The third episode of The Lord of the Rings: The Rings of Power goes dark, and that's good

The third episode of The Lord of the Rings: The Rings of Power goes dark, and that's good

The third episode of The Lord of the Rings

The opening couple of episodes of The Lord of the Rings: The Rings of Power was a monumental overview - and those views were breathtaking - of what the show will be. A majestic introductory part in the package in which seductive setting a large group of characters were inserted, inscribed in a plot and with a rhythm that was far from cluttered. It is natural, considering the breadth of the narrative that the series aspires to. The third episode is far from getting to the heart of this narrative, indeed, it is the other part of a triptych that presents scenarios, plots and other characters (which we will add to the second part of our guide). The company of fantastic creatures destined to cross their paths with the heroine Galadriel are many more than those already met and the third episode, Adar, is dedicated to them. The noble elf and the castaway Halbrand, rescued by the captain of a passing vessel, Elendil, are taken to Númenor, a magnificent island populated by the descendants of humans who in the past fought alongside the elves. Years have passed and that alliance has cracked.

Conducted in the presence of Queen Míriel, cautious and hostile at the same time, Galadriel shows the most turbulent side of her passionate personality: the impetuousness of the warrior. She is certainly not a diplomat, but rather an indomitable figure far from possessing the wisdom of maturity. Eager to set sail for Middle-earth to warn of Sauron's advent and his plan to conquer him, Galadriel lends herself to a practical narrative device that provides a broader picture of the mythology underlying the show. While the nature of Halbrand is revealed, in truth by telephone, obviously far from that of an ordinary mortal, other characters are introduced: the aforementioned Elendil "friend of the Elves", and some of his children, including that Isuldur who will have so much part in the future of the saga. As widely reiterated, The Lord of the Rings: the Rings of Power is a choral show, intrinsically intended for a narrative with fluctuating levels of attention: once again, the part dedicated to the Pelopiedi is extensive and redundant, with that figure of the Man of the stars that continue to act as a teaser intriguing us.

Arondir, a prisoner of the orcs, accompanies a different destiny. With him and with the lightning - in every sense - new entry Revion (the always excellent Simon Merrells of Spartacus) the episode acquires rhythm: the one dedicated to them is the part that most of all is a declaration of intent and sheds light on register and objectives of the authors: beyond the paradisiacal panoramas of the enchanted valleys over which the mdp flew over in the opening sequences, there are gloomy and muddy trenches, horrors and meandering violence. The place where captured humans and elves are forced into forced labor is the breeding ground of darkness and violence, of the dark side of the narrative. There is action and clamor, there is hope that briefly sparkles before being crushed: the story moves, the rhythm presses albeit briefly, a taste of what to expect when the preambles run out and we will hopefully enter the heart of the history. The silhouette of the elusive Adar that stands out in the epilogue, in this sense, is a promise. This third episode confirms and reinforces the idea of ​​being faced with one of the greatest productive efforts in the history of television. Not just special effects and superb CGI deployment, not just breathtaking visions, The Rings of Power is formally and stylistically grand, in every sense. It almost seems to hear Bezos' voice magnanimously announcing "Do your best, no expense spared".

Númenor, the fundamental place of Tolkien's writings centered on the period dealt with here, is created with a deployment of extraordinary means. A skilful use of the camera, a clear, almost distilled photography, sumptuous costumes and accessories with great attention to detail. After having seen the first two episodes on the big screen, watching the third episode on the television one is disheartening: a huge part of that magnificence, of that spectacularity so praised by critics, is inevitably lost. Seeing The Rings of Power on a computer, tablet or smartphone is a heresy. But that splendor is deliberately overshadowed in this third episode. What makes the difference is the shadow that hangs over Arda, more and more deadly. The threat of Sauron is as anticipated by photography and scenography: under the hall of Miriel's palace the dungeons are cold and bare, the streets and alleys oppressive and dangerous. The Arcadian-flavored sylvan world of the Pelopedes, so familiar and comforting as members gather in front of the hearth, turns out to be ruthless and harsh. How heavy, burdened with the guilt and guilt of the fathers is the past of Galadriel and Halbrand. The darkness that envelops their hearts and the fantastic world of The Rings of Power can make the future interesting of a show that was absurdly beautiful, but whose soul was not yet noticed.

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