screen, they aren’t particularly lengthy affairs. The Battle of Helm’s Deep takes place over the course of one night, whereas the Siege of Gondor and the Battle of Pelennor Fields last a few days. The siege in The War of the Rohirrim lasts an entire winter, and the film makes sure you feel the impact of every one of those months spent in the cold.
Within the walls of the Hornburg, the remaining people of Rohan are confronted day in, day out with their impending doom — especially as Wulf’s army constructs a siege tower that could break their last defense. Things are hardly better outside the walls, though. Wulf’s encampment bears the brunt of the snowy elements, forcing his own people to consider whether this siege is really worth it. Of course, there’s no question for Wulf, who remains resolute in his snarling, single-minded quest to tear Helm apart. But for everyone else involved (including the audience), The War of the Rohirrim‘s siege sequence is a tightly wound coil of dread. One side has to break — but which will it be?
These psychological tensions only continue to rise when rumors spread of a ghostly figure tearing through Wulf’s camp. Here, The War of the Rohirrim takes a turn into Gothic horror, with the hallowed halls of the Hornburg perhaps being home to some greater supernatural forces. The result is deliciously frightening for a time, then surprisingly sweet in its payoff.
The same is true for the rest of The War of the Rohirrim, which takes us from the depths of Rohan’s despair to the heights of Héra’s hope for the future. Her fervent belief that some good can still prosper in even the darkest of times is unmistakably Tolkien in nature, linking The War of the Rohirrim to the Jackson films through more than repeated locations and Easter eggs (some more heavy-handed than others). However, it’s the ways in which The War of the Rohirrim stands out from Jackson’s films — like the use of anime and the psychologically-focused siege sequence — that allows The War of the Rohirrim to truly carve out its own space in onscreen portrayals of Middle-earth.
The Lord of the Rings: The War of the Rohirrim opens in theaters Dec. 13.
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“The Lord of the Rings: The War of the Rohirrim” hits theaters December 13. Review.
