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The Lord of the Rings: The Two Towers (Four-Disc Special Extended Edition)
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Format | Box set, Anamorphic, Closed-captioned, Color, Dolby, NTSC, EP, DTS Surround Sound, Special Edition, Widescreen See more |
Contributor | Viggo Mortensen, Christopher Lee, Peter Jackson, Bernard Hill, John Rhys-Davies, Cate Blanchett, Ian McKellen, Elijah Wood, Sean Astin, Dominic Monaghan, Liv Tyler, John Bach, Karl Urban, David Wenham, Billy Boyd, Miranda Otto, Orlando Bloom, Sala Baker See more |
Language | English |
Runtime | 3 hours and 43 minutes |
Studio | New Line |
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Product Description
Product Description
Not seen in theaters, this unique version of the epic adventure features over 40 minutes of new and extended scenes integrated into the film by the director. DVD set consists of four discs with hours of original content including multiple documentaries, commentaries and design/photo galleries with thousands of images to give viewers an in-depth behind-the-scenes look at the film. Frodo Baggins and the Fellowship continue their quest to destroy the One Ring and stand against the evil of the dark lord Sauron. The Fellowship has divided and now find themselves taking different paths to defeating Sauron and his allies. Their destinies now lie at two towers - Orthanc Tower in Isengard, where the corrupted wizard Saruman waits and Sauron's fortress at Baraddur, deep within the dark lands of Mordor.
DVD Features:
Audio Commentary
DVD ROM Features
Documentaries
Interactive Menus
Interviews
Photo gallery
Production Sketches
Scene Access
Amazon.com
The extended edition of The Lord of the Rings: The Fellowship of the Ring was perhaps the most comprehensive DVD release to date, and its follow-up proves a similarly colossal achievement, with significant extra footage and a multitude of worthwhile bonus features. The extended version of The Two Towers adds 43 minutes to the theatrical version's 179-minute running time, and there are valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King. While the 30 minutes added to The Fellowship of the Ring felt just right in enriching the film, the extra footage in The Two Towers at times seems a bit extraneous--we see moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there.
While it may seem that there would be nothing left to say after the bevy of features on the extended Fellowship, the four commentary tracks and two discs of supplements on The Two Towers remain informative, fascinating, and funny, far surpassing the recycled materials on the two-disc theatrical version. Highlights of the 6.5 hours' worth of documentaries offer insight on the stunts, the design work, the locations, and the creation of Gollum, and--most intriguing for rabid fans--the film's writers (including Jackson) discuss why they created events that weren't in the book. Providing variety are animatics, rough footage, countless sketches, and a sound-mixing demonstration. Again, the most interesting commentary tracks are by Jackson and writers Fran Walsh and Philippa Boyens and by 16 members of the cast (eight of whom didn't appear in the first film, and even including John Noble, whose Denethor character only appears in this extended cut). The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended-edition DVD sets have set a new standard for expanding on the already-epic films and providing comprehensive bonus features. --David Horiuchi
Product details
- Aspect Ratio : 2.35:1
- Is Discontinued By Manufacturer : No
- MPAA rating : PG-13 (Parents Strongly Cautioned)
- Product Dimensions : 7.75 x 5.75 x 1.5 inches; 14.4 ounces
- Item model number : MFR794043650420#VG
- Director : Peter Jackson
- Media Format : Box set, Anamorphic, Closed-captioned, Color, Dolby, NTSC, EP, DTS Surround Sound, Special Edition, Widescreen
- Run time : 3 hours and 43 minutes
- Release date : November 18, 2003
- Actors : Elijah Wood, Ian McKellen, Viggo Mortensen, Orlando Bloom, Sean Astin
- Subtitles: : English, Spanish
- Language : English (Dolby Digital 2.0 Surround), English (DTS ES 6.1), English (Dolby Digital 5.1 EX), Unqualified (DTS ES 6.1)
- Studio : New Line Home Video
- ASIN : B00009TB5G
- Number of discs : 4
- Best Sellers Rank: #25,112 in Movies & TV (See Top 100 in Movies & TV)
- #346 in Fantasy DVDs
- #2,558 in Action & Adventure DVDs
- #4,178 in Drama DVDs
- Customer Reviews:
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There are three ways (generally speaking) in which Jackson puts his fingerprint on Tolkien. The first is his interpretation of the text; areas in which without changing Tolkien he is nonetheless able to put his own spin on the text. There are two salient and superb examples of this that come immediately to mind. The first is that Jackson presents Gollum/Smeagol as a split personality. Gollum is a malevolent deceitful being who lusts after the ring, and Smeagol is an almost childlike creature, fierce in his devotion, but easily hurt. I found this approach to be utterly compelling, and a superb way to present Gollum, but at the same time, it is totally loyal to Tolkien's writing. The second example is the presentation of Gandalf freeing Theoden from Saruman as a sort of exorcism. Not only was this a visually intriguing way to present the scene, but it also shows great appreciation for Tolkien as a man. As a devout Catholic, I suspect he would have appreciated the overtones that swirl about the exchange.
