FINALLY PT2 IS HERE AND ITS 7K WORDS SO I SPLIT IT INTO TWO CHAPTERS
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A Scene-by-Scene Analysis of Aralas in Peter Jackson's the Two Towers and the Straight Context, Queer Scene Theory (SCQS)
There is more than one reason that Peter Jackson's the Two Towers is my favorite of the trilogy, and my favorite film of all time. It is not only because of the cinematography, the pacing, the action, the charm of the plot as adapted from J. R. R. Tolkien's novel of the same name and the deviations from that plot that make the film translate all the better to the big screen—those are all valid reasons to love it, but what really sparks my adoration of Peter Jackson's the Two Towers is the flurry of Aralas moments that it presents. Many may watch the film and do not see these at all, while for others, it is all they focus on, but either way, upon rewatching with a critical eye, a deeper layer to it all is revealed. In this Aralas scene-by-scene analysis of the Two Towers film, I will attempt to translate into words my chaotic notes and thoughts upon my most recent rewatch, analyzing those Aralas moments.
Let us begin.
The first scene of note in terms of Aralas in Peter Jackson's Two Towers is also the first scene in which the two interact in any meaningful way, aside from simply running side by side across the sprawling plains of Rohan—the iconic "Not idly do the leaves of Lórien fall" scene. The fleeting eye contact between the two, while it may seem exactly that, fleeting, to the untrained eye, is a genially placed continuation of Aralas key themes established in Fellowship—allegiance, reliance, and following one another without question. These themes are only continued through the rest of the film's beginning, as seen in the second scene of note: when Aragorn feels the approach of the Rohirrim riders and all three of the company fall into defensive stance. Notice how Aragorn and Legolas immediately turn to each other, first and foremost, at this smallest hint of danger, something one notes several times throughout the Fellowship of the Ring as well. Moreover, throughout their covert glances and strangely close stance, Gimli stands off to the side, looking on with a distinct separateness to his character—also continuous of the final scenes of Fellowship, in which he glances between Aragorn and Legolas as they argue over staying or going at the shores of the Falls of Rauros.
During the approach of the Riders of Rohan lead by Éomer and his own, the Three Hunters are forced behind a set of large rocks, hiding from the oncoming horde. Again, continuing the theme of Aragorn/Legolas closeness and Gimli separateness, Legolas and Aragorn huddle strangely, unnecessarily closely behind that rock, while Gimli is out of frame. Note that all Three Hunters are in possession of cloaks of Lórien, which would hide them from all foes, rocks or no rocks, and that Legolas is an elf, and thus does not need such basely material objects such as rocks to hide himself from enemies. Not to mention that I say rocks and notrock—meaning that this is a rather large set of rocks, and there was no need for the two to sit that closely.
It is also worth mentioning that this scene is an almost laughably direct, though perhaps unintentional parallel to Tuor and Voronwë, the heroes of J. R. R. Tolkien's Of Tuor and his Coming to Gondolin, the Last Version of the Fall of Gondolin Unfinished Tale. In it, Tuor, a Man, ironically, distantly related to Aragorn who ends up marrying an elf-maiden distantly related to Arwen, and Voronwë, an Elf of the great city of Gondolin turned Círdan's mariner, travel together to that city of Gondolin, the greatest of the ancient elf -cities in Tolkien's lore. On the way, they encounter many perils, including several bands of orcs, from which they hide beneath Tuor's cloak, reminiscent of the cloaks of Lórien, as it was given to him by a god, behind an outcropping of rocks. In that scene, Tuor is described as having drawn Voronwë "down into the dark shadow"and then "side by side under the grey cloak they lay and panted like tired foxes." This could also be interpreted as a parallel to the characters of Sam and Frodo's later scene before the Black Gate of Mordor hiding beneath Frodo's cloak amid the brambles and rocks before the Gate. All three pairs, Tuor and Voronwë, Sam and Frodo, and Aragorn and Legolas are widely shipped and agreed to have queer subtext by the queer Tolkien fanbase, and both those former couples shall enter into the narrative of this essay in later parts, fear not.
