Executive Producer Philippa Boyens is pretty pleased with the casting for The Lord of the Rings: The War of the Rohirrim.
“It’s exciting — we’ve been sitting on it for a little bit,” she says. “[But] it all seemed to come together in an organic way, which is what you want, I think. Suddenly, the right people come to the role.”
Boyens says that bringing in Otto as narrator was not an immediate decision. Rather it was one that gradually emerged.
She explains that Éowyn eventually felt like the natural way into the bloody and grim tale from Rohan’s past.
“Her voice was familiar,” she says. “And then I think it started to come easily for the writers.”
She hopes that it will also help locate the story for film fans who are unfamiliar with deeper cuts from Middle-earth’s history.
Yet that was not the only reason — an oral tradition felt fitting.
“It’s also so fragmentary, what we are dealing with in terms of the source material. It’s little bits of references here and there … so the oral tradition felt kind of right. The oral tradition of her telling the tale, passing the tale on.”
She doesn’t divulge to whom. But one guesses it is likely her grandson, Barahir. Tolkien not only names Barahir in The Lord of the Rings (solving any potential rights-access issues that would arise with her son, Elboron), he is also an in-world scholar and the author of The Tale of Aragorn and Arwen.
Helm Hammerhand: a complex and epic role
Boyens says that both the film’s director Kenji Kamiyama, and Warner Bros SVP and producer Jason DeMarco, were well aware of Brian Cox from his recent voice role in the English dub of Blade Runner: Black Lotus.
“They’re huge fans, of course,” she says.
“Weirdly, years ago — and this is me aging myself — I tried to go and see Brian’s performance as Titus Andronicus.”
She describes how this 1987 run of the Shakespeare tragedy directed by Deborah Warner has attained a legendary status.
“It was just one of those ones which was fresh and shocking,” she says.
“And it [the Andronicus role] wasn’t a role — this is from Brian himself — that many of the other actors were interested in taking on. But he connected to it. I couldn’t get a ticket, but I had a couple of friends saw it who were just blown away. And they talked about the way in which his rage was fuelled by this grief. And the underlying horror that was in the storytelling.
“And that kind of resonated with me when we were thinking about the Helm role. Because it just — it spans a lot of different emotions.”
She says the role — and the film — is about delving into Helm’s choices.
“And the mistakes he made as well. And then his acknowledgement of those mistakes. Was there an acknowledgement of those mistakes?” she asks.
At different points she notes Helm’s hot-temperedness, and how he almost certainly under-estimated the Rohirrim lord, Wulf, who after he is outlawed leads the Dunlending invasion of Rohan.
“[Yet], I saw the tales of him slipping out [of the Hornburg] during the siege and attacking the camp for his people as literally someone trying — even with their bare hands – to protect the people as the king should,” she adds.
“So he was a true manifestation of the king-protector.”
Helm’s heirs and the overthrow of Edoras
The grim reality, though, is that Helm is unable to protect his children.
His eldest son, Haleth, is slain when Edoras is overrun and taken by Wulf’s forces while Helm is forced to take refuge in the Hornburg. We touch only briefly on Helm’s other son but I conclude that his Hama’s fate will remain the same tragedy that it is in Appendix A.
Boyens describes the first as a shocking and powerful moment. Powerful, perhaps, for readers, to finally see things they’ve long envisaged through Tolkien’s descriptions; shocking for film fans to see the unexpected — Edoras besieged and overthrown.
On the other hand, Tolkien leaves the fate of Helm’s daughter unclear. In fact, he never names her even though Freca’s bid for her hand in marriage for his son, Wulf, is a key catalyst for war. Boyens concedes that we simply do not know a lot about her.
“Where we turn to, very deliberately, is to Æthelflæd, the Lady of the Mercians. Alfred the Great’s daughter,” Boyens says, and proceeds to provide a rapid-fire education on an era of British history that I’d barely known of until now.
“She never ruled as a queen per se; she’s known as the Lady of Mercians. But she seems to step in when her people needed her.
“Æthelflæd was also really ingenious, which comes into play in the script. [It] was an idea that Kamiyama had, and they (he and the writers) played with that. I can’t tell you too much about it. But it’s about how you save your life when you have very little to work with?”
It’s a statement that seems to suggest that Helm’s daughter – who they’ve chosen to name Héra – will play some key role after the fall of Edoras to Wulf, and the death of Haleth.
