Rampant Speculation on the Prologue for The Battle of the Five Armies

smaug
 
**Possible Spoilers for The Battle of the Five Armies**
 

Every single Peter Jackson Middle Earth film so far has has opened with an extensive prologue. When The Fellowship of the Ring entered theaters way back in 2001, an unfathomable amount of pressure rested on those precious opening minutes. If the audience could digest thousands of years of backstory and comprehend it, then the risky $300+ million adaptation just might work. If that opening prologue didn’t make sense, literally billions of dollars in potential revenue were at stake. Unsurprisingly the prologue concerning Sauron and the history of the ring was one of the very last sections of the film to be completed before the premiere. It worked and it’s success guaranteed a future for the two finished Middle Earth trilogies we have come this December.

It seems only natural that the sixth entry, The Hobbit: The Battle of the Five Armies, would uphold this hallowed tradition. Fellowship had the Battle of Dagorlad. The Two Towers featured Gandalf’s freefall battle with the Balrog. Return of the King showed us Smeagol’s transformation into Gollum. An Unexpected Journey showcased Smaug’s destruction of Dale and Erebor. And The Desolation of Smaug took us back to Gandalf’s initial meeting with Thorin in Bree.

So what lies in store for the sixth and final visit to Middle Earth? Will there be one last prologue to continue the pattern? If so, what would it concern?
 
The following is pure speculation. These ideas are probably wrong. One or two of these I may have read somewhere else on some dark corner of the internet, but hopefully I have added my own spin on it. These possible prologues may only exist in my head, but let’s not let that fact get in the way of having a little fun anyway. Soon all shall be revealed, but for now we may imagine what is in store on December 17.
 

The Witch-King Recruits Smaug

Back in the first Hobbit film, Radagast encounters the Witch-King of Angmar in Dol Guldur at some unspecified point in the past. In the second film, Radagast and Gandalf investigate the High Fells and discover that all nine Nazgul have mysteriously disappeared from their tombs. During the conversation between Bilbo and Smaug, new details come to light that cause us to question whether Bilbo is really the dragon’s first visitor since he took Erebor. Not only does Smaug seem perfectly knowledgeable about Thorin Oakenshield and his quest, but he also clearly knows something about the One Ring and Sauron’s army in Dol Guldur.

Smaug: “A darkness is coming. It will spread to every corner of the land.”
 
Cut to Gandalf imprisoned in Dol Guldur.
 
Clearly there is some kind of collaboration between Sauron and Smaug going on. At the very least Smaug can sense the power of the ring, but more likely is that Sauron is actively recruiting the dragon to wreak havoc on the free people of the North. In An Unexpected Journey, the White Council covers this possibility:
 

Galadriel: The dragon has long been on your mind.

 

Gandalf: This is true, my lady. Smaug owes allegiance to no one, but if he should side with the enemy, a dragon could be used to terrible effect.

 
Understanding the high likelihood of such a dark alliance, it would be faintly possible that the prologue for The Battle of the Five Armies could feature Sauron’s initial attempt to sway Smaug over to his side. We already know that the Witch-King is out there somewhere doing Sauron’s bidding. Especially with his seeming ability to dematerialize and pass through solid objects, the Witch-King would be the perfect agent to penetrate the sealed walls of Erebor.
 
After showing their sinister dealings in the dark, the prologue could cut right back to the dragon as he razes Lake-town into ash and embers. This would get us right back into the action of the non-stop thriller that will be The Battle of the Five Armies.
 

Gandalf Finds Thrain

 
We were teased in trailers for both AUJ and DOS a scene in Dol Guldur where a wandering Gandalf encounters a raving mad Thrain jumping down upon him from above. This is clearly the moment where Gandalf aquires the map and key he presents to Thorin at Bag End. Now that Thorin has unleashed the dragon, might not the next prologue be a natural place to explore the origins of this quest with Thorin’s long lost father?
 
This heir of Durin, despite some lunatic ramblings, could perhaps shed some more light on why he was being held in Dol Guldur and how the massive gold treasury of Erebor factors into Sauron’s plans. If Thrain was thwarted in his attempts and tortured by the Dark Lord himself, maybe he holds some crucial piece of knowledge that motivates Gandalf to undertake this endeavor in the first place. The Bree prologue in DOS did the same thing showing the initial meeting between Gandalf and Thorin establishing a precedent for such Hobbit prologues.
 
