As we explore the expanding universe of The Lord of the Rings, my preference leans towards The Lord of the Rings: The War of the Rohirrim over earlier endeavors like The Hunt for Gollum. In today’s Hollywood landscape, dominated by existing intellectual properties, studios often tread cautiously to avoid alienating fanbases. This approach leads to a heavy reverence for original works, where the retelling of familiar narratives often comes with an overabundance of deference. Thus, a self-contained anime adaptation that unfurls its story two centuries prior to The Lord of the Rings gives me greater optimism than a live-action entry set during the Fellowship.
Andy Serkis may yet change my mind in 2026; however, I am currently pleased with the path chosen by Kenji Kamiyama, the director of Rohirrim. Though a few references to the original felt somewhat excessive, I was overall delighted to see the film carve its own identity, resulting in a compelling narrative infused with beautiful animation. If I am to revisit Peter Jackson’s Middle-earth, this appears to be an ideal way to approach it.
How The War Of The Rohirrim Leverages Familiarity
Without Nefariously Subverting Expectations
The War of the Rohirrim embraces an oral storytelling tradition, introduced by Éowyn (Miranda Otto), the iconic character from Jackson’s trilogy, who guides us to Héra (Gaia Wise), another fierce protagonist from Rohan. The narrative informs us that despite Héra’s numerous achievements, her tale will remain unwritten. This insight cleverly nods at franchise management—by bringing back a familiar voice and acknowledging the unnamed protagonist in Tolkien’s world—while allowing the filmmakers to create a true artistic identity.
Éowyn’s introductory scene highlights the often overlooked contributions of women in the so-called Kingdoms of Men, a theme Kamiyama skillfully weaves throughout the movie. Moreover, this approach places Rohirrim within a mythos, allowing it to embrace storytelling patterns and familiar rhythms. The overt simplicity in story and character is celebrated, creating resonance with audiences.
Upon meeting Héra, we find her undeniably more untamed than Éowyn. Her father, Helm Hammerhand (Brian Cox)—the aging but valiant King of Rohan—has granted her nearly scandalous freedom. As is typical in such narratives, her thirst for independence soon conflicts with her royal responsibilities.
This clash surprises Héra and deepens when Freca proposes she marry his son, Wulf (Luke Pasqualino), her childhood companion. Héra tries to politely decline, revealing her reluctance towards marriage. Freca’s aspirations for the throne become all too clear, leading to a confrontation with Helm that culminates in a fateful punch, inadvertently killing Freca.
This incident propels the titular conflict: Wulf, seeking vengeance, is exiled from Rohan, only to build an army in the shadows, ready to reclaim his honor and seek revenge on Helm, his sons Hama (Yazdan Qafouri) and Haleth (Benjamin Wainwright), and Héra, who rejected him.
This Anime Adaptation Highlights Visual Mastery
And Adheres to Narrative Needs Precisely
Tolkien’s Middle-earth draws inspiration from various mythologies—Norse, Celtic, Old English, and Welsh. In this vein, The War of the Rohirrim captures the essence of these traditions. Even when specifics remain hazy, audiences can instinctively grasp the narrative’s rhythm, enhancing its emotional engagement. Personally, this allowed me to embrace both the heartfelt lows and victorious highs of the story.
While certain constraints may have limited character development and design, Kamiyama navigates these confines to create visually stunning portrayals that amplify key motifs.
Héra is a natural hero—intelligent and brave, held back only by the confines of her environment. Conversely, Wulf’s transformation into a villain places him on a tragic trajectory. This tension between past acquaintance and current enmity lays fertile ground for character evolution. Héra’s growth parallels Éowyn’s heroism in The Lord of the Rings, just as Wulf’s downfall reflects her ascent. In a sea of twists, traditional arcs for protagonist and antagonist resonate uniquely in this narrative.
Apart from the narrative structure, The War of the Rohirrim excels in execution. Its standout quality, as anticipated, is the animation. The aesthetic resembles an anime adaptation of Jackson’s films, showcasing a blend of artistry that manifests beautifully on screen. These grand visuals evoke a mythic quality reminiscent of scenes that might be depicted in a tapestry adorning Edoras’ great hall.
All voice performances are competent, yet Cox’s portrayal of Helm Hammerhand leaves a remarkable impact. He imbues the character with depth and gravitas, portraying him as a figure destined for remembrance. While I wished for similar depth from other leads, there’s nothing throughout the film that detracts from its overall enjoyment.
In conclusion, The War of the Rohirrim is a film I’d gladly revisit. As Warner Bros. continues to explore the potential of this franchise, I hope future projects adopt a similar vision, with less emphasis on nostalgia and callbacks. More opportunities for animators to interpret this and similar franchises creatively could yield exciting results.
The Lord of the Rings: The War of the Rohirrim premieres in theaters nationwide on Friday, December 13. The runtime is 134 minutes, and it carries a PG-13 rating for substantial violence.
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