“And I really don’t think that Professor Tolkien would hate this,” Boyens says. “Because I always see him as a bit of a Mercian himself being from the Midlands.”
Héra: so named as a nod to the Anglo-Saxon
Unsurprisingly, the name Héra is chosen for alliterative effect: Helm, Haleth, Hama, Héra. Yet Boyens reveals that wasn’t initially the case.
“Someone suggested another name and I went: “Nope, it’s gotta start with “H”, sorry”,” she says.
“Actually, Fran Walsh named her. I told her we were stuck. It’s actually Héra (I get a quick pronunciation lesson and discover the é functions a little like the “ai” in hair) — that’s why it has the accent. Not so much based on the Greek [goddess] Hera, but a nod to the Anglo-Saxon.
“And I like to think she wasn’t a character that [the writers] tried to create wholesale — pulling things out of thin air. Héra is very much drawing from sources that fit with the storytelling that Tolkien himself is drawing on.”
In case you’re wondering, Boyens confirms that neither Fran Walsh nor Peter Jackson have an official production role. It’s more that, since they’re long-time collaborators and have so much experience within Tolkien’s Middle-earth, they’re sometimes just a natural sounding board for ideas.
“I also want to give a shout out to Gaia Wise who voices Héra. I think you guys are going fall in love with her. She is fantastic, she’s amazing. She just had such innate sense of who the character is and how to play her. She was great.
“She had a very natural sense of fiery-ness, but without it being petulance defiance.”
Mûmakil, mercenaries and money
While we’re discussing events at Edoras, conversation inevitably veers toward the Mûmakil that were prominent in the initial concept art released in January.
“In order to understand the use of those [ideas],” Boyens says, “you need to understand the character of Wulf and the position that Wulf is in — and had found himself in. And who he would be turning to.”
At this point she pulls in another fact, mentioning the great wealth of Wulf’s father, Freca.
“His father was not an insignificant Lord of Rohan. He had indeed grown fat and prospered,” she says, referencing Helm’s comment in Appendix A about Freca’s large waistline.
Boyens doesn’t expand any further, but my own guess is that The War of the Rohirrim will establish Wulf as the organising mind behind coordinated assaults on Gondor and Rohan, using resources wealth from his father to secure the assistance of Corsairs and Haradrim.
As Appendix A states:
Four years later (2758) great troubles came to Rohan, and no help could be sent from Gondor, for three fleets of the Corsairs attacked it and there was war on all its coasts. At the same time Rohan was again invaded from the East, and the Dunlendings seeing their chance came over the Isen and down from Isengard.
It was soon known that Wulf was their leader. They were in great force, for they were joined by enemies of Gondor that landed in the mouths of Lefnui and Isen.
A human struggle that becomes increasingly claustrophobic
If this sounds like a very human — and political — struggle, Boyens concurs. I suggest the absence of elves, dwarves and hobbits makes it a very different tale to The Lord of the Rings that most know.
She indicates that this was one of the reasons for choosing Helm’s story.
“It’s not about the Ring, it’s not about the Dark Lord. All of that is very peripheral to the story.”
She says it’s also the attraction of examining honour, revenge and familial ties — on both sides.
For Helm, there’s madness born of grief from the loss of the child. With Wulf, there’s his relationship with his father, and with Héra.
“He is his father’s son, but he has a different character. So he does actually offer [to wed] her and the writers asked: ‘Why?’ What was driving him? Was it just his father demanding that he do this? Was it his ambition? What was at play there?”
Even the historical grievances of the Dunlendings — that the lords of Gondor gave what the Dunlendings felt was their land to the Rohirrim — should come through in the film.
She says that all those things are in the Helm tale.
“When I talked to Kamiyama about it, it resonated with him. So that was the genesis,” she says.
“And there’s a moment in the film, which is incredibly gut-wrenching and powerful where Wulf commits himself to a course of action he cannot turn away from. And once he does that, the story darkens.”
She says it was here that the screenwriters Phoebe Gittins and Arty Papageorgiou really connected with Kamiyama.
“So, yes, it begins with these quite large-scale battles, but it actually becomes more intense and … claustrophobic,” Boyens says.
“And the nature of the film changes almost into a ghost story.
“As the siege takes hold, as the rumours of horror begin to spread. And I can give you a little tease and let you know that, although we said this isn’t about The Ring and this isn’t about the Dark Lord … there are the White Mountains and there are creatures [out there].”