But on second thought, this might be a little too similar to what we have already seen and it is unlikely that Peter Jackson will give us another Gandalf-getting-ready-for-the-quest prologue. More likely this scene will show up in the DOS Extended Edition come November.
 

Galadriel Rescues Gandalf

We’ve seen in the initial teaser trailer for The Battle of the Five Armies a glimpse of Galadriel walking barefoot through some rocky place and kissing a fallen Galdalf on the head. In AUJ, Galadriel promised to show up if Gandalf ever needed her. And in DOS Gandalf sends Radagast to go bring her back to Dol Guldur with reinforcements.
 
Is this scene from the trailer showing the rescue of Gandalf from Sauron’s prison where he ended up at the end of the last movie? And if so, could that not make a suitable prologue for the third film?
 
I’m not sure how long it is going to take for the titular battle of five different armies to get started but it might make sense for the timeline to be sped up a little to get things moving after the burning of Lake-town. Gandalf needs to get rescued and get over to the battle pretty quickly. While this prologue is unlikely, this scene is not in the book and thus there’s no real way to tell when it will take place. The opening few minutes might be as good a place as any.
 

Goblins and Orcs

After Gandalf was defeated by Sauron toward the ends of the second film, we see him hanging in a cage watching as an army of orcs march out to war. Presumably led by Azog himself, they are already on their way to Erebor even before Smaug faces off against Bard.
 
However in the book it was not the orcs of Dol Guldur that marched out to battle but the angry goblins of the Misty Mountains coming to avenge their fallen king. Since the third film is all about the build up to war and then the climatic battle itself, it makes good sense to stick with that theme in the prologue. One possible prologue could involve Azog’s army encountering the vengeful goblins and joining together as one even bigger force. Showing such a massive double-flanked army would heighten the tension for the rest of the film even as the main characters are busy dealing with other seemingly more pertinent issues surrounding the aftermath of Smaug.
 

Sauron Resurrects Azog

The Hobbit films give us the perplexing predicament of giving us a Necromancer who can summon the spirits of the dead, but who is actually revealed to be the disembodied formerly defeated Sauron himself. This kind of does away with the whole Necromancer idea altogether if it weren’t for the newly emancipated Ringwraiths running around somewhere. One way this could be ameliorated is by giving more weight to the whole necromancy concept in the third prologue.
 
According to Tolkien, Azog the Defiler died of his wounds long ago at the Battle of Azanulbizar. However in the movie version, lo and behold there is he walking around waving his metal claw hand around like he never died.
 
This discrepancy could easily be mended by a short prologue opening on the aftermath of the battle outside the gates of Moria. Imagine as the camera zooms past the seas of bodies and bloodstained rocks penetrating into the black night of the mountain. There in the eerie darkness lies the lifeless corpse of Azog.
 
Suddenly a howling wind, a piercing shriek, fills the cavern walls. A flickering shadow spreads across the floor to the feet of the fallen orc chieftain. A whispering voice begins to chant in Black Speech. Azog’s toes begin to wiggle one by one. A shiver goes down his body. His heart begins to thump loudly. With a bloodcurdling scream, the Defiler sits up.
 
Azog blinks and recoils in fear. He scrambles to his feet, his back to the wall. He does not know who is with him in the dim underground tombs of Moria. A soulless voice speaks to him in the gravelly language of Mordor, “Bow to me.” Azog bends his knees and feebly spits out a reply, “Yes, master.”
 

The Rewind

Desolation of Smaug ended with many characters’ fates hanging in the balance. It is very possible that the third film may take some time to rewind a few minutes and show what is happening with the rest of the cast before leaping back into all the fire and death stuff. A multi-character prologue could show the result of this chase right before the dragon arrives.
 
When we last saw them, Legolas was chasing Bolg on horseback as the ugly white orc fled town. Perhaps he catches up before Smaug even arrives, who knows?
 
The dwarves back in Lake-town presumably all survive for the upcoming battle so we could see how they get away from the impending doom ahead of time along with Bard’s children. Tauriel can perform some more heroics to save more non-elves. Perhaps we can see Bain breaking his dad out of prison and handing him the black arrow, but this is seeming less and less likely even as I write this.
 
