---
product_id: 228123
title: "The Hobbit: The Classic Fantasy Novel and Prelude to The Lord of the Rings"
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---

# Top #20 in Classic Literature & Fiction 300 pages of immersive storytelling Published 2012, timeless classic The Hobbit: The Classic Fantasy Novel and Prelude to The Lord of the Rings

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## Summary

> ✨ Unlock the adventure that started it all — your next legendary read awaits! 📖

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- **What is this?** The Hobbit: The Classic Fantasy Novel and Prelude to The Lord of the Rings
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## Key Features

- • **Gateway to Middle-earth:** The essential prelude to The Lord of the Rings — unlock the origins of an epic saga.
- • **Epic Journey in 300 Pages:** Dive into a compact yet richly detailed fantasy world that shaped modern storytelling.
- • **Perfect Paperback Companion:** Lightweight, portable, and ready to accompany you on every commute or coffee break.
- • **Critically Acclaimed & Loved:** With 78,000+ reviews and a 4.7-star rating, join millions who swear by this masterpiece.
- • **A Timeless Classic Reimagined:** 2012 edition brings Tolkien’s legendary tale to a new generation of discerning readers.

## Overview

The Hobbit, authored by J.R.R. Tolkien and published by Houghton Mifflin Harcourt in 2012, is a 300-page paperback edition of the classic fantasy novel that serves as the prelude to The Lord of the Rings. Celebrated for its timeless storytelling and rich world-building, it ranks among the top 20 in Classic Literature & Fiction and boasts over 78,000 glowing reviews with a 4.7-star average, making it a must-have for any serious fantasy enthusiast or professional seeking a literary escape.

## Description

The journey through Middle-earth begins here with J.R.R. Tolkien's classic prelude to his epic fantasy Lord of the Rings trilogy. “A glorious account of a magnificent adventure, filled with suspense and seasoned with a quiet humor that is irresistible... All those, young or old, who love a fine adventurous tale, beautifully told, will take The Hobbit to their hearts.”—The New York Times Book Review "In a hole in the ground there lived a hobbit." So begins one of the most beloved and delightful tales in the English language—Tolkien's prelude to The Lord of the Rings. Set in the imaginary world of Middle-earth, at once a classic myth and a modern fairy tale, The Hobbit is one of literature's most enduring and well-loved high fantasy novels. Bilbo Baggins is a hobbit who enjoys a comfortable, unambitious life, rarely traveling any farther than his pantry or cellar. But his contentment is disturbed when the wizard Gandalf and a company of dwarves arrive on his doorstep one day to whisk him away on an adventure. They have launched a plot to raid the treasure hoard guarded by Smaug the Magnificent, a large and very dangerous dragon. Bilbo reluctantly joins their epic quest, unaware that on his journey to the Lonely Mountain he will encounter both a magic ring and a frightening creature known as Gollum.