Somewhat to my relief she squashes speculation that she might be referring to the Dead of Erech. Instead, she suggests that orcs inhabited the area — a historically more agreeable inclusion.
“Also, I can just add — and I thought it was, again, really interesting in the way that Kamiyama approached this — this was a long, cold winter that was hurting everyone.”
This suggests that there won’t be space to see Gondor’s own struggles. Gondor may come to the rescue in the end, but it seems the focus will be squarely on a life-and-death struggle within Rohan.
She won’t even confirm or deny the presence of Saruman the White in the film. We’ll just have to wait and see.
About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis.The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Welcome to The Great Hall of Poets, our regular feature showcasing the talent of Middle-earth fans. Each month we will feature a small selection of the poems submitted, but we hope you will read all of the poems that we have received here in our Great Hall of Poets.
So come and join us by the hearth, and enjoy!
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Lament for Númenor
by J. Newsom
Before the surging seas were bent
and Ulmo's fury fully spent
and Númenor in all its pride
to doom was sent,
sweet Elvenhome could still be seen,
it's peaks aglow in silver sheen,
by Kingly eyes both clear and keen
from the peak of Meneltarma.
Oh Númenor, oh Númenor!
Precious gift of Valinor!
The creeping fear of mortal tide
estranged your folk from wisdom's guide
now lost for evermore.
The faithful trod with reverent step
the road which round the mountain swept
to reach the view that far and wide
their senses wrapped.
Overhead the eagles soared
while on the summit stillness roared
and none could voice a single word
on the peak of Meneltarma.
Oh Númenor, oh Númenor!
Precious gift of Valinor!
The creeping fear of mortal tide
estranged your folk from wisdom's guide
now lost for evermore.
The land is lost beneath the wave.
From tower tall to quiet nave,
into the depths did each one slide.
None were saved.
Elendil and his faithful few
with nine ships fled the ocean's spew.
Into their sails the torrents blew
from the isle of Meneltarma.
Oh Númenor, oh Númenor
precious gift of Valinor
the creeping fear of mortal tide
estranged your folk from wisdom's guide
now lost for evermore.
~~ * ~~
A Silmarillion Haiku
by Henry Herz
In the beginning,
Grew trees, golden and silver,
Lighting the heavens.
Ice bright and cold the mountain seemed
The sun was shining bright
Yet from faraway the darkness came and soon began the night
With the moon reflecting on the cold hard way every scene so clear
Reflecting the hearts of many men when love was no longer dear.
~~ * ~~
Lament For Hurin
by mimiï
Oh Hurin, Hurin,
now thee set free,
oh Hurin, Hurin,
how can it be?
You will never know,
what a dreadful sin,
you will never know,
you have doomed your kin,
Oh Turin, Turin, Turin,
why must your sad fate befall?
Oh Turin, Turin, Turin,
beckon to Thingol’s calls,
Beleg did try,
to heal the curse,
Beleg did try,
Turin only got worse,
Oh Hurin, Hurin,
why has fate turned this way?
men bewitched by greed,
of the line of Hurin, Morgoth needn’t slay…
~~ * ~~
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Over on Wraith Land, Thomas Kelley has just published the second part of his extended interview with Tolkien artist Jay Johnstone.
Jay’s artwork employs techniques from religious manuscripts, icon and fresco illustrations from the medieval period, and uses a variety of mediums — oils, watercolors, acrylics, egg tempera with gold powder and leaf. Striking detail and traditional techniques give the impression of artwork that could have been produced in the real Middle-earth.
The first part explored how Johnstone’s own dreams influence his art. In this second part, Kelly explores Johnstone’s medieval illumination approach to Tolkien art in detail.
An excerpt:
When I interviewed Jay last year in April, I asked him about this “text within a text” vision in his Tolkien art, which to me are of the same theme as his “dream within a dream” iconographies. Using his painting “Gandalf in the Library of Minas Tirith” as an example, I pointed out how he meticulously detailed the books and scrolls in that image with Tengwar lettering. You can also see this painstaking attention throughout, as in works like “The Dwarves,” which illuminates Thror’s map in Bag End from The Hobbit.
