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How to watch The Hobbit: The Battle of the Five Armies
2014 · Peter Jackson · The Hobbit: The Battle of the Five Armies on Sightlines
5 things to watch and listen for on a first viewing, without spoilers, and 3 more once you have seen it. Each names something you can see or hear, the pattern it belongs to, and what noticing it gives you. How these keys work.
On a first viewing
Watch how battle shots switch between vast overhead views and close combat. (camera)
Jackson and Lesnie alternate elevated wide masters of colliding armies with tight, kinetic coverage of single duels, again and again.
Payoff: Deleuze calls this rhythm respiration-space: the wide shot is the world breathing in, the duel is it breathing out. In the reading: respiration-space. The regular pulse between altitude and contact is what Deleuze found in the western and named respiration-space.
Notice the cold blue-steel palette outside against the gold treasure room. (light)
Lesnie keeps the battlefield in wintry grays and steels while the mountain's hoard glows a saturated gold that soaks every scene inside it.
Payoff: The color scheme tells you where the story's real danger lives before a word of dialogue does.
Track how often the film cuts between Dale, Mirkwood, and Ravenhill. (cutting)
Olssen crosscuts among five simultaneous fronts, holding geography legible while shifting stakes from one battlefield to the next.
Payoff: This crosscutting is what lets a single sustained battle carry a whole trilogy's emotional weight.
Listen for the difference between the orcs' drums and the elves' metal. (sound)
The mix gives the orc host massed percussion and guttural weight while elves and men sound cleaner and metallic, distinguishing armies by ear alone.
Payoff: You can tell which side is fighting without seeing a banner, just from the soundtrack.
Notice how still Bilbo stays while everyone around him moves or shouts. (performance)
Freeman plays Bilbo's decency as a fixed point; his stillness contrasts with the greed and bloodlust driving the larger figures around him.
Payoff: His restraint gives the audience something small and human to measure the surrounding carnage against.
Once you have seen it
Watch Thorin standing motionless in the gold-filled treasure chamber. (staging)
Jackson keeps returning to this one room where nothing happens, cutting back to it from the battle's constant motion outside.
Payoff: The room is the moral engine of the film: everything outside is a war caused by what happens when someone stops leaving it. In the reading: impulse-image. Deleuze calls this the impulse-image: perception jams, a drive fixes on an object, and the person becomes a symptom of appetite.
Count how the army shots read as solid blocks of moving color. (camera)
Weta's Massive software gives thousands of individual soldiers small decision-making rules, but Jackson and Lesnie shoot the results as unified masses, not distinguishable people.
Payoff: Deleuze calls a crowd like this a dividual: not one, not many, a single feeling body built from thousands of tiny hesitations. In the reading: dividual. Eisenstein built his crowds by montage; Jackson builds his from underneath, out of simulated hesitations, and Deleuze's term for both is dividual.
Notice how the smallest gestures, an acorn, a farewell, land amid battle. (structure)
Jackson scales the film's most affecting beats down to single small objects and gestures, deliberately dwarfed by the surrounding carnage.
Payoff: The contrast in size is the point: intimacy has to fight for space against a war of armies.
Carry this in: Watch the treasure room and the battlefield trade places; one never moves, the other never stops.
A Deleuzian reading of The Hobbit: The Battle of the Five Armies →
How The Hobbit: The Battle of the Five Armies was received →