Review: An Enduring Epic and Heroic Fantasy That Is Often Unfairly Dismissed As "Just For Kids" - *The Hobbit* is one of the most beloved books of all time. Though actually originally written as a children's story, it almost immediately transcended such a classification, and through the years many adults have read the delightful story of a small, but tough Hobbit named Bilbo Baggins. Most folks know the basic premise of the story. If not from reading it, then certainly they know part of it from the prologue to *The Lord of the Rings: The Fellowship of the Ring* movie, and likely went out to learn the rest of the tale. A wizard, Gandalf the Grey, goes and visits the son of an old Hobbit friend, and after spending time with him, surreptitiously marks Bilbo's door with a sign that is an advertisement of services for a professional burglar. The dwarves that Gandalf was helping look for a burglar promptly knock on poor Bilbo's door, and up he finds himself enlisted in an adventure to slay a dragon and find lost gold. Initially the dwarves belittle Bilbo, and this just makes him all the more determined to prove them wrong about him, which attitude he does, to put it mildly, regret more than once on their quest. Eventually he finds the Ring and the adventures are many, but that is too much of a spoiler for this review. Suffice it to say, it is one grand adventure after another. It is said that the Hobbit was published on the recommendation of the publisher's son, who heartily endorsed the tale. It also was published on the strong recommendation of Tolkien's friends, including C. S. Lewis. Tolkien was a man of a very exacting nature. The debt owed to Tolkien's close circle of family, friends, and a few close academic peers is incalculable. For their insistence that Tolkien merely "publish it already" ensured the book kept the whimsical tone it may otherwise have lost. *The Hobbit* is often criticized, to be sure, for not having the extremely "serious" tone and "complex" plot lines of its sequel, *The Lord of the Rings*. While this criticism is perfectly fair, it also greatly misses the point. Yes, Tolkien included fantasy elements in the story derived from the epic fictional history of Britain that he was writing. But that was all that these were, small derivatives. There was not a concerted effort when he wrote the *children's* story, to include all of these. Indeed, while Tolkien had to go back and rewrite the section "Riddles in the Dark" to make the story of the Ring and Gollum coincide with the overall story of *The Lord of the Rings*, that is as far that he was able to go. He realized that to make the tone and story of *The Hobbit* match that of it's sequel would effectively make it no longer the fun story that everyone loved. So the question is, what is *The Hobbit*? What kind of story is it? It is lighter, but with a sense of foreboding. It is the story of a fat, happy, contented age coming to a close in a devastating war that will change the face of the earth. It is the origin of a story that is an attempt to explain how a variety of myths can be true. To this, many may object that *The Silmarillion* is the beginning of the story, but this is untrue. *The Silmarillion* is the beginning of *all* stories, and only concerns the events of the later periods of Middle-Earth very faintly, and near the end of that epic narrative. It is the Creation myth, one that connects with the Christian faith of the author surprisingly well. In fact, the light-hearted tone of *The Hobbit* is the pefect bridge for the reader. It is the most "modern" in perspective, and introduces the reader to the peoples, geography, and events that they will find are connected from the First and Second Ages in *The Silmarillion* and the Third Age in *The Lord of the Rings*. J. R. R. Tolkien didn't like allegory, as he himself attested, but he did try to do "applicability", which is really just a way of saying that he didn't directly do "x = x" in the story, but allowed his Christian worldview to mesh with ancient epics in an effort to reconcile the two differing myths, or as he later convinced Lewis, to separate the "one, True Myth" to which the other myths copy and pay homage. Perhaps the most important link, however, to *The Lord of the Rings*, however, (besides the Ring itself, of course) is the importance of characters and the emphasis on certain truths and values. Among these are loyalty, the Providence of God, and the simultaneous righteousness and brutality of warfare. Before entering the military after the outbreak of World War I, Tolkien and his closest friends, who made up the core of a club that was likely the inspiration for the later Inklings and other clubs Tolkien loved to found at the various colleges at which he taught, had this notion of the glory of war, and how they would find renown for their deeds. This is shown in the perspective of Bilbo and the other heroes at the end of the story. While they were happy to have won the battle against evil, they also felt the horrors of war quite keenly. For the careful and patient reader, this book contains so many nuggets of truth for a "children's" book. It is most definitely *not* only a simple story. It is WELL worth your time. Highly Recommended.