“You know, I can’t remember what it says but there’s two parchments on his desk and both of them are written on and the lettering is about a millimeter high,” he says of the Gandalf in Minas Tirith work, chuckling a bit under his breath. “It’s absolutely tiny. I literally do it with a magnifying glass and a precision brush, a brush with one hair on it. I do that in quite a lot of paintings.”
It’s another level of getting inside Middle-earth, down to the micro. Such works are a celebration of the writers and sages inside that meta world, and of writing and learning itself. Johnstone’s “Círdan the Shipwright” — with its Tengwar and ship schematics on parchment — and his “Bilbo at the Library at Rivendell” — with history flowing from Bilbo’s pen — give us a new window into time.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Over on Wraith Land, Thomas Kelley has just published the first part of an extended interview with noted Tolkien artist Jay Johnstone.
Jay’s artwork employs techniques from religious manuscripts, icon and fresco illustrations from the medieval period, and uses a variety of mediums — oils, watercolors, acrylics, egg tempera with gold powder and leaf. Striking detail and traditional techniques give the impression of artwork that could have been produced in the real Middle-earth.
Kelley delves into the goals underpinning Johnstone’s unique approach, and some of the insights into Tolkien’s worksthat Johnstone himself has gained out of it. If the interesection of Tolkien, art, psychology and spirituality is your thing, you’ll find this a very interesting read indeed.
An excerpt:
Johnstone dreams in Tolkien. And through him and his artwork we can perceive anew what it would mean to live in Middle-earth and to create art inside it. While Tolkien himself made “sub-creation” the purview of his own characters, from the creation of the Silmarils by Fëanor to the writing of the Red Book of Westmarch by the hobbits, Johnstone imagines what it would be like to be a painter inside Tolkien’s world, and then paints that world and its history. Reminiscent of the religious medieval icon paintings by Duccio di Buoninsegna and Fra Angelico, Johnstone’s paintings work not just like time portals but dream portals.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Why do some Nazgûl thrive when commanded to hunt down their master’s stolen Ring while others falter under pressure? Why do some revel in the responsibility of throwing down their enemy when others wither like fog in strong sunlight?
You might not know it, but nine (count them!) keenly honed success habits keep them hot on the trail. Nazgûl apprentices, here are those nine instinctive habits that the most successful Ringwraiths draw on in their daily unlife to keep the Dark Lord number one. Read and learn.
1) Let your powers combine.
Captain Planet does it. Voltron does it. The Power Rangers too. So take heed: when it matters, ensure you gather under your fell leader so that even the Wise might fear to face you.
2) Wear black. Lots and lots of black.
Black never goes out of style. And the effect is scary as the Dickens when when you loom menacingly into view of your prey just as the light fades.
3) Embrace your hydrophobia!
Never forget that you and water do not get along. At all. In that sense, you might as well be the Wicked Witch-king of the West. Next time you consider fording that tiny creek? Think twice.
4) Don’t put a Ring on it, stick a Morgul Blade in it.
They say if you love it, put a ring on it. But only the Dark Lord may do that. Use a Morgul Blade to express your affection instead. It’s the smart way to ensure your new BFF will stay by your side always and forever!
5) Maintain a ready supply of remounts and robes.
There are few worse humiliations for a Ringwraith than having to crawl back naked and unclothed to your Dark Lord because you went for an impromptu dip and it all went pear-shaped. So for the love of Morgoth, pack extra robes (black, of course) and take a spare horse or an enormous flying raptor thing (or both!) just in case.
6) Let your minions do the dying for you.
Need to destroy the gates of the enemy fortress? Compel your horde of minions to do it for you! Drive them before you like cattle until they fear you more than the enemy’s darts and arrows. Don’t forget to ride to your glorious victory over the crushed, mutilated corpses of friend and foe for additional intimidation.
7) Remember, fear is your chief weapon.
And surprise. And fanatical devotion to The Po… err … Sauron. Anyway, the key point is intimidate your opponents (or your minions) until they give you what you want, or flee in terror.
8) Always stop to smell the roses.
Your sense of smell is even better than a labrador’s or a beagle’s. Only the foolish Nazgûl rush heedlessly ahead. Savour the scents and let your nose guide you to that which the Dark Lord desires.
9) Never reveal your name. Don’t encourage familiarity.
You are one of the Nazgûl, the chief and most-feared servants of the Dark Lord, not a camp counsellor. Be the Nameless Fear. Names are for lesser minions — and, seemingly, Khamûl. Because he just has to be different from everyone else.