The Aralas moments continue throughout the Three Hunters' scenes with the Rohirrim and Éomer, during which Aragorn and Legolas share much prolonged eye contact which I, in the notes I took upon my most recent rewatch, so eloquently described as "THEIR FUCKING EYE CONTACT ALKDLAKDLKAHAHLAKHKFHLKHALKHFKLHLKFHALKHLKHKALHKLHFHALHLAHFALKH" and "The way they SPEAK TO EACH OTHER WITH THEIR EYES ALHLAHFLHALKFHKALHFKLAHFLK." But, in truth, this must be analyzed in pair with the way Aragorn touches Legolas' bow arm during the iconic and much quoted "You would die before your stroke fell!" scene. Note that it was not at all necessary for him to touch Legolas' arm, only his bow, or even, as Legolas is sworn to follow all of Aragorn's commands regardless, not to touch him at all. Note also that physical touch and eye contact is incredibly important and rare for elves, and thus much more meaning must be accorded unto these seemingly "fleeting" glances and touches the two share throughout the entirety of the trilogy, as one of the pair in question is an elf. But more on that in later parts.
Continuing the theme of meaningful touch and closeness, notice how Legolas reaches over to touch either the shoulder of Gimli or the arm of Aragorn during the "We left none alive" scene in which Éomer tells the Three Hunters that the characters of Merry and Pippin are likely dead. The camera angle leaves the touch entirely up to the viewer's interpretation, and the same can be said of the later scene in which Aragorn and Legolas stand at the feet of Fangorn Forest, having not given up in their quest to find their friends. Notice how, again, they stand separately together, and Gimli is out of frame. The camera also cuts off just above the waists of the two, showing only how their arms, and their hands, below the cut, drift just slightly towards each other, almost giving the impression that the two are holding hands. Or, at least, that their hands are very close to one another. This is a common romance trope, and a continuation of the theme of touch being very important to elves, thus why this is notable at all.
Throughout the Three's ramble through Fangorn Forest and just beyond, we are graced with yet more Aralas moments. For one, the iconic "Aragorn, nad no ennas" scene, in which Legolas perceives what the three later realize to be Gandalf through the trees, his senses heightened because of the whisperings of the trees around him. The two then proceed to stand very close to one another in the bushes as Legolas peers through the branches, seeking that glint of white light that he assumedly saw. It is very important to note that the two specifically speak Sindarin in this scene, when Legolas says, "Nad no ennas" (something is there) and Aragorn asks, "Man cenich?" (what do you see?)—this symbolizes how Legolas falls into his element in this forest, Fangorn, which is canonically very close to his native Mirkwood, as the trees whisper all about him. He and Aragorn are the most at ease in this setting, leading the company while Gimli lingers behind with axe raised and guard high up. Legolas also has more lines in the Fangorn scenes, reminiscent of the same phenomenon happening in the Lórien sequence of the previous film. These lines and this moment also symbolize Aragorn letting Legolas take the lead, asking "What do you see?" and relying on his elven eyes—in line with a major theme of their relationship, and reflecting the iconic, previous line of "Legolas, what do your elf-eyes see?"
