We have heard the chimes at midnight, Master Shallow.
John Falstaff
This week on Andrew’s Reviews, I look at one of the greatest Shakespeare films of all time and Orson Welles’ cinematic masterpiece – Chimes at Midnight.
Throughout his distinguished career, actor/director Orson Welles was a lifelong fan and lover of William Shakespeare and his plays. Like Laurence Olivier, Welles starred and directed a trilogy of Shakespare films – Macbeth in 1948, Othello in 1951, and Chimes at Midnight in 1965.
Arguably the crowning jewel and achievement of his glittering career, Chimes was the culmination of his lifelong obsession of “Shakespeare’s greatest creation”, the knight Sir John Falstaff. The film centres on the relationship between Prince Hal and his ‘two fathers’ – his birth father, King Henry IV, and the father he adopts – Falstaff. The screenplay is an adapatation of Henry IV Parts 1 & 2, but also contains text from Richard II, Henry V, and the Merry Wives of Windsor.
Filmed on location in Spain in black and white, and recently restored in HD, Chimes of Midnight is an undisputed cinematic masterpiece and viewing experience. To secure funding for the film, Welles lied to his producer friend Emiliano Piedra that he would make an adaptation of Treasure Island, while never actually filming a scrap of footage, building sets and props that could be made in both films. As the culmination of Welles’ lifelong obsession with Falstaff, it represented the third time he portrayed the legendary knight, with previous stage attempts on Broadway titled Five Kings in 1939 (an adaptation of Shakespeare’s Henriad plays), and a production named Chimes of Midnight in Belfast and Dublin in 1960. Both previous attempts were failures, but he cast one of the previous actors from the play in this film – Keith Baxter, who played Prince Hal.
Whilst the film’s production values overall are technically sound and authentic, the film’s highlight by far is the widely celebrated Battle of Shrewsbury sequence – a six minute montage of over 200 brief and varied shots, in which Welles brilliantly exemplifies the true horrors, viciousness and brutality of war on the battlefield. It is a masterful blend of image and sound, and is an exemplary model of film editing and direction at its finest.
Yet the core of the film, by far, is Welles’ character of Falstaff, and his portrayal is arguably the best on screen, even over fifty years since its release. Funny, devious, kind, sweet and “virtueous”, Welles’ Fastaff is one of the most engrossing and entertaining of Shakespeare’s characters put to screen. Keith Baxter is also excellent as Prince Hal, and his relationship with Falstaff is brilliantly developed throughout, with several clues noting that his lifestyle and behaviour will change soon…
The supporting cast are also magnificient with some major Hollywood and Shakespearean actors – John Gielgud as King Henry IV, Margaret Rutherford as Mistress Quickly, and Jeanne Moreau as Doll Tearsheet. In particular, Gielgud is outstanding as the dying king with a guilty conscience – his delivery of the speeches and soliloquies are brilliant to watch, complemented by briliant cinematography of the church and court.
Unfortunately one minor issue with the film is the sound and dialogue. Due to the film’s modest budget, Welles often shot the film silent, dubbing and adding the sound in post production. As a result, sometimes the dialogue is often muffled, out of sync and difficult to hear clearly. This is largely mitigated by the 2016 restoration but some minor audio problems remain.
Lovingly restored and released by the Criterion Collection in 2016, Chimes at Midnight is a gem in Orson Welles’ distinguished career and one of the great Shakespeare film adaptations of all time.
Epic in terms of its scope, length and time period covered, The Irishman is one of Martin Scorsese’s finest films and an elegiac summation of his six decade career in filmmaking.
An adaption of Charles Brandt’s true crime novel I Heard You Paint Houses, The Irishman tells the story and life of truck driver turned hitman Frank Sheeran (Robert De Niro), and his career in organised crime with Philadelphia mob boss Russell Buffalino (Joe Pesci) and later Teamsters union leader Jimmy Hoffa (Al Pacino). Told over an extended runtime of 3.5 hours (209 minutes), the film is a masterful blend of biography, crime drama and American political history.