Throwback to a post from some years ago, by the very excellent Staffer Demosthenes with help from LurkingLaurie.
Images from PJ’s LOTR via the very excellent FrameCapLib LOTR screecap project; and one from Ralph Bakshi’s LOTR (1978).
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Since the announcement of The War of the Rohirrim, I’ve been pondering how it might all come together. And, in particular, I’ve been pondering the potential role, actions and presence of Saruman.
Here’s why.
We know that after coming to Middle-earth (recorded as around TA 1000) Saruman does not settle down. He goes east (as do the Blue Wizards) into the lands beyond Mordor — presumably Harad, Khand and Rhûn. Unlike the Blue Wizards, he returns.
When is not precisely specified. However, in TA 2463 Galadriel summons the first meeting of the White Council (probably held in Rivendell). Given that the outcome of that meeting is that Saruman is appointed head of the council, he must surely have been present.
The White Council meets in Rivendell in Peter Jackson’s The Hobbit.
Might he have returned to the lands in the east following that? He may have. But another option occurs to me: a long sojourn in Minas Tirith — perhaps interrupted by occasional ventures into other lands.
`In former days the members of my order had been well received [in Gondor], but Saruman most of all. Often he had been for long the guest of the Lords of the City. Less welcome did the Lord Denethor show me then than of old, and grudgingly he permitted me to search among his hoarded scrolls and books. ‘”If indeed you look only, as you say, for records of ancient days, and the beginnings of the City, read on!” he said. “For to me what was is less dark than what is to come, and that is my care. But unless you have more skill even than Saruman, who has studied here long, you will find naught that is not well known to me, who am master of the lore of this City.”‘
The Council of Elrond, The Lord of the Rings
In fact, as the shiny new head of the White Council, Saruman may well have spent — on and off — several hundred years in Minas Tirith forging good relations with Gondor’s stewards because of its importance as a bulwark against the re-emerging threat of Mordor.
There is some support to be gleaned for this view from Unfinished Tales.
Now the White Messenger in later days became known Elves as Curunír, the Man of Craft, in the tongue of Northern Men Saruman; but that was after he returned from his many journeys and came into the realm of Gondor and there abode.
The Istari, Unfinished Tales of Númenor and Middle-earth
And key events occur in, or around, Gondor during that period. Attacks on Gondor began again in TA 2475. Osgiliath is finally ruined, and its stone-bridge broken. Then, in TA 2510 orcs and Easterlings overrun Calenardhon. Gondor is only saved by the assistance of Eorl the Young. That famous victory at the Field of Celebrant paves the way for the pact of then-Steward Cirion and Eorl that allows the Rohirrim to subsequently settle in Calenardhon.
These are all solid reasons for Saruman to spend time working behind the scenes in Minas Tirith during this period.
Set against all this, the headnote to Appendix B simply states that “Curunír journeyed often into the East, but dwelt at last in Isengard.” But, like, I said, he need not have been in Minas Tirith during all of that period.
At this point, Orthanc is long-unoccupied with the keys at Minas Tirith in the possession of the ruling Steward. Tolkien’s essay on The Palantíri describes how by the time of the rule of the Stewards only rustic “hereditary chieftains” remain in Isengard (Orthanc itself is empty and locked) and that even these are eventually supplanted, subverted, or slain, by Dunlendings.
It is this that gives the Dunlendings in TA 2758 — lead by Wulf — leverage for their campaign against Helm Hammerhand.
Concept art for The War of the Rohirrim showing showing Edoras being beseiged.
But, returning to Saruman, what might have he been doing during this period when both Gondor and Rohan are fighting for their very existence?
We know Saruman has the power to make a difference as Gondor struggled to repel the Corsairs raiding its own coasts. It also seems very possible he was residing in Minas Tirith at the time. But we also know he is constrained by the Valar’s exhortation to “avoid open display of power” and “seek to unite in love and understanding all those whom Sauron, should he come again, would endeavour to dominate and corrupt”.
Surely he wouldn’t just spend such a critical period merely sifting through Minas Tirith’s archives.
So let’s do some theory-crafting here.
What if Saruman had played some key role in repelling the Corsairs from the south Gondor coasts, allowing Gondor to finally come to Rohan’s aid? Surely that would earn him the gratitude of Gondor’s Steward and cement his reputation as a friend of the Dúnedain and the Rohirrim.
