Patient and rich yet involving and awe-inspiring

Peter Jackson's The Lord of the Rings trilogy is over two decades old, but it remains one of the greatest motion picture achievements in the medium's history: three masterful epics of affecting emotional resonance, well-rounded storytelling, artistic integrity, sensational visual design and grand scope. For years, J.R.R. Tolkien's acclaimed novels were considered unfilmable, with an animated attempt in 1978 by Ralph Bakshi covering the first two novels while Rankin/Bass produced an animated Return of the King adaptation for television in 1980. Against all odds, cult Kiwi filmmaker Jackson accomplishes the impossible, adapting Tolkien's dense, complex fantasy world for the screen in a way that remains faithful to the literature while showcasing the director's immense creative talents. 2001's The Lord of the Rings: The Fellowship of the Ring is an outstanding first act for a perfect trilogy, patient and rich yet involving and awe-inspiring, treating the story with the gravitas it demands. From the grand battle in the opening prologue, it is clear that Jackson and his team got it right.

In the fires of Mount Doom, the Dark Lord Sauron secretly forges a master ring that allows him to hold dominion over Middle-earth. Lost for thousands of years after Sauron's defeat in battle, the ring comes into the hands of a Hobbit from The Shire, Bilbo Baggins (Ian Holm), who turns invisible whenever he places the ring on his finger. The ring prolongs Bilbo's life, and on the eve of his 111th birthday, Bilbo receives a visit from kindly wizard and old friend, Gandalf the Grey (Ian McKellen). Persuading Bilbo to depart The Shire and pass the ring onto his nephew, Frodo (Elijah Wood), Gandalf feels uneasy about the ring, urgently seeking information about its origins. As it turns out, Sauron has returned to Middle-earth and needs his ring to take physical form and plunge Middle-earth into eternal darkness. The ring can only be destroyed in the fires of Mount Doom, in the perilous lands of Mordor. With little choice, Gandalf pushes Frodo on a quest for Mount Doom, aided by loyal friend and gardener Samwise Gamgee (Sean Astin). Receiving counsel with the elves in Rivendell, Frodo earns himself a band of protectors: Sam and Gandalf, as well as fellow Hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies), and humans Aragorn (Viggo Mortensen) and Boromir (Sean Bean).

The Lord of the Rings was part of the geek takeover of Hollywood from the early stages of the 21st Century. Jackson was essentially a nobody before the trilogy, a cult filmmaker with a few niche gems to his name. In the following years, other cult directors oversaw comparable major blockbusters, with Evil Dead mastermind Sam Raimi helming Spider-Man, and TV icon Joss Whedon playing a vital role in the Marvel Cinematic Universe. Coming from a low-budget background, Jackson's prior experience perfectly prepared him for the challenge of The Lord of the Rings – his gory splatter-fests (Bad Taste, Dead Alive) established his action expertise, Meet the Feebles demonstrated his lighter comedic side, The Frighteners prepared him for using digital effects (and served as good practice for his company, Weta Workshop), while Heavenly Creatures prepared him for romance, drama, and tragedy. Assisted by his writing and producing partners, Fran Walsh and Philippa Boyens, Jackson is a rare breed of filmmaker. Harbouring an innate understanding of the possibilities of cinema, he turns Tolkien's literary work into a big-screen fantasy adventure without creating a simplistic or by-the-numbers affair.

The Fellowship of the Ring may not entirely satisfy die-hard book fans due to its deviations in terms of narrative structure, as well as omitted scenes and moments, including the exclusion of fan favourite character Tom Bombadil. However, Fellowship is an adaptation instead of a direct book-to-film translation, necessitating a degree of retooling to produce a dramatically satisfying standalone film. What is particularly extraordinary about The Fellowship of the Ring is that familiarity with Tolkien's novels is not a viewing prerequisite, as Jackson takes great pains to ensure that the uninitiated will be satisfied and can follow the story. Beginning with a detailed prologue, Fellowship lays out the necessary backstory before the proper story can commence. Running at a hair under three hours in its theatrical form, with an extended edition running even longer, this is a long movie that requires patience, yet there is no excessive filler. Each frame of Fellowship is vital, with Jackson giving the narrative sufficient breathing space, staging set pieces with an unhurried rhythm, and ensuring characters receive proper development. Like Tolkien's novels, The Lord of the Rings is not strictly a fantasy; at its core, this is a story about people, as the characters are the main focus. The extended cut is the essential way to experience The Fellowship of the Ring, as the additions make the experience more satisfying and definitive. However, the theatrical cut (Jackson's preferred version) remains borderline perfect, retaining the essential narrative beats and moments.

