Books to Movies: Desolation of Smaug, Lake-Town and Character Investment

The Lake-Town chapters are somewhat different from the same scenes in the Jackson and Rankin films. In the Rankin film, Bard is the captain of the guard; in the book, he leads a group of archers but it is never entirely clear (outside of Tolkien's notes), whether he is an official military commander. In Jackson's film, elements that are implied in the book--the Master is definitely corrupt and self-serving--are fleshed out. In both the book and the movies, the dwarfs are embraced for political reasons; in the book, there is no bungled burglary. And the group isn't split with Fili and Kili and a few other dwarfs remaining behind, as they do in Jackson's film.

I consider all the changes to be smart writing:

 

1. The theme of things getting worse is established early in the trilogy. 

 

Trolls are coming too far south. The Necromancer appears to be gathering forces. The reason Smaug is a worry is because other negative forces are at work. The misery of Lake-Town's citizens is in keeping with the theme.

 

It is also implied by Tolkien that though trade is still brisk, there are increasing problems along the roads. A kind of apathy alongside the Necromancer keeps Lake-Town from expanding. The dwarfs and dragon are treated as folktales, not realities. The Master assumes the dwarfs are frauds--that's how his mind works.

 

2. Placing some of the dwarfs in Lake-Town gives the dwarfs direct investment in Smaug's descent on Lake-Town. 

 

The book does deliver a brilliant example of unintended consequences.  Bilbo does mutter, "What have we done?" as Smaug flies off. It's a fairly heavy reality-check for a kids' book.

 

Jackson's film keeps that reality check but also keeps the audience invested because the characters we have invested in are in Lake-Town. Bard is still new. And Stephen Fry, though hilarious, doesn't invite investment (Fry can do pompous bureaucratic blowhard like nobody's business; I half-expect Rowan Atkinson to wander by; Ryan Gage is a good substitute). We might care in a distant sort of way about the citizens but having known characters actually on-site helps.

 

3. Thorin leaving Kili behind is good psychology. 

 

Thorin's decision is sensible--it is also an indication of Thorin's change in priorities. Thorin is overtaken by dragon-sickness when he enters Erebor. But, like the ring, dragon-sickness works on what is already there. Thorin already had a kind of single-mindedness about the mountain. 

 

However, up till Lake-Town, he focused on the group, the dwarfs and Bilbo. Kili, of course, would have died if Thorin had taken him along. But Thorin's reasoning is no longer "one for all and all for one." Thorin's reasoning has become "my goals no matter what." He has begun to lose sight of his overall purpose. He later nearly leaves Bilbo to face Smaug alone. The psychology is consistent.

 

4. The politics post-Lake-Town's burning explain Bard's advancement. 

 

The politics are equally complex in movie and book. However, in the movie, the Master is killed (in the book, he runs off with gold and dies later). It is great pay-off for a smarmy character and creates a power vacuum. Bard is an unwilling Lord/King of Dale (Bain will be his successor and Bain's son, Brand, will help defend the region during the time of The Lord of the Rings). He mostly steps into the breach because he is the most level-headed person available and has a decent, pro-citizen reputation. He focuses on survival, not on lynching Alfrid, the Master's henchman. (Alfrid later receives a truly gruesome death in the extended version of Five Armies).

 

Thorin reacting to Bard's heritage.

In fact, one of the notable aspects of Desolation and Five Armies is that several people--Thorin, Legolas, Thranduil--respond to Bard in terms of his ancestry. Book/Rankin Bard is more aware of his lineage. Jackson Bard shares many of book Bard's traits but is less prepared for the response of the older (in terms of long-lived) characters. I like the reminder that to the elves and to the dwarfs, Bard has more authority, inherently, than many of the other humans. 

In general, one technique that Jackson uses quite well is to make a scene matter by zeroing in on a character. Lake-Town begins to matter not only because some of the dwarfs we like are there--but also because Bard and his children and their survival have begun to matter.