Review: A *FILM* review of Peter Jackson's *The Hobbit -- Part I* - Peter Jackson's *The Hobbit* (Part I -- "Into the Wilderness"): TITLE: *Martin's Freeman's Bilbo Baggins is inspired!* [***** 5 stars. Until *The Hobbit, Part I* becomes available on DVD, I'm posting the film review here.] WARNING: Spoilers ahead! While Gandalf the Wizard [Ian McKellan] remains timeless, it was obvious from the start that the Bilbo Baggins of three *The Lord of the Rings* films fame [Ian Holm, now pushing 80 years old] would have to bow out for the making of *The Hobbit*. Director Peter Jackson had surely asked himself, "Who could portray a young Ian Holm?", (but not necessarily a younger Bilbo Baggins since we now perceive Bilbo to look like the actor.) Answer: Martin Freeman. And he was right - Freeman effortlessly coalesced into the lead role. In the first of the two *The Hobbit* entries [sub-titled: *Into The Wilderness*], a more youthful Bilbo Baggins is craftily crow-barred by Gandalf into embarking upon a great adventure (Hobbits *despise* adventures!) and by serving as a burglar for a grumbly troupe of thirteen dwarves, all of whom are determined to reclaim their lost family treasure from the Evil dragon, Smaug; however, the actual battle with Smaug at the Lonely Mountain will have to wait until Part II [to be entitled: *Into the Fire*] is released. Part I largely focuses upon the history of the dwarves and the initial hazards that they encounter during their single-minded quest, chiefly battling orcs in the Misty Mountains and finishing with their tribulations with the giant spiders of the vast and ominous Mirkwood forest. It's worth noting right off that the screenwriters very shrewdly rehabilitated the puerile songs of the dwarves [found throughout the book], transforming them into a range of vivid action scenes. This strategy achieved a pair of worthy ends: 1. I've heard audio versions of this story and to include the dwarf renderings of these archaic and lengthy songs would have been in profound conflict with an effective film conveyance. 2. These newly-fashioned scenes provide additional fodder for the artful expansion of the general lack of book material, thereby reinforcing audience interest. Honestly, a movie version of Tolkien's *The Hobbit* could feasibly have been corralled within a single feature-length film [just think of all the ground that was covered in Avatar (Original Theatrical Edition) ] -- but the financial anticipations of the producers [greed], which tended to tenon seamlessly with Peter Jackson's lust for detail, had dictated long ago that viewers would have to hang on for a "final" conclusion. Part I features an ending of a sort but perhaps it would be more forthright to regard it as a dramatic finale. One looming uncertainty which has kept Tolkien fans off-balance was whether the screenwriters would go dark with *The Hobbit* in an effort to effectively link it up with The Lord of the Rings - The Motion Picture Trilogy (Platinum Series Special Extended Edition) series, particularly since Tolkien originally penned the earlier work as a sort of kids' fairy tale. In retrospect the answer to the question was probably evident to Peter Jackson from his earliest conception of a film version, noting additionally that his time-honored philosophy is that first-class films cannot simply mirror the books from which they are taken. A good screenplay massages a book for all it's worth but the visual and audio aspects must be fully accommodated too. Particular figures such as Gandalf, Elrond [Hugo Weaving], Galadriel [Cate Blanchett] and, Gollum [Andy Serkis] have already been firmly established in terms of image and it would be less than prudent at this juncture to radically manipulate the personalities of these prominent returning characters. And speaking of Galadriel, she was never a personage to be found in *The Hobbit* but Peter Jackson mined her from Tolkien's trilogy, casting her very strategically in his film version (along with Legolas, played by Orlando Bloom who also did not appear in *The Hobbit*) to further expand the script. Blanchett's presence additionally helped to overcome the gender gap of the book version. Still, these two actors are not in any way just add-ons -- their respective roles and performances have imparted considerable gravity to the story. It is impossible to separate this film's noir-ish ambiance from Howard Shore's magnificent soundtrack. He's done it again! Upbeat and even a bit frivolous at the outset, the filmscore soon slips furtively into darker realms as the story advances, a few heroic themes being reserved for the appropriate dramatic moments. One is acutely taken with the leitmotif which Shore appended to Beorn, a Prokofiev-ish ponderousness integrated with a more serious Beethoven-like dignity... the perfect musical emulsion for the venerated skin-changer. Once initial New Zealand and Australian actors' guild stumbling blocks were surmounted, the Kiwi locations again became a reality, a twin-island geography wholly adequate for the production when supplemented by studio settings, all of which have lead to the presentation of an astonishingly exceptional end-product. It would certainly have proven problematic to reproduce The Shire's Hobbiton in Eastern Europe, a location which was suggested during the early union-troubled days. Martin Freeman's dazzling performance has eclipsed even that of Elijah Wood's stellar lead role in *The Lord of the Rings* films. The former's ebullient energy