Supported by a generous, though not entirely overzealous budget, The Fellowship of the Ring is bolstered by flawless production design that breathes vivid life into this artistic interpretation of Tolkien's works. With location filming occurring throughout New Zealand, the country's diverse landscapes and forests make Middle-earth look like a real, otherworldly place. Andrew Lesnie's Oscar-winning cinematography takes full advantage of the sumptuous locations, and it helps that the smooth compositions elegantly capture the battle sequences, both large and small. It is impossible to overstate the majesty of the visuals here, and practically nothing looks dated or inadequate after two decades. The Lord of the Rings trilogy was produced at a crucial time when digital effects were merely a single tool in a vast arsenal of filmmaking techniques - filmmakers still used vast sets, miniatures, locations, practical effects, and in-camera trickery. Elaborate make-up and prosthetics bring life to Middle-earth's repulsive and exotic creatures, while the digitally-created monsters (including a troll and a demonic fire beast known as the Balrog) are immaculately integrated with the live-action elements, appearing more convincing than most computer-generated creatures produced in later years. Additionally, shooting on 35mm film gives the picture a distinctive cinematic texture to further underscore the realism. The illusion throughout The Fellowship of the Ring is flawless, generating an incredible, lived-in sense of grittiness that other big-budget, high-concept blockbusters frequently lack. This is also not a case of story or characters receiving secondary consideration, as they are equally as robust as the film's grandiose visuals.

The defining touch for The Fellowship of the Ring is Howard Shore's sumptuous, flavoursome original score, one of the finest soundtracks ever devised. Shore's contributions are overwhelming, accentuating The Shire's jaunty disposition, Mordor's pervasive darkness, Sauron's sinister demeanour, the ethereal nature of the elves, and the production's grand scope, while the various action set pieces are thoroughly exhilarating. Shore delivers distinct motifs for characters and locations, employing a range of techniques and never setting a foot wrong. In many ways, The Fellowship of the Ring is a symphony, with the score perfectly accompanying and accentuating the visuals, and it never feels like incidental background noise.

The immense ensemble cast of The Fellowship of the Ring was carefully selected after an extensive worldwide search, and there is not a single weak link in sight - each performer wholly and convincingly makes their role their own, with the actors ultimately becoming synonymous with their characters in the ensuing years. The dialogue – a combination of Tolkien's writing and the scripting expertise of the three screenwriters – sparkles with a distinctive, poetic rhythm and vernacular, and you can always believe that the actors mean every word they utter. At the forefront of the story is the fresh-faced young Elijah Wood, who assuredly handles Frodo's many emotions and traits and believably looks the part. Wood receives robust support from the supporting players around him, with Dominic Monaghan and Billy Boyd arguably making the biggest impression as the mischievous pair of Merry and Pippin. The duo provide many pleasing moments of levity without devolving into inanity, a testament to Jackson's directorial discipline and the talent of Monaghan and Boyd.

Meanwhile, Ian McKellen convincingly becomes Gandalf the Grey, espousing endless gravitas as the wise and ageing wizard. Viggo Mortensen was not Jackson's first choice for Aragorn, as Stuart Townsend was originally cast but was let go early into the production for appearing too young. The fact that Mortensen was a last-minute replacement is a miracle, as he is note-perfect as Aragon, a convincing man of action who also shows frequent glimpses of being erudite and world-weary. Also of note is Christopher Lee, who was actually acquainted with Tolkien and is an avid reader of the books. Lee's engaging, nuanced turn as the menacing Saruman the White represents another highlight. It is difficult to do justice to the cast's sheer breadth of talent, from Sean Bean's excellent, multifaceted performance as Gondorian prince Boromir to the charismatic Ian Holm as Bilbo, but every contribution, both large and small, is impeccable.

The Lord of the Rings: The Fellowship of the Ring is a rare type of production that successfully merges astonishing spectacle with compelling drama and storytelling without relinquishing any artistic integrity. In other words, it is an Oscar-calibre movie that does not feel like homework. Additionally, it is a geeky film that remains wholly accessible to newcomers and casual viewers without short-changing the rich lore or intimidating details of Tolkien's novel. The Fellowship of the Ring is also decidedly dark, pushing the PG-13 rating to its boundaries with the unnerving imagery, violent battle sequences and repulsive creatures, emphasising the story's stakes and making it clear that Middle-earth is a fantasy world fraught with peril. No matter how many times you watch it, The Fellowship of the Ring is overwhelmingly emotional. The finale is extraordinarily affecting, leaving you wanting to jump right into its sequel, The Two Towers, while also leaving you with tears in your eyes and goosebumps all over your skin.

10/10