Ol'gaffer said:
The
nazgul are riding in a charging
phalanx formation, meant for hunting down their target.
And they therefore must keep pace with their slowest
horse.
Stupid.
They catch up with
Arwen, but never catch her in that meaning. they get alongside with her and try to force her to stop or fall.
We don’ see that after the first appearance of
the Nine, save arguably in one shot where the formation of the
Nazgûl take on a U-shape with the end close to Arwen’s position or partly parallel to her.
What happens then?
Another jump cut.
I felt no tension. The scenery was nice.
It's obvious that you aren't a film maker or even know of that trade.
True enough but ...
Cutting together a chase scene is the hardest thing to do, after
battles that is, and this was cut very well.
I have seen it done better in other films. I realize the difficulties in dealing with a large number of
animals. But it was Jackson’s decision to do a long chase scene in place of the very short chase scene in the book.
At times showing close ups of Arwen riding, at times far shots and wide shots to show the full picture and how close the riders are, this creates tension.
It didn’t for me. I saw it as arbitrary jump cutting. We see the
horses forming a U around Arwen. What happens next? Another jump cut, dissolving the tension. He’s obviously cutting in time as well as space, but then what reason to show particular sequences when, effectively nothing happens, when the pursuers do not gain.
If you want to increase tension, perhaps one should do it also by what happens on screen rather than by trying to force excitment by jumping shots and camera.
But it was wonderful scenic photography.
Making the whole chase into one shot would not.
Making an action sequence into one long shot is difficult. But it can enhance tension as the audience sees that there is apparently no trickery involved. Or use many multiple shots. Jumping the camera from Arwen to her pursuers and back hides the breaks in shooting. I’ve seen enough films to know that.
Again, lining up and pacing themselves by the slowest horse is what doesn’t make sense. No-one has an answer to why anyone would use such a strategy in the circumstances. And it’s surely harder to shoot a chase scene where the riders are in formation than one where they are strung out as would happen naturally on the set.
You want tension, try this:
The white horse leaped forward. The
hobbits ran down the slope.
Glorfindel and
Strider followed as rear-guard. They were only half way across the flat, when suddenly there was a noise of horses galloping. Out of the gate in the
trees that they had just left rode a
Black Rider. He reined his horse in, and halted, swaying in his saddle. Another followed him, and then another; then again two more.
‘Ride forward! Ride!’ cried Glorfindel to
Frodo.
He did not obey at once, for a strange reluctance seized him. Checking the horse to a walk, he turned and looked back. The Riders seemed to sit upon their great steeds like threatening
statues upon a hill, dark and solid, while all the woods and land about them receded as if into a mist. Suddenly he knew in his heart that they were silently commanding him to wait. Then at once fear and hatred awoke in him. His hand left the bridle and gripped the hilt of his
sword, and with a red flash he drew it.
Frodo, you idiot! Get out of there!
‘Ride on! Ride on!’ cried Glorfindel, and then loud and clear he called to the horse in the elf-tongue: noro lim, noro lim, Asfaloth!
At once the white horse sprang away and sped like the wind along the last lap of the Road. At the same moment the black horses leaped down the hill in pursuit, and from the Riders came a terrible cry, such as Frodo had heard filling the woods with horror in the Eastfarthing far away. It was answered; and to the dismay of Frodo and his friends out from the trees and rocks away on the left four other Riders came flying. Two rode towards Frodo: two galloped madly towards the Ford to cut off his escape.
Frodo is almost surrounded.
They seemed to him to run like the wind and to grow swiftly larger and darker, as their courses converged with his.
Frodo looked back for a moment over his shoulder. He could no longer see his friends. The Riders behind were falling back: even their great steeds were no match in speed for the white elf-horse of Glorfindel. He looked forward again, and hope faded. There seemed no chance of reaching the Ford before he was cut off by the others that had lain in ambush. He could see them clearly now: they appeared to have cast aside their hoods and black cloaks, and they were robed in white and grey.
Swords were naked in their pale hands; helms were on their heads. Their cold eyes glittered, and they called to him with fell voices.
Wonderful unexpected special effect!
Fear now filled all Frodo's mind. He thought no longer of his sword. No cry came from him. He shut his eyes and clung to the horse's mane. The wind whistled in his ears, and the bells upon the harness rang wild and shrill.
Nice sound!
A breath of deadly cold pierced him like a spear, as with a last spurt, like a flash of
white fire, the elf-horse speeding as if on wings, passed right before the face of the foremost Rider.
That was close!
Frodo heard the splash of water. It foamed about his feet. He felt the quick heave and surge as the horse left the river and struggled up the stony path. He was climbing the steep bank. He was across the Ford.
Jackson is normally so ready to hype up any action and yet when
Tolkien provides something like this, Jackson tones it down. But he still drags it out.