ironically seems to have retrospectively amplified Ian Holm's earlier portrayal of Bilbo in the New Line Cinema trilogy of films. The remaining cast members have also set the viewers at complete ease as they creatively played out their respective roles. Peter Jackson undoubtedly learned early in his career that, given spot-on casting, at least half the battle is won. And it's hardly surprising that a particular limelight shines on Fili [Robert Kazinski] and Kili [Aidan Turner] since this caveat, for those of us who already know the story, will markedly impact most of us when we get to view the second film. The director is clearly looking ahead. In the larger view *The Hobbit* story lacks the bulwark of heroic figures which we encountered throughout *The Lord of the Rings* series, Aragorn, Boromir, Theoden, Faromir, and so on. Still, imposing characters such as Elrond, Beorn, and Bard the Bowman provide us with a subliminally more-than-adequate melodramatic security blanket. The bottom line is that this superb movie is not simply the detritus of *The Lord of the Rings* films. It's gratifying that Peter Jackson was shrewd enough to not endeavor upon such a futile follow-up attempt -- he created this film from scratch. Embracing that same notion, the screenwriters saw to it that the storyline endured sufficient jumbling so that the tale is not precisely as linear as the one we encounter in the book. This film stands on its own. With better than a baker's dozen of little folks in starring roles the temptation to over-incorporate moments of comic relief [vignettes of Gimli] must have rivaled the gnawing urge which only The One Ring could normally generate. While some tasteful levity fell well within the bounds of a palatable script, I did actually breathe a sigh of relief once I realized that few such incidents were forthcoming. The computer generated images aspect of the movie, while perfectly executed and integral to the overall work, are nicely supplemented by scale doubles, forced perspective images, miniatures, and other Jackson-ish tricks of the trade. No fear -- these facets of the film are all first-class and delightfully palatable. Gollum is better than ever. Additionally, due accolades can hardly be suitably imparted to all the folks who helped to polish this film to excellence by means of effective make-up, articulate stunt work, unequaled cinematography, precise production design, and all the other crew activities which only ever seem to rate a fleeting line of scrolled credit. One is pleased to observe that the new role of Warner Brothers and MGM [Hollywood-based companies which recently acquired New Line Cinema] did not perceptibly obstruct Peter Jackson's proclivity for artistic detail. The casual but essential impedimenta present at every place where the Dwarfish Crusaders land aids us all to subconsciously believe in the reality of Middle Earth along with its numerous and varied inhabitants. Probably much credit for the focused attention upon the near-infinite number of magical nuances should go largely to Alan Lee, a man with an unbounded imagination coupled with a vast artistic talent. I present only a singular critique of this film and it has nothing to do with the body of the movie itself: I feel compelled to comment that the decision to incorporate the endless scroll of Tolkien Fan Club members' names within the end credits is ill-advised and indirectly demeaning to the actual cast and crew. What do these people actually contribute to the film's production? Loyalty and moral support? The folks who have indeed delivered something more tangible are appropriately noted elsewhere within the credits. But most of the listed individuals have played no real part whatever, regardless of the syrupy patronization conducted by the film-makers toward this particular faction of Tolkien enthusiasts. Including these names in the film credits, which also takes in the so-called self-appointed "guardians" of Tolkien's work [a trivial minority of Tolkien Fan Club members], amounts to little more than a shallow ego-bribe. It's presumptuous as the devil to assert that Tolkien's books *need* guarding by anyone -- the affiliation here is more akin to pretentious posthumous tail-gating on the venerable Old Master. The credits perquisite imparted by the film producers, appears in my view to ostensibly head off any whining outrage raised on the internet by those Tolkien radicals who are wholly unyielding in regard to the slightest manipulation of Tolkien's texts. This posture is pure nonsense. In the end, if one's name is included in the film credits then how can s/he ever issue an untainted appraisal of the film? In truth, such an individual could never ethically issue a fruitful critical review, (nor would they likely be *inclined* to criticize, which leads me to question the motives and ethics of the producers on this front.) But here I ramble witlessly upon a topic which only faintly deserves to be dignified by my attentions to it. In truth, my mini-rant is not even a legitimate film criticism - it's really just a pet peeve. In summary, *The Hobbit* contains enough MacGuffins and other surprise moments to make it seem like a new story while still paying a more than adequate tribute to Tolkien's original manuscript. Martin Freeman was surely a brilliant choice to play Bilbo. I can hardly wait to see Part II!