The three actors of De Niro, Pacino and Pesci are the core of the film, and it is fantastic to see them together again as older, wiser and thoughtful men in the outstanding characters that they play. De Niro, in his best acting role in years, plays a muted and quiet truck driver turned hitman who’s soul and heart is increasingly detached from his character as he completes more tasks (i.e. hits) and delves deeper into the Italian Mafia underworld throughout the film. Equally subdued, precise and measured is Pesci as Russell Buffalino, a man who upon first look appears hospitable, warm and friendly but possesses a frighteningly dangeous mannerism behind those dark glasses. It is a completely different portrayal to the loud, obnoxious and violent characters of his past in Goodfellas (1990) and Casino (1995).
The highlight of the film, however, by far (for me at least) is Pacino as the larger than life Teamster union boss Jimmy Hoffa who was described as ‘more famous than Elvis’. Loud, over the top, funny and charming, Hoffa is one of Scorsese’s great characters put on film and his presence gives it some great entertainment and spark in what is otherwise a quiet and reserved film. His antagonism towards New Jersey crime boss Tony Pro (Stephen Graham) and their meetings are the comedic highlight of the film. Through Hoffa and the Teamsters, Scorsese also delves into the political history of America, with key events from the Kennedy and Nixon years interwoven into the characters lives.
Complementing this is the impressive use of de-aging technology throughout the film. That it was done without motion capture, due to the age of the actors and the distractions it would bring on set, is remarkable. The final result is excellent and looks brilliant, and is a testament to the visual effects team who spent four years perfecting it.
Finally, it is also wonderful to see Harvey Keitel in a Scorsese film again for the first time since The Last Temptation of Christ (1988). Whilst his appearance as mob boss Angelo Bruno is brief, there is an eerie and frightening quality to his character that is enough to send most people running for their lives.
What makes The Irishman remarkably different to other crime films, however, is the final half hour. As old age creeps on the characters, the film enters an elegaic, wistful and mournful mood, with themes of regret, sadness, loss and death present as time moves on and their stories and lives are consigned to history. Here, tragically, the consequences of Frank’s actions become present, as he becomes a man longing for companionship and love but unable to feel empathy or remorse for his past.
Masterful in its production, quality and scope, The Irishman is one of Martin Scorsese’s finest films and is crime drama at its very best.
“It’s what it is.”
“some people think you aren’t showing appreciation.”
“Don’t ever be late for a meeting with Jimmy Hoffa.”
Ahead of the release of Martin Scorsese’s new film this month, Killers of the Flower Moon, I take a brief look at some of his most (and least) well known films…
Taxi Driver (1976)
One of Scorsese’s earliest works, Taxi Driver brilliantly captures the depression, loneliness and dark world of its protagonist, Travis Beckle (Robert De Niro). An excellent trip back in time to a grimy and saturated 1970s New York. Filled with iconic moments, I’m just a tad disappointed at the storyline which I found hard to find an interest in. The film’s climax and epilogue, however, is excellent and compelling.
Raging Bull (1980)
Almost Shakespearean in its tragedy, Raging Bull is one of Scorsese’s most compelling dramas. It tells the story and career of boxer Jake LaMotta (Robert De Niro) and how his personal life is marred by paranoia, rage and jealousy (and a big ego).
The film’s production overall is excellent. Scorsese chose to shoot in black and white to give the film a look like old classic boxing matches on TV, whilst also indicating the past and to prevent colour saturation. The editing, by Themla Schoonmaker, is simply outstanding and one of the best on film, highlighting the brutal violence of the boxing ring. Those boxing sequences are amongst the hardest and toughest ever put to film, yet there is a strange beauty in their crisp production. The acting is also excellent, with De Niro winning Best Actor at the Oscar for his role of an unsympathetic protagonist, battling internal and external demons but who’s pride ultimately destroys his life. Joe Pesci and Cathy Moriarty also shine in their supporting roles as their love and admiration for Jake are slowly chipped away over time.
Over 40 years since its original release, the boxing gloves of Raging Bull are still as brutal, violent and riveting as they were in 1980.