Back in Erebor, Bilbo and Thorin can watch in horror for a few moments more as they prepare to see wanton destruction befall an innocent populace as a direct result of their actions. The Master of Lake-town and Alfrid can scream in horror as they realize what they’ve done by helping the dwarves.
 
Ok in all honesty, there probably won’t be time for all this. Smaug really seems to mean business at the end of the second film and I doubt he will waste any time so that people can work out their issues. Since the other five prologues take place a significant time before the opening title, I sincerely doubt that there would be time for such a needless delay.
 

No Prologue

This is probably the opening that most people expect for The Battle of the Five Armies: no prologue and getting straight back into the action. The second Hobbit film was the first in the entire Middle Earth film series to end on a straight up cliffhanger. Such an ending may seem to rule out the possibility of seeing an extended prologue like we’ve seen before.
 
However I feel this is unlikely for three reasons.
 
First, such a committed tradition spanning five movies is not so easily discarded. You can’t just Gimli it with an axe because Smaug happens to be coming over for second breakfast. Although it might make sense on one level to skip it this time around, there are too many hypothetical scenarios (like the ones I’ve listed above) to pass up this opportunity to showcase more tender moments from the long established annals of Middle Earth.
 
The second reason is that this trilogy, for better or worse, has to deal with the issue of padding. We are dealing with two films that were split into three at the eleventh hour. Since that three movie decision was made back in summer 2012, there has been plenty of man-hours devoted to writing and filming additional scenes that weren’t originally planned back under the the two film treatment. Adding, not removing, a prologue would be a simple and relatively easy way to extend the running time and provide additional thematic clarity to a significantly elongated narrative.
 
The third reason is that the first two films have left us with so many dangling threads that it feels far too implausible that a prologue wouldn’t be used to answer at least a question or two. Really, there are questions that need answering. I don’t think we can make it another movie without answering every single question on this list:
  • Why is Azog still alive when Bolg could have been perfectly serviceable? What is so special about the Defiler that he was needed to brought back to life to replace his son at the final battle?
  • What is the deal with Dol Guldur? We’ve been teased it for two films but we still haven’t seen why it was so necessary to this particular adaptation of The Hobbit? And if Sauron wanted to keep it a secret, why did he breed giant easy-to-notice spiders there?
  • What is the White Council up to? When are Galadriel, Elrond, and Saruman going to get involved in this whole spider infestation issue and the endless intrigue surrounding Dol Guldur?
  • Where are the Ringwraiths? If we saw their empty tombs in the High Fells that means they are out doing something. What is the thing they are doing? Do they do anything besides conspicuously fumble their swords and leave them behind at the slightest provocation? Why does Sauron rely on the one-handed Azog instead of his chiefest lieutenants all of whom have two useable hands? Are the nine servants of evil not yet strong enough to take physical form like Sauron is? And do they ever get tired of being invincible unkillable ghosts whose only weakness is getting stabbed in the face by women?
  • What is so special about Thrain that he needed to be teased in two movie trailers yet also cruelly withheld from us twice in a row for some sinister purpose that lies veiled in the shadows? Why was the White Council talking about Thrain’s ring of power in the extended edition and is that how Sauron is regaining his former strength? Does Sauron collect rings like how some people collect Magic cards?
  • Speaking of rings of power, the elves were not corrupted by their rings like men and dwarves. Are we finally going to see Galadriel, Elrond, and Gandalf each wield their rings in a battle against Sauron? That would be the coolest thing ever.
  • What is going on between Legolas and Tauriel? Did they used to date? Did they break up when Thranduil found out? Is there a good reason Legolas is still single in Lord of the Rings?
  • Speaking of wood-elves, where is Thranduil’s moose? Can we please see him ride it into battle? Can somehow get some more details about the traditional use of war moose?
  • Does Smaug have a good singing voice? I feel like he would. That baritone is just perfect for some kind of Hobbity song.
  • What is Bilbo planning to do with the Arkenstone? He has it, right? Did anyone see him pick it up? He has to have it. There’s no way he doesn’t have it. I couldn’t quite see but he must have it, right?
  • Is Legolas going to give Thorin his sword back? It’s so not cool for him to be killing orcs with the funnest sword that he lifted just so he could have it. Is anyone going to mention to Legolas that the handle of Orcrist is made from a dragon tooth and obviously belongs to Thorin for personal dragon reasons?
  • Are the new characters like Tauriel, Alfrid, and Bard’s daughters who were invented for the movie, going to meet an untimely end? I feel like their chances are not good.
  • Since Bilbo blacks out in the book during the final battle, will we not actually see the battle on screen and instead just hear people talking about the battle when Bilbo finally wakes up? Just thinking from a purist perspective, that would be logical, right?
  • Are black arrows really that hard to make? They look kind of just like regular arrows but maybe bigger. There will be a perfectly good explanation for why people didn’t feel like making more after an actual dragon showed up, no?
  • Also, why is Thorin such a jerk? I really liked him in the first movie. It seemed like he reconciled with Bilbo after the whole eagle rescue but now he’s back to trying to kill Bilbo. Is dragon sickness contagious? Should I be concerned here?
  • Why did the Misty Mountain song disappear from the second movie? I know it was a bit overplayed in the first movie but can we have it back now? We’re sorry for complaining, Peter. One more time, for old times?
  • Why are there no guardrails in Middle Earth? Don’t people ever fall off these walkways? Is there really no governmental agencies around to inspect bridges to make sure that children and drunks don’t accidentally plummet to their death? I know this is a faux history of a fantastical medieval European civilization and things were often brutally grimdark, but surely they still had guardrails. Are these magic guardrails that we can’t see because of a spell of concealment? I just find it hard to believe that elven architectural aesthetics trumps safety every time. We’re talking about saving lives here.