## Features

- Author: J. R. R. Tolkien.
- Publisher: Houghton Mifflin Harcourt
- Pages: 300
- Publication Date: 2012-09-18
- Edition: 1
- Binding: Paperback
- MSRP: 14.99
- ISBN13: 9780547928227
- ISBN: 054792822X
- Other ISBN: 9780547951973
- Other ISBN Binding: print
- Language: en

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #1,727 in Books ( See Top 100 in Books ) #61 in Classic Literature & Fiction #64 in Paranormal Fantasy Books #98 in Action & Adventure Fantasy (Books) |
| Customer Reviews | 4.7 out of 5 stars 80,100 Reviews |

## Images

![The Hobbit: The Classic Fantasy Novel and Prelude to The Lord of the Rings - Image 1](https://m.media-amazon.com/images/I/712cDO7d73L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ An Enduring Epic and Heroic Fantasy That Is Often Unfairly Dismissed As "Just For Kids"
*by M***N on January 20, 2013*

*The Hobbit* is one of the most beloved books of all time. Though actually originally written as a children's story, it almost immediately transcended such a classification, and through the years many adults have read the delightful story of a small, but tough Hobbit named Bilbo Baggins. Most folks know the basic premise of the story. If not from reading it, then certainly they know part of it from the prologue to *The Lord of the Rings: The Fellowship of the Ring* movie, and likely went out to learn the rest of the tale. A wizard, Gandalf the Grey, goes and visits the son of an old Hobbit friend, and after spending time with him, surreptitiously marks Bilbo's door with a sign that is an advertisement of services for a professional burglar. The dwarves that Gandalf was helping look for a burglar promptly knock on poor Bilbo's door, and up he finds himself enlisted in an adventure to slay a dragon and find lost gold. Initially the dwarves belittle Bilbo, and this just makes him all the more determined to prove them wrong about him, which attitude he does, to put it mildly, regret more than once on their quest. Eventually he finds the Ring and the adventures are many, but that is too much of a spoiler for this review. Suffice it to say, it is one grand adventure after another. It is said that the Hobbit was published on the recommendation of the publisher's son, who heartily endorsed the tale. It also was published on the strong recommendation of Tolkien's friends, including C. S. Lewis. Tolkien was a man of a very exacting nature. The debt owed to Tolkien's close circle of family, friends, and a few close academic peers is incalculable. For their insistence that Tolkien merely "publish it already" ensured the book kept the whimsical tone it may otherwise have lost. *The Hobbit* is often criticized, to be sure, for not having the extremely "serious" tone and "complex" plot lines of its sequel, *The Lord of the Rings*. While this criticism is perfectly fair, it also greatly misses the point. Yes, Tolkien included fantasy elements in the story derived from the epic fictional history of Britain that he was writing. But that was all that these were, small derivatives. There was not a concerted effort when he wrote the *children's* story, to include all of these. Indeed, while Tolkien had to go back and rewrite the section "Riddles in the Dark" to make the story of the Ring and Gollum coincide with the overall story of *The Lord of the Rings*, that is as far that he was able to go. He realized that to make the tone and story of *The Hobbit* match that of it's sequel would effectively make it no longer the fun story that everyone loved. So the question is, what is *The Hobbit*? What kind of story is it? It is lighter, but with a sense of foreboding. It is the story of a fat, happy, contented age coming to a close in a devastating war that will change the face of the earth. It is the origin of a story that is an attempt to explain how a variety of myths can be true. To this, many may object that *The Silmarillion* is the beginning of the story, but this is untrue. *The Silmarillion* is the beginning of *all* stories, and only concerns the events of the later periods of Middle-Earth very faintly, and near the end of that epic narrative. It is the Creation myth, one that connects with the Christian faith of the author surprisingly well. In fact, the light-hearted tone of *The Hobbit* is the pefect bridge for the reader. It is the most "modern" in perspective, and introduces the reader to the peoples, geography, and events that they will find are connected from the First and Second Ages in *The Silmarillion* and the Third Age in *The Lord of the Rings*. J. R. R. Tolkien didn't like allegory, as he himself attested, but he did try to do "applicability", which is really just a way of saying that he didn't directly do "x = x" in the story, but allowed his Christian worldview to mesh with ancient epics in an effort to reconcile the two differing myths, or as he later convinced Lewis, to separate the "one, True Myth" to which the other myths copy and pay homage. Perhaps the most important link, however, to *The Lord of the Rings*, however, (besides the Ring itself, of course) is the importance of characters and the emphasis on certain truths and values. Among these are loyalty, the Providence of God, and the simultaneous righteousness and brutality of warfare. Before entering the military after the outbreak of World War I, Tolkien and his closest friends, who made up the core of a club that was likely the inspiration for the later Inklings and other clubs Tolkien loved to found at the various colleges at which he taught, had this notion of the glory of war, and how they would find renown for their deeds. This is shown in the perspective of Bilbo and the other heroes at the end of the story. While they were happy to have won the battle against evil, they also felt the horrors of war quite keenly. For the careful and patient reader, this book contains so many nuggets of truth for a "children's" book. It is most definitely *not* only a simple story. It is WELL worth your time. Highly Recommended.

