Voice Actor Brian Cox Expected “War of Rohhirim’ to “Close the Door on Patriarchy”

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Recently, prior to the underwhelming box office and critical response to “The War of the Rohirrim” from Lord of the Rings, Brian Cox, one of the prominent voice actors in a new animated movie, shared some intriguing insights with Entertainment Weekly about the political themes subtly reflected within it.

This story has multiple layers of meaning. Cox notes that it’s remarkably symbolic for our current times. He finds particularly poignant the scene in The War of the Rohirrim where Helm shuts the door, representing a closure on patriarchy and empowering women to shape their own future. In his view, this theme is strikingly relevant today.

As a movie buff reminiscing about historical figures, I recall Catherine the Great of Russia engaging in conflicts during the 18th century, regardless of their righteousness or wrongness. It’s puzzling to me why some people think a woman can always surpass a man in every aspect on the battlefield. The real issue is that today, many leftists seem unwilling to unequivocally condemn the violent ideologies prevalent within certain interpretations of the Islamic Koran, as well as its misogynistic teachings. They also seem hesitant to openly discuss and critique the botched withdrawal from Afghanistan under President Biden, an event that not only was a strategic blunder but also posed significant threats to women’s rights in the region.

It seems that Mr. Cox might be overlooking the significance of women’s rights issues beyond the USA, as well as problems existing outside the western conservative sphere. The concern is that the narrative he’s referring to appears to rely on a rather awkward “girlboss” trope, which can border on being a Mary Sue cliché, and artistically, it doesn’t seem to be advancing the state of fantasy storytelling.

Moreover, he is well-versed in the dynamics of fathers and their daughters within patriarchal societies. His latest role as Logan Roy, a prominent father figure on Succession, aligns with this knowledge, as he is also a father of a daughter in real life.

According to producer Philippa Boyens, who worked on Jackson’s Lord of the Rings movies, “His acting skills were already fully developed.” Being a father himself, the story deeply connected with him. He found the journey of a father discovering a new perspective on his daughter particularly compelling. Despite maintaining the character’s power and dignity, this actor was able to portray a warrior king who could tenderly express his feelings towards his daughter, such as admitting, “The day you were born, I was brought to my knees.” It was an incredibly impressive performance that left us in awe. During recording sessions, we simply stepped back and let him shine, making the experience truly wonderful.

Apart from the bond between Helm and Hèra, the War of the Rohirrim additionally highlights the flaws in a patriarchal system, as demonstrated by Wulf’s character. After the demise of his father, Wulf becomes consumed with revenge, leading to a violent rampage that sweeps across the land.

(In this sentence, “the failings of patriarchy” refers to the negative consequences and flaws in societies where power is primarily held by men or fathers, as shown through Wulf’s character.)

Cox notes that for Wulf and Freca, it’s challenging when their father is extremely unattractive. He explains, “Wulf hasn’t been fortunate to have the most appealing father one could imagine, whom he adores, yet we question his choice. There’s a profoundly sad aspect to Wulf as he ought to have been someone different, but due to his circumstances and being entangled in the patriarchal system, he can’t escape it.

It’s illogical to argue that only a father can be responsible for poor parenting. A mother could also make mistakes, and it seems the issue here is not about patriarchy or matriarchy but about poor parenting. They seem more concerned with pushing a political agenda than raising the material correctly, which suggests that Peter Jackson, as a producer on this project, allowed his personal politics to influence his work. It’s intriguing to consider how he would have approached the Lord of the Rings trilogy if producing it today instead of in the early 2000s. If this is his definition of acceptable quality, then his live-action adaptation of Tolkien’s classics may not stand the test of time.

As a movie critic, I delved into several perspectives on this animated film, and while it carries the label of “anime,” its authenticity in that regard is debatable, given its Japanese director. One review that particularly piqued my interest was penned by Charles Pulliam Moore for The Verge. Having previously worked for progressive platforms like io9/Gizmodo, notorious for their conservative stance on sexual matters, I found his insights intriguing.