The second way in which Jackson captures Tolkien is in his portrayal of the characters. Given the constraints of the film format, the director is forced to both condense and flesh out various characters and exchanges. As such, it is critical that he portrays the characters appropriately, but within the context of the movie. There are any number of excellent examples to Jackson's characterizations, but there are a few that come immediately to mind. The first is using Gimli as much needed comic relief, but doing so in such a way that doesn't degrade the character. In fact, it has quite the opposite effect as it lends a certain emotional depth to the stalwart dwarf. Another example is the conflicted Theoden who is almost Shakespearean in his portrayal. Particularly moving was when at Theodred's grave he flatly states, "No parent should have to bury their child" and then breaks down. Finally, Eowyn's unrequited love for Aragorn is nicely captured, and largely without any dialogue, using glances and expressions to convey the story.
Finally, there is Jackson's modification of Tolkien in order to both make the story work as a film and ground it in our present day reality. Most surprising among these is the appearance of the Elves at Helm's Deep, as they come to honor the old alliances. While completely absent from Tolkien's writing, I found this to be an excellent and effective modification. By introducing the Elves, Jackson is able to paint a portrait of Allies fighting against a common enemy in the World War II sense. Moreover, the elite Elves and Rohirrim fighting side by side against overwhelming odds echoes Thermopylae, where the grossly outnumbered Spartans saved Greece, and ultimately, Western Civilization, from the Persians. The second approach is more subtle, but completely pervasive as Jackson takes a fantasy war and couches it in familiar terms. For example there is a suicide bombing at one point during the Battle of Helm's Deep. While entirely within the context of Tolkien, Jackson's presentation rather brutally echoes our own dangerous world. Another fine example is Theoden's question, "What can men do against such reckless hate?" which rather succinctly captures the dilemma of fighting terrorism.
My only two complaints are relatively small. The first is an entirely unnecessary dream sequence between Arwen and Aragorn which badly distracts from the mounting tension between him and Eowyn. The second is that while Faramir is ultimately true to the book, it takes far too long for him to realize the danger of the ring. Part of the beauty of his character is how he stands in contrast to his brother Boromir, and this is somewhat eroded by Jackson's interpretation.
As for the discs themselves, they are everything one would expect based upon the first set, as the sound, picture and score are all superb. Furthermore, I found the additional scenes to be generally excellent. Theodred's funeral, which features a lament by Eowyn, was particularly moving. Also, through the addition of a few key scenes, I found the ending to be far more satisfying. The conclusions to the Battles of Helms Deep an Isengard are less abrupt, and Faramir is better rounded out.
The extras are likewise superb and every bit as fascinating as the features from the first set. I'm not one who is easily drawn in by commetary on costumes and make-up, but these discs are so comprehensive it is impossible not to be drawn in by them. Finally, the audio commentaries are likewise comprehensive and interesting.
If you are looking for a slavish recreation of Tolkien's work, you would do well to pass on these discs. However, if you appreciate the spirit of Tolkien's work, and fine filmmaking, you would do well to watch this film. Furthermore, you will never find a better value, as the extra's included in this four disc set once again set the standard to which all other releases must strive.
Enjoy!
Jake Mohlman
As to this film, as with the first, much of the extra footage fills in details or gives more substance that in the theatre release seemed to be passing nods to cognoscenti who may have brushed up on the book just before curtain. However, there are some critical passages that SHOULD have been in: most notably, "Sons of the Steward" segment, the initial capture of Frodo & Sam by Faramir, and most importantly, "Flotsam and Jetsam." In the case of the first, the essential dialectic between two sons of a father already unkowingly corrupted by the lure of the ring addresses everything from the literal implications to the endless psychological and family issues involved in the passing of one generation to another, be it business or early onset Alzheimers. But critically to the third film, this scene lays out what is a very key part of the conclusion of the story and why Middle Earth will be forever changed when it passes to men.
As to Frodo's initial capture by Faramir, they come across a fallen opponent and Faramir delivers an oratory that is right at the heart of the tragedy of war, and this is a story borne of a tragedy in Europe in which young men answered calls and found their death. On top of the contextual part, the actuial acting in these two scenes is among the best in the series thus far. Pity. Do we really need more of the "Guns of Navaronne" type of film-making? Essentially all war movies are the same: stress in anticpation, catharsis in battle, sacrifice in the aftermath. What changes is the quality of the toys used to display it. That is NOT what the story is about.