### ⭐⭐⭐⭐⭐ A *FILM* review of Peter Jackson's *The Hobbit -- Part I*
*by P***E on December 14, 2010*

Peter Jackson's *The Hobbit* (Part I -- "Into the Wilderness"): TITLE: *Martin's Freeman's Bilbo Baggins is inspired!* [***** 5 stars. Until *The Hobbit, Part I* becomes available on DVD, I'm posting the film review here.] WARNING: Spoilers ahead! While Gandalf the Wizard [Ian McKellan] remains timeless, it was obvious from the start that the Bilbo Baggins of three *The Lord of the Rings* films fame [Ian Holm, now pushing 80 years old] would have to bow out for the making of *The Hobbit*. Director Peter Jackson had surely asked himself, "Who could portray a young Ian Holm?", (but not necessarily a younger Bilbo Baggins since we now perceive Bilbo to look like the actor.) Answer: Martin Freeman. And he was right - Freeman effortlessly coalesced into the lead role. In the first of the two *The Hobbit* entries [sub-titled: *Into The Wilderness*], a more youthful Bilbo Baggins is craftily crow-barred by Gandalf into embarking upon a great adventure (Hobbits *despise* adventures!) and by serving as a burglar for a grumbly troupe of thirteen dwarves, all of whom are determined to reclaim their lost family treasure from the Evil dragon, Smaug; however, the actual battle with Smaug at the Lonely Mountain will have to wait until Part II [to be entitled: *Into the Fire*] is released. Part I largely focuses upon the history of the dwarves and the initial hazards that they encounter during their single-minded quest, chiefly battling orcs in the Misty Mountains and finishing with their tribulations with the giant spiders of the vast and ominous Mirkwood forest. It's worth noting right off that the screenwriters very shrewdly rehabilitated the puerile songs of the dwarves [found throughout the book], transforming them into a range of vivid action scenes. This strategy achieved a pair of worthy ends: 1. I've heard audio versions of this story and to include the dwarf renderings of these archaic and lengthy songs would have been in profound conflict with an effective film conveyance. 2. These newly-fashioned scenes provide additional fodder for the artful expansion of the general lack of book material, thereby reinforcing audience interest. Honestly, a movie version of Tolkien's *The Hobbit* could feasibly have been corralled within a single feature-length film [just think of all the ground that was covered in Avatar (Original Theatrical Edition) ] -- but the financial anticipations of the producers [greed], which tended to tenon seamlessly with Peter Jackson's lust for detail, had dictated long ago that viewers would have to hang on for a "final" conclusion. Part I features an ending of a sort but perhaps it would be more forthright to regard it as a dramatic finale. One looming uncertainty which has kept Tolkien fans off-balance was whether the screenwriters would go dark with *The Hobbit* in an effort to effectively link it up with The Lord of the Rings - The Motion Picture Trilogy (Platinum Series Special Extended Edition) series, particularly since Tolkien originally penned the earlier work as a sort of kids' fairy tale. In retrospect the answer to the question was probably evident to Peter Jackson from his earliest conception of a film version, noting additionally that his time-honored philosophy is that first-class films cannot simply mirror the books from which they are taken. A good screenplay massages a book for all it's worth but the visual and audio aspects must be fully accommodated too. Particular figures such as Gandalf, Elrond [Hugo Weaving], Galadriel [Cate Blanchett] and, Gollum [Andy Serkis] have already been firmly established in terms of image and it would be less than prudent at this juncture to radically manipulate the personalities of these prominent returning characters. And speaking of Galadriel, she was never a personage to be found in *The Hobbit* but Peter Jackson mined her from Tolkien's trilogy, casting her very strategically in his film version (along with Legolas, played by Orlando Bloom who also did not appear in *The Hobbit*) to further expand the script. Blanchett's presence additionally helped to overcome the gender gap of the book version. Still, these two actors are not in any way just add-ons -- their respective roles and performances have imparted considerable gravity to the story. It is impossible to separate this film's noir-ish ambiance from Howard Shore's magnificent soundtrack. He's done it again! Upbeat and even a bit frivolous at the outset, the filmscore soon slips furtively into darker realms as the story advances, a few heroic themes being reserved for the appropriate dramatic moments. One is acutely taken with the leitmotif which Shore appended to Beorn, a Prokofiev-ish ponderousness integrated with a more serious Beethoven-like dignity... the perfect musical emulsion for the venerated skin-changer. Once initial New Zealand and Australian actors' guild stumbling blocks were surmounted, the Kiwi locations again became a reality, a twin-island geography wholly adequate for the production when supplemented by studio settings, all of which have lead to the presentation of an astonishingly exceptional end-product. It would certainly have proven problematic to reproduce The Shire's Hobbiton in Eastern Europe, a location which was suggested during the early union-troubled days. Martin Freeman's dazzling performance has eclipsed even that of Elijah Wood's