The King of Comedy (1982)
A strange and bizarre film, The King of Comedy is an odd blend of comedy, paranoia and celebrity obsession. Robert De Niro plays Rupert Pupkin, a struggling standup comedian who becomes increasingly obsessed with his idol, Jerry Langford (Jerry Lewis). To become successful and famous, he stalks and kidnaps him to take the spotlight on a TV talk show.
Prevalent throughout the film is a strong feeling of delusion, paranoia and madness disguised as comedy. An ugly sibling to Taxi Driver, The King of Comedy shares the sad and obsessive viewpoint of its protagonist, with interposed scenes of fantasy and reality, with the viewer left to interpret which is which. Whilst there are definately some brilliant comedic moments throughout the film, the tone and feel overall does feel a tad stilted, with some very strange and awkward moments of madness. It’s a frustrating watch as unlike Taxi Driver, there is never an emotional or physical explosion or release, resulting in it being somewhat anticlimactic and tiresome. Perhaps that is the point though, as Pupkin laughs off at another of his lame jokes.
“Better to be king for a night than schmuck for a lifetime.“
Goodfellas (1990)
Consistently rated as one of the greatest gangster movies of all time, Goodfellas is a captivating journey into the world of organised crime in America. It chronicles the story of Henry Hill (Ray Liotta) and his associates from 1955 to 1980.
The screenplay, written by Scorsese and author Nicholas Pileggi, and adapted from his book Wiseguys, is one of the best ever written. This is complemented by brilliant narration from Liotta as the audience is taken into the amoral, hedonistic and glorious world of organised crime, with all of the main cast introduced in the first half hour all with their unique traits and mannerisms. The main acting trio of Ray Liotta, Joe Pesci, and Robert De Niro is one of the finest ever assembled, and their chemistry and relationships are a riveting watch as they experience the highs and lows of crime, especially as things get out of control in the final act (Henry’s reaction to the missing coke is priceless). Rarely has the combination of sight and sound been done as well in a film like this, with the soundtrack complementing and elevating the film’s sequences to another world of coolness and genius (Layla, what a song).
Brilliantly directed and edited (note the Copacabana tracking shot), with a killer pop rock soundtrack, and filled with iconic moments, Goodfellas is a compelling watch and exemplifies Scorsese at the peak of his career.
“Funny how, how am I funny?”
Cape Fear (1991)
Martin Scorsese hasn’t made many thriller films in his career – The Departed and Shutter Island – but Cape Fear is one hell of a ride and is terrifyingly effective and suspenseful. Robert De Niro stars as Max Cady, a rapist released after 14 years imprisonment, who is hell bent on revenge on his defence attorney (Nick Nolte) and his family.
A sense of constant tension, danger and dread permeates throughout the film as the events, violence and suspense build up throughout the two hour runtime. At the heart of this is De Niro’s terrifying performance as Cady – both evil and depraved but also extremely intelligent and smart, always one step ahead of his opponents. Nick Nolte as lawyer Sam Bowden is another murky Scorsese character – not exactly good or bad, just a man who makes increasingly abnormal and desperate decisions when engulfed in the madness and paranoia of a stalker.
Complementing this is the disorientating direction and shots by Scorsese (especially the close ups) and Elmer Bernstein’s eerie score (based off Bernard Hermann’s themes), all of which heighten the sense of danger and tension throughout. The script itself by Wesley Strick is also more complex than first glance – filled with flawed characters who mainly act out of self interest for themselves only. This was also Scorsese’s first film to use practical visual effects, which are handled well overall. The only major disappointment is the abrupt and rushed ending, which should have been built up a bit more.
Cape Fear is a fine (and underrated) Scorsese thriller and a very disturbing watch, best enjoyed in the dark with a cigar.