The Sons scene deleted also gives depth to Framir's confrontation with Frodo and Sam in the cave and establishes the ethical and the metaphysical reason why he, and not Boromir, should survive and have an important future in Middle Earth.
Many of the other characters are given much more detail as well: Eowyn's part makes sense in this film now. She isn't just Renaissance eye-candy. The Ents are less Disney-like cartoons and actually manage to reel off both Tolkien's interest in lyrical poetry and the Heideggerian question concerning technology and the environment in more than broad pastiche.
And that brings us to Flotsam: much has been made of Jackson's omission of the spider, which, honestly, is a mere dramatic device to advance the story (a more nefarious Tom Bombadill, if you will) that can be quickly addressed in #3. But at the fall of Isengaard, there is an essential confrontation between Gandalf and Saruman that defines the entire conflict that knowledge and power can produce among the knowing and the innocent. In the course of this confrontation, an orb is picked up that has enormous ontological consequences as the story unfolds. It ties in with the entire issue of knowledge, power, corruption and innocence. This is precisely how the movie should have ended, and more's the pity that Jackson took the Jerry Bruckheimer route.
That said, and as the rumours begin to fly about the editing of RETURN OF THE KING, the third film is in danger of going Hollywood. I wept at the end of the books, and I suspect I'll just be full of popcorn with Jackson's resolution of the human factors, the exitential confrontations, the mythological interpretation of death and loss.
This edition is truly what the second film should have been. If you love the story, pick this up.
As to the superfluous material scattered over the other 2 discs, it's mostly for the Mac graphically inclined, but the discussion about Tolkien, featuring notably Christopher Lee, and the New Zealand as Middle Earth segments are terrific. Regarding Tolkien, the various talking heads give you an historical context, but unless you're literate enough to understand the dynamics between Tolkien and C.C. Lewis and even Charles Williams for that matter, this might be lost on the casual viewer. Still, I'm glad it's here. Tends to validate Lee's criticism's of Jackson's editing as well. It would be well to keep in mind that when published, it was ridiculed at Oxford as "Bored of the Rings" and actually never really achieved its legendary status until the hippies re-discovered it in the sixties. What began as an academic way of comforting his son in the midst of WW2 inspired so many of us later to be concerned about the very life-stuff of this planet, human and otherwise.
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Die zwei Türme: Die Reise geht weiter. Und wieder haben wir es hier mit einem perfekten Film in jeder Hinsicht zu tun, ein gigantisches und tief emotionales Meisterwerk, voller großartiger Darsteller die die wie Faust aufs Auge zu ihren Figuren passen. Die CGI- und praktischen Effekte sind nach wie vor absolut überzeugend, die Musik von Howard Shore wunderschön wie eh und je. Das märchenhafte Element des ersten Teils Die Gefährten wandert hier zugunsten von mehr Action in den Hintergrund. Wir betreten hier endgültig die Welt der Menschen, das Königreich Rohan, welches sich unter der Knute des finsteren Zauberers Saruman (Ruhe in Frieden, der legendäre Christopher Lee) befindet. Dementsprechend geht es hier finsterer und kriegerischer zu, die Schlacht von Helms Klamm am Ende des Films sollte die gewaltigste Schlachtsequenz sein, die man bis dahin im Kino bewundern konnte (bis Die Rückkehr des Königs ein Jahr später alles auf den Kopf stellte und ein Actionspektakel von bis heute ungeahnter Größe auf die Leinwand schmetterte). Frodo und Sam befinden sich nun allein auf dem Weg nach Mordor und stoßen auf Gollum; und mit diesem ist ein technisches Wunderwerk entstanden. Dargestellt von Andy Serkis (wo bitte bleibt bis heute sein Oscar?) und per Motion Capturing als am Computer animierte Figur dargestellt, verschwimmen hier die Grenzen zwischen Realität und CGI so perfekt zu einem ausdrucksstarken Lebewesen, dass man seine künstliche Herkunft schon nach wenigen Sekunden komplett vergisst, auch 18 Jahre später noch.
Im Vergleich zu den anderen beiden Teilen mag Die zwei Türme minimal abfallen (den ersten halte ich nachwievor für den besten / rundesten der Reihe, der dritte hat als episches Finale natürlich die größten emotionalen Momente zu verzeichnen) doch das ändert nichts daran, dass nahezu jeder andere Film im direkten Vergleich klein und unspektakulär erscheint: Jeder Teil von HdR ist ein wunderschönes, beeindruckendes Meisterwerk.
Nun, da die Wiederveröffentlichung der Trilogie als 4k Ultra HD ansteht und die Box fairerweise beide Fassungen der Filme - Kinofassung und Extended - enthält, steht wieder die Frage im Raum, welcher der beiden Filmfassungen der Vorzug zu geben ist.