The Many Leitmotifs of The Desolation of Smaug

DOS

As a follow up to last week’s analysis of the music of the first Hobbit movie today we will be exploring the many new musical themes in The Desolation of Smaug. Whereas film reviewers felt the first film relied too heavily on familiar themes, this time around some argued that the score was too dark and that none of the new themes were memorable. However reviews for the released soundtrack told a different story: this was an ambitious, beautiful (if somewhat dark) addition to Howard Shore’s Middle-earth magnum opus.

As with all his prior contributions to this series, Shore’s most intricate work on The Desolation of Smaug comes out through his various leitmotifs denoting different themes, locations, and characters. While many of them could be missed in a first or second viewing, Shore really has put tremendous effort into tying a grand assortment of these small musical statements into a larger cohesive whole. It is this devotion to telling one big story that really sets his work on The Hobbit and Lord of the Rings apart from the vast majority of film scores.

Although I’m sure I haven’t identified all the new themes in this movie nor am I knowledgeable enough to give anything even close to a professional musical assessment, I feel that these themes and what they represent to filmmaking are too important to be left unnoticed. We will try to stay in chronological order of the film although since these leitmotifs are repeated at various times this will prove difficult.

A final note: since the soundtrack was recently removed from Spotify, I am stuck with posting links to YouTube videos, some of which may eventually be taken down. Just in case, I will include the track listing and time for your benefit.

The House of Durin

The leitmotifs for Thorin Oakenshield are pretty well established in An Unexpected Journey so I won’t get in to them here. There is however one brand new theme for Thorin representing his family legacy and his duty to restore the kingdom of Erebor to its former glory. It’s called the House of Durin and it is integral to the story of The Hobbit.

This low humming melody is played in several places, including when Bard finds the tapestry, as the dwarves find their dead kin, and the climactic battle with Smaug. It’s my personal favorite theme of the entire film.

House of Durin – Girion, Lord of Dale, 2:35

Heroic version (during the battle with Smaug) – My Armor Is Iron, 0:57

Beorn

This deep brassy theme for Beorn rises and builds in intensity appearing several times in the film’s opening act. It shrouds Beorn in mystery, refusing to reveal whether he is friend or foe. The introduction version slowly explodes into Smaug’s theme as played over the title credits of the movie.

Introduction to BeornWilderland, 0:53

Running from BeornWilderland, 2:32

Breakfast with Beorn, The House of Beorn, 0:32

Mirkwood

The Mirkwood theme is built around three falling notes in slow succession. It appears briefly at Beorn’s house when he mentions the forest’s danger. The full theme appears when the Company arrives at Mirkwood as Gandalf steps onto the path. Different variations of the theme are played as the Company wanders through the myriad paths of the forest.