stellar lead role in *The Lord of the Rings* films. The former's ebullient energy ironically seems to have retrospectively amplified Ian Holm's earlier portrayal of Bilbo in the New Line Cinema trilogy of films. The remaining cast members have also set the viewers at complete ease as they creatively played out their respective roles. Peter Jackson undoubtedly learned early in his career that, given spot-on casting, at least half the battle is won. And it's hardly surprising that a particular limelight shines on Fili [Robert Kazinski] and Kili [Aidan Turner] since this caveat, for those of us who already know the story, will markedly impact most of us when we get to view the second film. The director is clearly looking ahead. In the larger view *The Hobbit* story lacks the bulwark of heroic figures which we encountered throughout *The Lord of the Rings* series, Aragorn, Boromir, Theoden, Faromir, and so on. Still, imposing characters such as Elrond, Beorn, and Bard the Bowman provide us with a subliminally more-than-adequate melodramatic security blanket. The bottom line is that this superb movie is not simply the detritus of *The Lord of the Rings* films. It's gratifying that Peter Jackson was shrewd enough to not endeavor upon such a futile follow-up attempt -- he created this film from scratch. Embracing that same notion, the screenwriters saw to it that the storyline endured sufficient jumbling so that the tale is not precisely as linear as the one we encounter in the book. This film stands on its own. With better than a baker's dozen of little folks in starring roles the temptation to over-incorporate moments of comic relief [vignettes of Gimli] must have rivaled the gnawing urge which only The One Ring could normally generate. While some tasteful levity fell well within the bounds of a palatable script, I did actually breathe a sigh of relief once I realized that few such incidents were forthcoming. The computer generated images aspect of the movie, while perfectly executed and integral to the overall work, are nicely supplemented by scale doubles, forced perspective images, miniatures, and other Jackson-ish tricks of the trade. No fear -- these facets of the film are all first-class and delightfully palatable. Gollum is better than ever. Additionally, due accolades can hardly be suitably imparted to all the folks who helped to polish this film to excellence by means of effective make-up, articulate stunt work, unequaled cinematography, precise production design, and all the other crew activities which only ever seem to rate a fleeting line of scrolled credit. One is pleased to observe that the new role of Warner Brothers and MGM [Hollywood-based companies which recently acquired New Line Cinema] did not perceptibly obstruct Peter Jackson's proclivity for artistic detail. The casual but essential impedimenta present at every place where the Dwarfish Crusaders land aids us all to subconsciously believe in the reality of Middle Earth along with its numerous and varied inhabitants. Probably much credit for the focused attention upon the near-infinite number of magical nuances should go largely to Alan Lee, a man with an unbounded imagination coupled with a vast artistic talent. I present only a singular critique of this film and it has nothing to do with the body of the movie itself: I feel compelled to comment that the decision to incorporate the endless scroll of Tolkien Fan Club members' names within the end credits is ill-advised and indirectly demeaning to the actual cast and crew. What do these people actually contribute to the film's production? Loyalty and moral support? The folks who have indeed delivered something more tangible are appropriately noted elsewhere within the credits. But most of the listed individuals have played no real part whatever, regardless of the syrupy patronization conducted by the film-makers toward this particular faction of Tolkien enthusiasts. Including these names in the film credits, which also takes in the so-called self-appointed "guardians" of Tolkien's work [a trivial minority of Tolkien Fan Club members], amounts to little more than a shallow ego-bribe. It's presumptuous as the devil to assert that Tolkien's books *need* guarding by anyone -- the affiliation here is more akin to pretentious posthumous tail-gating on the venerable Old Master. The credits perquisite imparted by the film producers, appears in my view to ostensibly head off any whining outrage raised on the internet by those Tolkien radicals who are wholly unyielding in regard to the slightest manipulation of Tolkien's texts. This posture is pure nonsense. In the end, if one's name is included in the film credits then how can s/he ever issue an untainted appraisal of the film? In truth, such an individual could never ethically issue a fruitful critical review, (nor would they likely be *inclined* to criticize, which leads me to question the motives and ethics of the producers on this front.) But here I ramble witlessly upon a topic which only faintly deserves to be dignified by my attentions to it. In truth, my mini-rant is not even a legitimate film criticism - it's really just a pet peeve. In summary, *The Hobbit* contains enough MacGuffins and other surprise moments to make it seem like a new story while still paying a more than adequate tribute to Tolkien's original manuscript. Martin Freeman was surely a brilliant choice to play Bilbo. I can hardly wait to see Part II!