According to Tolkien’s Lord of the Rings Appendix A, director Kenji Kamiyama (Ghost in the Shell: Stand Alone Complex, Blood: The Last Vampire) aims to build a monumental fantasy epic from a tiny footnote in The War of the Rohirrim. While the film occasionally captures the essence of Middle-earth and seems to infuse it with a touch of feminist spirit, the characters are shallow and the narrative is slow-moving, making it hard to comprehend why this specific piece of lore was chosen for a big-screen adaptation.

The characters in this movie lack complexity, such as Princess Héra who is stereotypically headstrong and gender-biased, while Wulf appears excessively evil and unconvincing as a cunning villain. However, these flaws could be more forgiven if the film offered something more spectacular in terms of visual effects to captivate viewers. Unfortunately, despite The War of the Rohirrim’s attempts to awe you with breathtaking views from Great Eagles’ perspectives, it fails to truly showcase the potential of animation to create fantasy worlds beyond what live-action can achieve.

It’s quite intriguing that he seems to take issue with this story, given his past political leanings. If the narrative adheres to political metaphors, he should find it acceptable. Perhaps the main character is too beautiful instead of being an underdog like an ugly duckling? It’s hard to say for sure. Pajiba’s review hints at a lack of creativity in the storyline (which is surprising coming from such a leftist site), but they don’t necessarily argue that leftist politics were detrimental to it. However, one could certainly make a compelling argument that prioritizing leftist politics might be hindering creative writing. But whether they’d acknowledge this argument is another matter entirely.

Following is James Berardinelli from Reelviews, who leans more positively towards the film, though suggests it’s preferable to steer clear of familiar storyline elements or tropes in this instance.

In this adaptation, the narrative perspective shifts to focus on Helm’s daughter, who has been named Hera. Though she’s only hinted at in the book and lacks a specific name, the filmmakers chose to develop her character. While avoiding typical warrior princess stereotypes, Hera emerges as the central figure of The War of the Rohirrim, reminiscent of characters like Princesses Nausicaa and Mononoke from Hayao Miyazaki’s films.

Helm Hammerhand, Hera’s father, maintains the tradition established in the Jackson-Tolkien universe, where powerful kings are often blinded by their stubbornness and unwavering faith in their own infallibility, much like King Thoeden (portrayed by Bernard Hill in The Two Towers and The Return of the King).

The main antagonist, Wulf, could have been more complex had the storyline chosen to explore his tragic side. However, The War of the Rohirrim opts for a simpler portrayal, steering clear of excessive moral ambiguity. Hera’s childhood bond with Wulf is referenced (and depicted briefly in flashbacks) but ultimately takes a backseat in the narrative.

What exactly is his point? The princess is a charming woman, yet it wouldn’t be surprising if some people found issue with it. Another concerning aspect is that a leftist like Miyazaki was the inspiration for these stories. However, perhaps the most puzzling critique comes from Laramie Movie Scope.

In this rephrased version, I aimed to maintain the original meaning while making the language more natural and easy to read.

It’s possible this is just a coincidence, but there appear to be some striking parallels between this tale and contemporary political developments. For instance, Helm seems to share traits with Joe Biden, Héra with Kamala Harris, and Donald Trump with Wulf. Doesn’t that add an intriguing twist to the story, doesn’t it? This film receives a C grade.

To put it simply, it’s clear that something is seriously amiss around here, and this sheds light on the path Jackson has been treading lately.

If he failed to separate his political views from the project, and used less effective metaphors for complex issues like Islamic terrorism, it’s disappointing that animation isn’t being utilized to tackle more serious subjects. Even director Kamiyama shares some responsibility for the underdeveloped political aspects in this work, and it’s fair to say that anime is no exception when it comes to leftist influences. It’s not surprising that he chose such a project but failed to execute it creatively in a balanced manner. If this cartoon disappoints, it’s because we have whole generations who cling to their political beliefs and overlook merit-based entertainment. Unfortunately, anime has suffered another setback due to this.

It’s possible that the completion of “The War of the Rohirim” could mark the end of additional Lord of the Rings projects, and if this is necessary to preserve J.R.R. Tolkien’s legacy from further blemishes, then it seems appropriate.

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2025-01-11 19:03