Die SEE von Die zwei Türme bietet ca 40 Minuten mehr Laufzeit als die Kinofassung und - ich muss es ganz ehrlich sagen - in der kürzeren Version gefällt mir dieser Teil ein kleines Stück besser. Profitierte der erste Teil davon, dass die längere Version der an Information fast schon überladenen ersten Stunde ein dringend benötigtes, ruhigeres Erzähltempo verpasste, so ziehen die zusätzlichen Szenen im zweiten Teil den Film doch ein wenig zu sehr in die Länge. Vielleicht liegt es daran, dass schon die Kinofassung im Mittelteil etwas gestreckt wirkte (Aragorns Scheintod beim Sturz von der Klippe). Doch der Mehrwert, der von den zusätzlichen Szenen ausgeht, hält sich mMn doch eher in Grenzen. Vor allem die vielen zusätzlichen Szenen mit Baumbart dem Ent, in denen er etwa minutenlang in gewohnt langsamer Sprache ein Ent-Gedicht zitiert, bringen wohl nicht nur die beiden Hobbits Merry und Pippin an den Rand eines Nickerchens ;). Ein nettes Augenzwinkern für die Fans ist es, wenn der Alte Weidenmann (der im Buch eigentlich im ersten Teil an den Grenzen des Auenlands auftritt) hier einen kleinen Cameo-Auftritt feiert und Baumbart sogar den (in den Filmen gar nicht auftretenden) singenden "Waldgeist" Tom Bombadil kurz zitiert. Wie gesagt, nett für die Fans. Aus filmdramaturgischer Sicht unterbrechen solche Szenen allerdings komplett den Fluss der Haupthandlung und ziehen so einen eh über drei Stunden langen Film unnötig in die Länge.
Wieder herausgerissen wird das aber durch eine Rückblende, die Faramirs Vergangenheit zu seinem Bruder Boromir und seinem Vater Denethor beleuchtet. Faramirs kaltes, egozentrisches Auftreten in der Kinofassung war vielen Buchlesern ein Dorn im Auge, gerät durch diese zusätzliche Szene aber in einen anderen Kontext: Wir sehen seine herzliche Beziehung zu seinem Bruder, erfahren, dass dieser viel lieber seine Leute in Gondor beschützen will anstatt in Bruchtal nach dem Einen Ring zu suchen, vom Vater aber dazu genötigt wird (was doppelt bitter ist, da wir als Zuschauer den Ausgang bereits aus dem ersten Teil kennen, in dem Boromir dem Ring verfällt und letztendlich mit dem Leben bezahlt) und wir sehen, wie Faramir unter der Verachtung seines Vaters leidet, der nichts Starkes in ihm sieht und ihm seinen älteren Bruder stets vorzieht. Sicher, all das kommt auch im dritten Teil später deutlich zum Vorschein, dennoch ist es eine schöne und wichtige Erweiterung, die Faramirs Verhalten erklärt und darüber hinaus auch Boromir in ein anderes, positives Licht rückt.
Ich kann für den zweiten Teil des HdR also in erster Linie die flüssigere Kinofassung empfehlen, gerade Erstseher und Nichtbuchkenner ziehen womöglich wenig Nutzen aus den Erweiterungen der SEE, die mMn den Fluss des Films immer wieder unnötig unterbrechen und verlangsamen. Eine tolle, unverzichtbare Fünf-Minuten-Szene wiegt eben nicht dreißig weitere auf, in denen größtenteils nichts allzu Bedeutsames passiert. Dennoch bin ich froh, dass es die SEE gibt, denn sie ist - wie auch beim ersten Teil - vor allem ein Geschenk an die Fans, die nicht genug von Mittelerde bekommen können. Darüber sollten wie dankbar sein und für mich, der die Filme eh auswendig kennt, kommt auch beim zweiten Teil keine andere Version als die längere in Frage. Hat man als Erstseher jedoch die Wahl, sollte man hier eindeutig zur Kinoversion greifen, da diese flüssiger durchläuft und sich auf das Wesentliche konzentriert, anstatt den "Fachunkundigen" mit zu viel Hintergrundwissen oder Buchanspielungen, die er nicht versteht, auf die Geduldsprobe zu stellen.
Letzlich ändert, wie schon bei Die Gefährten, keine Fassung etwas daran, dass die Verfilmung vom Herr der Ringe ein absolutes Meisterwerk ist, welches fast zwanzig Jahre nach seinem Erscheinen nichts von seinem Glanz und seiner Kraft verloren hat. Ich sehe mir alle drei Teile regelmäßig zu Weihnachten an und werde dies auch weiterhin tun. Es sind eben, wie Sam am Ende unter Tränen zu Frodo sagt, die "Geschichten, die wirklich wichtig sind. Die etwas bedeuten." Und zu diesen Geschichten wird der Herr der Ringe für mich und für viele auf ewig gehören.
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