### ⭐⭐⭐⭐⭐ A review from an 8-year-old girl (with some help from her father)
*by P***. on January 12, 2024*

Through The Eyes Of A Child No one is really going to read a review from some random dude about a story beloved for so long by so many. If I said I loved it, I’m just one voice in a chorus of others. If I said I hated it, I would be chided for a lack in taste or understanding. If I said there were parts I liked and others I didn’t – I’d be lost in the middle ground of it all and attacked by both fans and detractors of the story. However, one thing I can offer is the review of at the time of this writing a newly-crested 7-year-old girl in the year of our Lord 2023 as we read the story together and offer up her perspective as someone coming brand new to a work that really kicked off the fantasy genre. While the review may lack detail and wordiness, I can tell you there was no push by her father to like or not like any part of it and the review is an accurate take prompted only by the questions asked by a loving father. (Although this father might interject observation from time to time in parentheses) This was actually a “take two” reading as dad had only read the story and forgot that voices and inflections are what drives children to get invested in the story. We did not make it very far even for a kid who is pretty patient with a learning-as-he-goes-parent and enjoys a world of fairytales and princesses. So this second attempt was assisted by a narrator with a British accent who could sing the songs and change inflections for the characters. Characters – Indeed! The Hobbit definitely has a lack of female characters but this didn’t phase our reader too much – although adding one girl would have been okay with our reader. She enjoyed both Bilbo and Gandalf the most. She loved that Bilbo went on his journey even though he didn’t really want to and in the midst of all his trials in the story – he wanted to do the right thing. (A note here – it’s interesting that “doing the right thing” here is seen instead of “continuing the adventure” or “getting out of the situation”. It seems that the reader got Tolkien’s desire and Bilbo’s role immediately.). With Gandalf, one might think the fact that he was a wizard and did wizardly things at times would be the draw for our reader. In fact, she enjoyed that Gandalf was with the troop of heroes for half of the story and returns just when it seemed like the group needed his help at the end. She enjoyed that Gandalf followed Bilbo back from the great mountain back to the Shire and completed Bilbo’s journey with him. The Journey Action isn’t devoid in the enjoyment of the reader. The battle of Smaug and the ending of the menace was her favorite part. She liked that the bad guy was defeated and peace would reign. Although, the end of the story doesn’t happen here as she thought it was interesting that the selfishness of King Thorin ruined the peace and what could have been a good time. (Just like a good child asking “are we there yet?” this was mirrored with “when are they going to get to Smaug?” but it seems the building in anticipation was worth it in the end). Tolkien is known for building his world and if a tree needs a history, by Joe, that tree will get a full backstory. Our reader agreed that there was too much detail at times and the desire to get on with the adventure was forefront. However, she also agreed that it allowed her to imagine the world of our characters to a better extent. (It’s interesting to think about how many fantasy stories she’s exposed to and how figuring out the world and the rules of the types of magic encounters occurs. This probably gets lost of us big kids who know these stories or story types and forget we need to sometimes start fresh with our assumptions to get more out of the story). The details in the action parts were fun and added to lengthening of that enjoyment. Even with the times of travel and rest, our reader liked the characters talking with each other and interacting. So even the “boring parts” were good for our reader. Themes & Takeaways Our house is not unexposed to British humor although sometimes the subtlety of a joke is lost due to our reader’s age or life experience. Yet, the humor and Brish turns-of-phrases in Tolkien’s story were not lost on her. While many readers, I believe, tend to overlook the songs; our reader found these to be the funniest parts. One reason is that we don’t make up songs for the stuff we do in our day-to-day travels like it seemed our characters did. (This is probably a sad telling of our current state of culture and one that Tolkien probably bristles at). When questioned on what was not enjoyed about the story, our reader thought for several minutes before coming away that there was nothing that she didn’t like. When asked about Golem being a mystery, she was okay with not knowing more about him. She liked that we would see him again in the next books after it was revealed he would show up again. Before that time, she was imagining more of what he looked like and what he was. Even if there was no next book, she was ok with not knowing more about Golem. When asked if she thought the Ring was important, she says that she believes it’s important but can’t even think of why. Our reader’s enjoyment of adventure stories stems from an enjoyment of mysteries and their unfolding and being solved and guessed at. In this adventure story, there was the big adventure but there were also a number of mini-adventures in their travels. Each one was an interesting mystery to see how our heroes would get out of the situation or overcome it. She’s of the belief that Bilbo would continue to go on adventures and do so with other people. (It’s clear that she sees the change in Bilbo from the beginning of the book to the end. And a child’s mind would see the fun had in this adventure and want to continue it. Only the adult mind, roots us at home). Only The Start Of The Journey Clearly, the story was enjoyed by our reader. When asked if she would read it again she stated that she would re-read it a million times even when she knew what would happen. Her father was informed that we would have to continue onto the next book. But as for this book, our reader gave a Final Grade – A+ Final Grade A+

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