“Every man… every man has to go through hell to reach paradise.“
The Age of Innocence (1993)
Scorsese’s least known film tells the story of a love triangle between Newland Archer, a rich New York attorney, his wife May Welland, and her cousin Countess Ellen Olenska. As a period drama, this is masterful adaptation of Edith Wharton’s 1920 novel, led by excellent performances from Daniel Day Lewis, Winona Ryder and Michelle Pfeiffer. Direction by Scorsese is also distinctive in its tracking shots towards and away from characters and objects. The production and costume design is outstanding, with 19th century aristocratic New York authentically depicted vividly on screeen. Unfortunately though, I was bored with the storyline and didn’t care much for the characters. Certainly a film for closer analysis and critique though.
Casino (1995)
Probably my favourite Scorsese film, Casino is a wild 3 hr ride of the rise and fall of gambling expert Sam ‘Ace’ Rothstein (Robert De Niro) and his associates and friends. Hugely enjoyable and hilarious, and filled with iconic moments, like the desert scene, the film highlights the cultural zeitgeist of American tycoon and mobster excess of the 1970s and 80s and is peak Scorsese. De Niro, Joe Pesci and Sharon Stone are a holy trinity trio of actors at the peak of their careers. In patricular, Stone’s role as Ginger McKenna is incredible as she develops from highroll huster and showgirl, to trophy wife, to drug addicted maniac is engrossing viewing (and a tad tragic). Furthermore, the breakdown of the relationships between the three in the final act is brilliantly executed as everything goes to hell.
Kundun (1997)
One of Scorsese’s most underrated films, this is a masterful biopic of Tenzin Gyatso, the 14th Dalai Lama. Screenwriter and Tibetan activist Melissa Matheson actually met the Dalai Lama in 1990 whilst writing the script for Kundun. As a result the film is overall a historically accurate and authentic depiction of events and Tibetan culture.
Aided by dazzling cinematogaphy by Roger Deakins and an excellent minimalistic score by Philip Glass, this is a visual and aural spectacle akin to Bernardo Bertolucci’s The Last Emperor.
Personal Note – China and Disney have actively sought to block or suppress access to this film since its release in 1999 due to its political nature. As a strong proponent of free speech, I encourage all audiences to watch this film.
Gangs of New York (2002)
Another underrated work by Scorsese, this is a brilliant historical drama depicting 19th century New York and its citizens, immigrants and gangs. Although actually filmed in Rome, production and set design is excellent and remarkably authentic. Daniel Day-Lewis is dynamite as the terrifying William ‘Bill the Butcher’ Cutting in one of his great acting performances. This is also the first collaboration between Scorsese and Leonardo DiCaprio, with a solid performance as protagonist Amsterdam Vallon with a Hamlet background (vengeance for his father’s murderer). The violent action sequences and ending are also excellent, as is the soundtrack.
The Aviator (2004)
An excellent biopic about visionary aviation pioneer Howard Hughes, and his life during the 20th century. The cast, led by Leo DiCaprio, is excellent, and his descent from a chartsmatic playboy to OCD lunatic is gripping viewing. This is complemented by excellent production design (especially the aeroplanes) and distinctive cinematography – notice the red, cyan blue and back colour palette for the first hour of the film. Cate Blanchett’s American accent is a tad odd though. Oh, and Kate Beckinsale as actor Ava Gardner is absolutely gorgeous. Yet despite all of Hughes’ glory in planes, women and business, there is a sad hint of tragedy that grows throughout the film and makes it captivating.
Nine seconds. That’s what I’ll give to decide your fate.
Robert McCall
Denzel Washington and director Antoine Fuqua return for their fifth collaboration in The Equalizer 3, the third and final installment of the Equalizer trilogy. This time around, law abiding citizen and vigilante Robert McCall (Denzel Washington) is enjoying retired life in a small village on the Amalfi Coast in Italy, where, as usual, he finds himself in trouble with the Italian Mafia.
Compared to the first two films, this film is generally paced more slowly, with fewer action sequences and more time spent on character and societal development, with McCall exploring the village of Altamonte and its kind hearted local citizens. As always, the highlight of the film remains Denzel Washington’s acting. At 68, he shows no signs of stopping, and throughout the film his character McCall is always calm, relaxed and confident, even in tense situations (there’s a good dinner scene that exemplifies this). The audience knows when he gives you ‘the look’ you know the crime bosses are screwed and no match for this OG.