It need not have even been a dramatic display of power. After all, during the War of the Ring, Gandalf saves Theoden at Helm’s Deep through his efforts at gathering and coordinating those who opposed Saruman (and Sauron). He gathers the scattered forces of Erkenbrand. He gains the assistance of Treebeard and the loan of the Huorns.
Would Saruman have the humility to accomplish something in a similar vein? To be a facilitator rather than to seek to rule wills through open display of power? I’m not so sure about that — Unfinished Tales suggests that even at this point Saruman was disenchanted by the suggestion that Gandalf should head the White Council, and more generally jealous of the respect Gandalf was accorded. We don’t know for sure, but by this time he may even have been aware that Cirdan had given Gandalf the Narya, the ring of fire.
That might push Saruman to dramatic efforts to assist the Steward of the time, Beren, in repelling the Corsairs. Dramatic efforts that would gain greater recognition.
But what sort of efforts?
For The War of the Rohirrim anime, one answer might draw on the “canon” of the Peter Jackson films. In those, Saruman appears to harness the weather to command the snowstorm on the pass of Caradhras that dramatically halts the progress of the Fellowship.
Saruman summon the storm on Caradhras in the PJverse in The Fellowship of the Ring.
What if, during The War of the Rohirrim he was to do the opposite — exerting his powers to halt the Long Winter that so devastated the Rohirrim? Or at least to lessen its effects?
The Tale of Years records:
In that year (2758) the Long Winter began with cold and great snows out of the North and the East which lasted for almost five months. Helm of Rohan and both his sons perished in that war; and there was misery and death in Eriador and in Rohan. But in Gondor south of the mountains things were less evil, and before spring came Beregond son of Beren had overcome the invaders.
The Tale of Years, The Lords of the Rings
The section detailing the history of the House of Eorl further adds that winter broke soon after the death of Helm. No date is given, but given that Rohan lay under snow from November to March of 2758-9, one could reasonably deduce that the snowmelt began in early-mid April.
Perhaps, in this WarnerBros-verse, Saruman could lend his efforts to keep winter’s effects from devastating Gondor, and/or contribute to breaking its deathly grip on Rohan. This would allow Beregond (son of the Steward, Beren) the opportunity to oust the Corsairs from Gondor’s southern coasts. Beregond can then finally come to the aid of the Rohirrim just as Helm’s sister’s son and heir, Fréaláf, completes his breakout from the fastness of Dunharrow and manages to surprise and slay Wulf in Meduseld.
Rohan and Gondor are saved. Apart from the proposed influence of Saruman, all this is per Tolkien’s given history.
In the aftermath, a grateful Beren asks Saruman what reward he would have. Saruman simply requests the guardianship of Orthanc and the Ring of Isengard in order to, as outlined in Unfinished Tales, “repair it and reorder it as part of the defences of the West.”
Chris Lee as Saruman the White.
What of Saruman’s motives here?
The Tale of Years records that “at the crowning of Fréaláf that Saruman appeared, bringing gifts, and speaking great praise of the valour of the Rohirrim. All thought him a welcome guest.”
He earns not just great prestige, but a seat of power that provides clear control over the Gap of Rohan. Was he intent on consolidating a powerbase even at that point? Or sensibly plugging a hole in the defences of the free peoples of Middle-earth?
Unfinished Tales records that Saruman “had no doubt from his investigations gained a special knowledge of the Stones… and had become convinced that the Orthanc-stone was still intact in its tower.” It further adds that if the then-Steward, Beren, considered the Stone at all when he handed over Orthanc’s keys “he probably thought that it could be in no safer hands than those of the head of the Council.”
In itself that is not damning as to Saruman’s intent. What is dubious is that Saruman never reports the existence of the Orthanc to his colleagues. But it’s not until TA 2850 that he sends servants to search in secret for the Ring at the Gladden Fields. The Tale of Years suggests that it was around that time that Saruman had begun to desire the the Ring for himself. Finally, in TA 2953 he completely stops cooperating with other members of the Council and begins spying on Gandalf.
Regardless, there’s an opportunity for director Kenji Kamiyama to include Saruman in The War of the Rohirrim as more than someone who merely shows up to occupy Orthanc at the end of the film. It will be interesting to see if (and how) he uses that opportunity.
About the author: Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis.The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.
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