Lord of the Rings: War of the Rohirrim Brings Tolkien Alive With Anime | Review
There are few fantasy franchises that capture the spirit of epic adventure quite like The Lord of the Rings. Though others have gone on to amass formidable fanbases, like Game of Thrones, none of them possess quite the same spark, often getting lost in action setpieces or patriarchal politics. J. R. R. Tolkien’s original works were tried-and-true adventure stories, built on the kind of unabashed heroism and unwavering spirit that galvanized audiences to join lovable characters on epic quests in the first place.
Now, that style of storytelling feels like ancient history, though perhaps this is fitting for a franchise that takes place in a land called Middle-earth. Whenever we come back to the franchise, we are being transported back in time, one where the binaries of good and evil can capture our moral compasses and give us stories that inspire hope and triumph, for this is what the very foundation of storytelling was built upon.
Perhaps the most exciting thing about our latest Lord of the Rings spinoff, subtitled The War of the Rohirrim, is that it manages to recapture that same appeal. Directed by Kenji Kamiyama, the film is a bit of a departure for the franchise, recounting a history that long precedes the events of the original trilogy and in the style of anime, which the series has never been rendered in before. However, despite these new elements, War of the Rohirrim feels right at home in the franchise thanks to its fundamental sense of characters, setting, and tone. This rousing war epic feels like a spiritual sibling to Peter Jackson’s original films in its sheer conviction and, at times, comes damn close to recapturing the trilogy’s emotionally-charged clashes and intense dramatic heights.
Based on a section of the Lord of the Rings appendix, The War of the Rohirrim tells a story in the history of Rohan, the kingdom of horsemen essential to the victory against Sauron in the original trilogy. Fan-favorite Rohan-native Éowyn narrates (Miranda Otto returns to the role) our story, which is set over 100 years prior to her introduction and primarily follows Héra (Gaia Wise), the rebellious and stubbornly independent daughter of Helm Hammerhand (Brian Cox), the ninth King of Rohan who will eventually inspire the name of the dreaded Helm’s Deep. From the outset, Héra is a perfect protagonist for our story, one with the inherent likability of Éowyn but already established to have incredible skills for combat. Though Helm is dead set on protecting her, she is not quiet about her interest in fighting alongside him.
Her opportunity presents itself when Freca (Shaun Dooley), the neighbouring lord of Dunlend, approaches Helm to forcefully suggest his son, Wulf (Luke Pasqualino), marry Héra and become a descendant to the throne. Helm refuses, leading to a fight that has him defeating Freca in one blow. Wulf, enraged with a lust for vengeance, vows for revenge and leads an all-out war between the two nations.
Héra, once friends with Wulf during childhood and responsible for a scar across his eye, does not reciprocate feelings for Wulf yet still desires to be his friend. However, the further Wulf’s judgement is clouded by anger, the further Héra is driven to rebuke him. Supporting Héra are her two brothers, Hama and Haleth, as well as her cousin Fréaláf and guardian Olwyn, who was once a shieldmaiden that defended Rohan. Héra herself aspires to be a shieldmaiden, fuelling her desire to prove she is more than just a princess.
This colourful cast of characters are built on archetypes any LOTR fan is deeply familiar with. Some characters may even feel reminiscent of other characters in the franchise. However, clear character motivations and an unwavering commitment to them can often outshine conventional character design. Héra surely comes from a long line of confident female heroines, however her determination to defend her country and her family (not to mention Wise’s strong voice work) feels unironically earnest in a way that harkens back to the aforementioned genes of the adventure genre.
The same can be said for Wulf, a villain that reveals himself to be rotten to his core. Misguided by a deep sense of shame, his own unwavering commitment to destroying Rohan makes for a grippingly tragic character, given intensity by Pasqualino’s own gritty vocal work. Every character feels cemented to their values without necessarily sacrificing edges of complexity, making them exciting to root for whether good or evil.
Lord of the Rings has a history with animation, however this is, by far, the most extensive it has ever looked. Kamiyama, likely best known to animation fans as the director of the Star Wars: Visions short The Ninth Jedi as well as Blade Runner: Black Lotus, renders Middle-earth with exceptional detail, from gorgeous costumes to breathtaking sets and landscapes. Though the choice to put 2D animation against 3D backgrounds (courtesy of Sola Entertainment’s expertise in CGI) and weather elements creates a visual dissonance in certain key moments, it can easily be forgotten when you’re dialed into the film’s meticulous fight choreography and intense action setpieces.
The film’s animation style is a far cry from more intense anime studios like Trigger or Production I.G. (aside from glimmers of gore), and perhaps more hardcore genre fans would have liked to see the franchise interpreted in more stylistic imagery. However, the straightforward yet nonetheless engaging animation keeps the focus on the story, which lets the character-driven clashes speak for themselves.
Eventually, The War of the Rohirrim lets loose with a no-holds-barred climax that brings its characters to their breaking point in a way that, even by LOTR standards, is utterly enrapturing. Though the film has taken its time to get there, firmly establishing a weathersome war story between two well-drawn worlds, the culmination is well-worth the runtime.
Though it can’t help but cherry-top its adventure with some cheeky fanservice (some of the most naked I’ve seen to date, frankly), it isn’t enough to rescind the film’s merits as a broadly standalone story. Newcomers are sure to find this action spectacle exciting, while longtime fans will appreciate it as a new carving etched into the storied oak of their favorite fantasy franchise. Though by no means a perfect film, it checks the appropriate boxes and lays a foundation for what should be many more animated entries to come.
The Lord of the Rings: The War of Rohirrim is now playing in UK cinemas everywhere, courtesy of Warner Bros. Animation.