The action sequences, albeit less frequent, remain another highlight of the film with some brilliant R-rated violent sequences of McCall killing people in ingenious and inventive ways, akin to the John Wick films and Logan, as he carries out his operations to dispatch his adversaries. This is complemented by some good cinematography from Robert Richardson, with the location filming and landscape panoramas giving Altamonte an authentic feel in its churches, cafes, shops and homes. Denzel’s frame and shadow also remain ever present in the action sequences.
Disappontingly, Dakota Fanning is given little to do here as a CIA analyst-turned-field- agent as her story arc involving narcotics and drug smuggling barely overlap with McCall’s goals in the village. Whilst they have a charismatic energy together with some witty dialogue, sadly her subplot isn’t nearly as engaging or interesting compared to McCall taking down the Italian Mafiosos of the village. It is however nice to see them acting together again since 2004’s Man on Fire.
Frustratingly, the Italian Camorra are also one-dimensional villains and henchman with little character development or backstory, with overall little tension or danger, especially in the somewhat underrwhelming final shootout and ending of the film, compared to the excellent warehouse sequence of the original film.
Whilst not reaching the heights and thrills of the original film, The Equalizer 3 is still an enjoyable action film with a healthly dose of gleefully satisfying R-rated action sequences. It is a fitting end to think of Robert McCall retired and at peace with his new community in a small Italian town.
The criminals and conspiractors he had been fighting all his life were becoming superannuated as time moved on, and another decade, youger and brasher than any that had gone before, imposed itself.
With a Mind to Kill, written by British crime author Anthony Horowitz, is the latest James Bond novel published by Jonathan Cape and the Ian Fleming Estate in 2022.
Taking place after the events of Fleming’s final Bond novel, The Man with the Golden Gun, Bond is sent back to Soviet Russia to infiltrate Stalnaya Ruka, an organisation of rogue USSR soldiers to carry out a mission that that could significantly alter the power struggle in the Cold War between the East and West…
Hardback first edition, published 2022 by Jonathan Cape.
Anthony Horowitz completes his James Bond trilogy – begun in Trigger Mortis (2015) and Forever and a Day (2018) – by exploring the end of his career as a secret agent for MI6. Beginning after the events of The Man with the Golden Gun, it starts at M’s funeral, in which Bond is the murderer, having been brainwashed by the Russians and turned into an assassin figure. From there he returns to Russia as a pawn to be recruited for a top secret mission that could alter the course of history.
The novel itself is divided into three sections covering three European cities – London, Moscow, and Berlin, all which are depicted authentically in a 1960s time period and environment. This mirrors the three act structure of most films and helps to develop the characters, location and events of the novel. The opening, in London, is a pretty standard affair akin to most Bond novels and films in which the mission, objectives and targets are explored and discussed. Bond is given a mission to infiltrate a rogue organisation of Russian soldiers and figure out what they’re up to. The middle, which takes up the majority of the book, details Bond’s investigations and relationships with the various perfidious Russian soldiers and assassins in Moscow, but also explores Russian society, governance and culture at the time. Finally, the conclusion and denouement in Berlin is thrilling and intense with some excellent action sequences for an explosive finale and ending.
The overarching theme permeating throughout the novel is Bond’s weariness, tiredness, and disillusionment with his job and life, themes which were also explored previously in You Only Live Twice. This is a Bond that is at the end of his career as a secret agent and Horowitz absolutely nails his aging, vulnerable and weaker character, given all the events and losses he has suffered in previous books. Yet there is also an internal struggle in that Bond would find retirement or an ordinary job meaningless and boring – highlighted in the following quote – “Bond needed death, or the threat of death, as a constant companion. For him, it was the only way to live.” Complementing this are several continuity ‘Easter eggs’ sprinkled throughout the book referencing characters and events of previous novels, which is a delight for eagle-eyed Bond readers. In particular, there are several references to the characters and events in The Man with the Golden Gun, which help to shape some aspects of the storyline, with the novel taking place two weeks after the events of the previous book. Different readers will have varying opinions on whether this improves the novel, but it does remain faithful to the Bond timeline established in Fleming’s novels. Thus, whilst not essential, an understanding of the events of TMWTGG is highly beneficial.