Beorn talking about Mirkwood, The House of Beorn, 1:16

The Company arrives at Mirkwood, Mirkwood, 0:00

Into the forestMirkwood, 1:53

“We’ve lost the path”Mirkwood, 3:08

Wood-Elves

There are several themes for the different Wood-elves and they often blend and run together quite seamlessly. However they are quite distinct as we will see below. To remind you just how important these characters are, the end credits music (Beyond the River) is pretty much solely devoted to the Wood-elves and their various themes.

Thranduil

Our first hint at Thranduil’s theme is again during Beorn’s conversation when he mentions the more dangerous and less wise wood-elves. However the big appearance is at the introduction to the king’s underground throne, orchestrated with beautiful strings and ethereal voices to create a wholly majestic effect.

Beorn talking about the Wood-elvesThe House of Beorn, 1:26

Thranduil Main Theme – The Woodland Realm, 0:39

Thorin’s confrontation with ThranduilThe Woodland Realm, 2:49

Thranduil’s first appearance in AUJ Extended Edition – My Dear Frodo, 3:23

The Woodland Realm

The Woodland Realm and its inhabitants have an appropriately mysterious theme. Most of the musical references to the Woodland Realm are dominated by Thranduil’s theme and I can only think of one time where the Woodland Realm theme is played in full, but it does seem to be hinted at in several places in the film. It’s main introduction occurs when the elves are leading their dwarf captives over the bridge to the entrance of their kingdom.

Main theme, The Woodland Realm, 0:00

Legolas

Legolas’ theme is very fascinating. Since his theme is usually played fast (during frenetic action sequences) and Thranduil’s theme is played slow (over long extended introductory and dialogue sequences), it’s easy to overlook their relationship.  Legolas’ leitmotif is actually based off the first line of Thranduil’s theme but it is obscured due to the tempo differences. Listen to Thranduil’s theme and then compare it to the Legolas leitmotif below and behold the uncanny similarities.

Legolas arrives at the river – The Forest River, 1:32

Legolas mega action version – The Forest River, 4:11

Legolas at Bard’s houses – The Hunters, 4:22

Variant: Legolas chases after BolgThe Hunters, 9:20

Tauriel

As Thranduil’s captain of the guard as well as the center of an unlikely love triangle, Tauriel has perhaps the most complex musical themes of any character in this film. She not only has her own leitmotif but also a few dedicated to her different relationships.

Tauriel Battle Theme

During her first appearance we hear her main battle theme as she leaps down to rescue Kili from the spiders. This powerful and melodic string rhythm appears many times throughout the score and reminds us of just how dangerous Tauriel can be.

Tauriel saves Kili from spiders, Flies and Spiders, 7:23

Tauriel arrives at the barrel chase, The Forest River, 1:15

Beautiful end credits version, Beyond the Forest, 2:45

Tauriel Reflective Theme

We also hear quiet meditative oboe music for the times that Tauriel is reflecting upon her place in the world as a lowly Silvan elf. This music, more of a style than an actual melody, is first heard during her conversation with Thranduil but is also heard in other places. If you listen carefully to the first example below you’ll hear a lovely blend of Tauriel’s reflective music, Tauriel’s battle theme, and finally the second half of Legolas’ theme.

Lowly Silvan Elf, The Woodland Realm, 3:49

Tauriel Reflective theme, Feast of Starlight, 2:19

The Feast of Starlight

Of course there is also special music for Tauriel’s budding attachment to Kili. This elegant vocal piece is one of the highlights of the entire score, providing a stirring emotional weight for their scenes together.

The Feast of Starlight – Feast of Starlight, 1:35

Plucked harp version – Kingsfoil, 1:07

Flute version – Beyond the River, 1:06

Fittingly, there is also a final reference to the Legolas theme right as Tauriel decides to stay behind and save Kili’s life. The music transitions quickly from the Legolas leitmotif to the Reflective theme and right into the Feast of Starlight.

Tauriel chooses Kili over Legolas, Kingsfoil, 0:20

Esgaroth

While not quite as many as the elves of the Woodland Realm, the men of Lake-town get a good amount of new themes all to themselves. With a more medieval feel to them, its themes add great personality to this ill-fated town that has seen better days.