Supporting characters overall are well developed and written throughout the book. The main antagonist, Colonel Boris, is a ruthless soldier and politician who remorselessly uses anyone and anything to achieve his objectives, and gives a strong ‘evil doctor’ character type akin to Josef Mengele. Whilst he was mentioned in TMWTGG, here he really comes alive as a constant presence and threat throughout the novel. Bond’s psychologist, Katya Leonova, experiences significant character development and change as she assesses and evaluates him, educating him on Russian history, society, culture and politics, whilst also questioning her loyalty to the state. In particular, the scenes in Moscow are well depicted with various tourist buildings, landmarks, food and drink written authentically and vivdly. The rest of the Russian soldiers and agents are generally more thinly written with several reappearances but are not central to the narrative.
Finally, the action sequences littered throughout the book are excellent. An escape from London on Tower Bridge and the Thames. An onvernight journey on a train to Moscow. An outstanding fight sequence on the Moscow Underground. And an excursion to East Berlin with a thrilling Le Carre-ian finale and ending.
In terms of weaknesses, the chapters in Moscow do tend to drag a bit as Bond and Katya go on an extended ‘first date’ learning about Russian history and culture, which feels somewhat disconnected to the rest of the novel and slows down the pacing and threat. Some of the twists and reveals may also seen predictable and uninspiring, compared to the high of Fleming’s masterpiece From Russia, with Love. Nonetheless the novel overall is a fast paced read and manages to engage the reader for most of the time.
With a Mind to Kill is a sombre and grim novel, written by an author with a deep affection and understanding of the literary character James Bond. The story, locations and events throughout are depicted with vivid authenticity, detail and realism in a style that pays homage to Fleming’s writing. It is a fitting homage and tribute to the character of 007 that has been in print for over 70 years, and is a fantastic novel with an intriguing sense of finality.
A decade after its original release in 2013, French electronic duo Daft Punk’s iconic final album Random Access Memories gets a rerelease for its 10th anniversary, with 35 mins of bonus content. Perfect time for a reappraisal then…
Daft Punk – Random Access Memories 10th Anniversary Edition
Upon its original release in 2013, Random Access Memories was showered with overwhelming commercial and critical acclaim, reaching No. 1 on the Billboard 200 and in over 20 different countries, whilst also winning Grammy Album of the Year and various other awards. Its influence on pop music was also immense, with many artists attempting to emulate its 1970s/80s disco electronic sound, which can be heard on allbums such as Dua Lipa’s Future Nostalgia (2020) and the Weeknd’s After Hours (2020). Yet its reputation as a ‘classic’ album, and one with great acclaim, has been the subject of re-evaluation over the years since its release, with many critics bemoaning its long runtime, use of musical collaborators, and strange rhythms.
Nonetheless, with a gestation period of over four years, and an arduorus post production period enough to drive most sound and mixing engineers insane, the album is undeniably a masterpiece and one that the artists wished to make, with a gorgeous blend of orchestral, vocal and electronic music in harmony with each other. Whilst the hit singles of Get Lucky and Lose Yourself to Dance (both collaborations with Pharell Williams) got the majority of audiences attention, it is instrumental tracks which are the best on the album, such as Beyond, Motherboard and Contact. The album’s masterpiece, Touch, is an incredible listening journey with some gorgeous strings and vocals. Further information on the album’s production and reception can be found elsewhere on the Internet.
For the album’s 10th anniversary release, 35 minutes of extra material has been released, featuring studio outtakes and demos from the album’s recording. Of the nine new tracks, the highlights are Infinity Repeating (which was also released as a single), a demo of an unreleased collaboration with Julian Cascablancas, and Prime, a brilliant futuristic disco electronic track that has a strong influence from their Tron: Legacy soundtrack in 2010. Also featured are studio outtakes from Give Life Back to Music, Get Lucky, Lose Yourself to Dance, and a eight minute audio track detailing The Writing of Fragments of Time. The Pink Floyd influenced Horizon (previously released on the Japan CD) and Horizon Ouverture are also a soothing listen and are complemented by the final track, Touch (2021 Epilogue), which closes out Daft Punk’s 28 year career, from 1993 – 2021.
The original 2013 album, and its 2023 rerelease.
Whilst the amount of extra material released does seem to be somewhat limited, it does offer a small glimpse into the making of the album. Bearing in mind the general secrecy in which Daft Punk produce and release their music, any behind the scenes material is precious and valuable. (Note a remixes of their debut album Homework was released in 2022 for its 25th anniversary.)
Random Access Memories: 10th Anniversary Edition was released on 12 May 2023 and is currently available in 3LP vinyl (containing a 16 page booklet and Lose Yourself to Dance poster) or 2CD deluxe edition. Somewhat disappontingly, the CD edition comes in a cheap foldout paper sleeve rather than a jewel case. The album itself isn’t an essential purchase for the casual listener, but the added bonus content will be well worth the pickup for dedicated Daft Punk fans.
The Fall of Númenor is the latest publication from the Tolkien Estate, and is a chronicle of events of the Second Age of Middle-earth by fantasy author J.R.R. Tolkien. Published in 2022 to coincide with the release of the Amazon TV series The Lord of the Rings: The Rings of Power, it allows both casual readers and hardcore fans alike to gain a better understanding of the major events and stories of the period, and aims to provide a collection of Tolkien’s second age writings in a single book.
First edition hardcover, published 2022.
Something important to note here is that there are no ‘new’ writings from Tolkien in this book – rather it is a complication of texts, essays and writings written by Tolkien, and previously published in books such as The Silmarillion, Unfinished Tales, and The History of Middle-earth. The purpose of the book is thus, as editor Brian Sibley writes, is to ‘provide extracts from the above – with as little editorial interventions as possible – that illustrate in the author’s own words the rich and tumultuous events of the Second Age as sumarised by Tolkien in his ‘The Tale of Years (Chronology of the Westlands)’ that appears in Appendix B of The Lord of the Rings‘.
The book is thus compiled in chronological order, from Year 1 to Year 3441 of the Second Age, and depicts events such as the rise of the island kingdom of Numenor, the forging of the Rings of Power, the rise of Sauron and his war with the Elves and Men, and culminates in the Last Alliance of Men and Elves (which is briefly depicted in the prologue of the Lord of the Rings films). Due to its huge span of time covered, there are no major characters but rather hundred of minor characters that are littered throughout the novel, making it similar to the reading the Bible. Nonetheless it is a far more accessible read for casual fans of The Hobbit and The Lord of the Rings compared to The Silmarillion or Tolkien’s other essays, with most events taking less than five or six pages maximum. This is complemented by larger writings on Numenor and its people and culture, and the tale of Aldarion and Erendris, a love story about a mariner set in the peak of Numenor (and previously published in Unfinished Tales). There are also some brief appendices covering the Third Age of Middle-earth and an early draft of Numenor dating from around 1937, prior to the publication of The Hobbit.
The highlight of the book by far is its beautiful presentation, which is brilliantly illustrated by artist Alan Lee with 10 full colour illustrations depicting the key events of the Second Age, whilst being complemented by over 50 pencil sketches for chapter headings, and a remarkable dustjacket and cover depicting the Fall of Númenor. The printing and text is also of high quality with blue ink for chapter titles and headings. Editorial commentary is also kept to a minimum with notes at the end providing more in depth explanations and references to other works, with the book being written in chronological narrative order.
Whilst not an essential purchase for Tolkien and Lord of the Rings fans, The Fall of Númenor is beautifully edited and presented, making it a valuable and excellent book for any fantasy bookshelf.
Andrew Reviews 