Bard

Bard’s theme reflects his ambiguity as a character. Switching between descending minor and major notes, his theme shows us how uncertain everyone else is about this dubious smuggler. The first instance of Bard’s theme contains only a few notes but later versions develop his melodies further as we get to know his character more fully.

Bard on his barge (simple version)  – Bard, a Man of Lake-town, 0:11

“That trouble-making bargeman’s behind all this.” –Protector of the Common Folk, 0:00

“Where are the weapons?” – Thrice Welcome, 1:36

Lake-town

Much like how the human city of Edoras was given big stately music in The Two Towers, the Lake-town leitmotif is centrally featured several times during outdoor shots. Carrying a strong Medieval pulse, the theme pretty much captures the heart of this city right away. When Thorin delivers his speech about restoring Esgaroth to its former glory, a quieter version of the theme is played.

Lake-town theme – Protector of the Common Folk, 1:53

“Our house is being watched” – Thrice Welcome, 2:15

Alternate somber version during Thorin’s speech – Durin’s Folk, 0:32

The Master of Lake-town

Although the Master doesn’t have too many scenes and often shares the ones he does have with other main characters, he does have his own peculiar and sometimes ominous melody. Since he exerts his will through his servant Alfrid, they seem to share the same theme. However when the Master is present, his theme is played with a dulcimer-like instrument instead of strings.

Alfrid questions Bard – Protector of the Common Folk, 2:38

Alfrid dumps the fish – Protector of the Common Folk, 3:22

The Master’s theme (quiet version) – Thrice Welcome, 0:31

The Master’s theme (loud version) – Thrice Welcome, 1:01

Girion

Girion, Lord of Dale, is only seen in flashbacks but he is prominently discussed twice during the film. Both times he is given new interesting music. I can’t quite figure out exactly how his two pieces fit together, although the second one sounds a little bit like Bard’s theme.

Girion’s failure – Girion, Lord of Dale, 0:45

Girion’s heir – Durin’s Folk, 1:32

The Nature of Evil

The High Fells

The spooky tombs of the Nazgul receive a haunting high register vocal melody. It’s beautifully eerie and not what you would expect from one of the more evil places in Middle-earth.

The High FellsThe High Fells, 1:01

The Necromancer

The major Necromancer cue appears at his battle with Gandalf battles in Dol Guldur. His dissonant pounding feels vaguely familiar until eventually fully transforming into a distorted Sauron melody.

The Necromancer Revealed – A Spell of Concealment, 2:05

Bolg

I haven’t been able to figure out if Bolg has his own leitmotif, if his is a variation of his father Azog, or if he simply shares generic battle music with the other orcs. If you sort it out, let me know.

Smaug the Terrible

As the primary villain and impetus for this entire quest, Smaug naturally has three main themes all to himself. Each of these contain numerous variants which I will try to all list below.

Main Theme

We first heard Smaug’s theme back in the prologue to An Unexpected Journey. His sinister six note melody has shades of Sauron in it, yet remains distinct. In The Desolation of Smaug the dragon’s theme is first played vehemently over the title credits. It then takes on so many different forms I have lost track. It is also has a two note component that sometimes precedes the full theme.

Smaug (An Unexpected Journey version) – My Dear Frodo, 4:56

Smaug (introduction) – In the Shadow of the Mountain2:11

Smaug (sneaky version) – Inside Information, 2:06

Smaug (subdued version) – Inside Information, 0:08

Smaug (intense version) – Inside Information, 2:54

Smaug Slinking

This music is used for when Smaug is sneaking around. It sounds similar to the sneaky version

Smaug (slinking) – Smaug, 0:15

Smaug (more slinking) – Smaug, 0:58

Smaug’s Wrath

This particular theme doesn’t appear until the final climax of the film as Smaug flies toward Lake-town. It’s strangely beautiful and captivating. I believe it represents the dragon’s terrible and majestic beauty. Though he is on his way to burn all of Lake-town to the ground, he is still an irresistibly amazing creature to behold.

 Anticipating Smaug’s Wrath – My Armor Is Iron, 2:13

Choir variant – My Armor Is Iron, 3:33

“What have we done?” – My Armor Is Iron, 4:30