The chemistry continues post-Fangorn, when the Three Hunters' company meets Gandalf, and he calls for his white steed Shadowfax. In the background, Aragorn and Legolas can be seen standing (who would have guessed) strangely close to one another as Legolas says the line, "That is one of the Mearas, unless my eyes are cheated by some spell." It is perhaps also notable that Legolas' three most memorable moments, arguably, in the beginning of the Two Towers have to do with his sight or his eyes—"Legolas, what do your elf eyes see?", "Aragorn, nad no ennas" and "That is one of the Mearas, unless my eyes are cheated by some spell." This is perhaps symbolic of his role in the Three Hunters' trio as the second in command, the eyes, while Aragorn is the leader, and the mastermind and Gimli is... Well, Gimli. This also represents his previous role in the former Fellowship, at least in the books, as rearguard, and therefore the eyes of the company. Thirdly, it reflects his closeness with Aragorn, for the leader and the mastermind of any group needs a steady pair of eyes from one who loves them and can hold them back when necessary to be able to properly lead. This is a direct divergence from the book, wherein Aragorn is painted more so of a force of his own, solitary, and Legolas and Gimli are rather the closer sub-duo of the trio. Finally, this symbolizes how Aragorn and Legolas rely on each other, which continues onto my next point.
This reliance and separate closeness can be seen in the fight at the Golden Hall, as Gandalf strives with the dark magic of Saruman in attempting to free Théoden from him, and the others of his company fight off assailants in the form of the king's guards. Legolas immediately goes to aid Aragorn in fighting off his attackers, though he has hardly finished with his own—this is how one would answer the call of a king in battle and is a very common theme for the two during action sequences. This theme continues during Théodred's funeral scene, in which the two walk side by side, symbolizing their easy, almost unthinking closeness. Of course, they would walk side by side, what else would you think? This also reflects their closeness facing death, perhaps a parallel to their previous separateness in the face of it in the Fellowship of the Ring film, though this seems to have changed since the death of Boromir and the rebirth of Gandalf, both important milestones and turning points in Aralas.
Their reliance upon each other and Legolas' cemented role as second in command breaks, might I add, only in the "You would die before your stroke fell!" scene, in which the previous closeness between Aragorn and Legolas is directly followed up and juxtaposed with a sudden bout of closeness between Gimli and Legolas, keeping an even balance between the three, courtesy of Peter Jackson's directing and writing genius. Moreover, all of these scenes work with the SCQS Theory, showing their closeness as being in the cadre of life-and-death situations, as often before, and as often in the Theory itself, and beneath the guise of Legolas simply being Aragorn's "second in command," and thus, naturally, close to him.
But, of course, reliance also has an opposite, and yet, a companion—defense. This is seen in how Legolas and Aragorn glance at each other pointedly during Éowyn's monologue, ("Now the Wild Men are moving through the Westfold, burning as they go"), with Legolas thus defending Aragorn's opinion of her correctness, that they should ride out and fight. This might also be seen as reliance, were one not focused on the positions of the pair in this scene: directly juxtaposing and opposing the ease of Legolas and his leading in Fangorn. In this scene, trapped within the Golden Hall of Meduseld, Legolas stands with his arms crossed stiffly against a column while Aragorn sits a few heads below him, comfortably and casually, upon a table bench, smoking. This shows that he is at ease, knowing this place from his days as Thorongil, serving Thengel, Théoden's father. In fact, perhaps he is too at ease, for he expects to be obeyed as he once was, telling Théoden to ride out, to meet his foes head on. When Théoden counters with the ever-memorable line, "When last I looked, Théoden, not Aragorn, was king of Rohan," Legolas can be seen uncrossing his arms, shifting his weight, in the background, switching ever so subtly into an almost pre-offensive position. This reflects their earlier scene in the Fellowship of the Ring, after Boromir refers to Aragorn dismissively as "a ranger" during the Council of Elrond, and Legolas jumps up to defend him. Ironically, the two are in this scene even in the same positions as in that one, Legolas standing and Aragorn sitting, and the debate is on the same subjects: war, Aragorn's lineage, and kingship. These are also three major pillars of Aragorn's relationship with Legolas, and, one might add, with Arwen. But put a pin in that.
The reliance and closeness up to this point pays off at last in the iconic Warg attack upon the passing company of Rohan-dwellers from Meduseld to Helm's Deep, which Legolas is the first to spot the forewarnings of. Notice how Aragorn immediately runs to Legolas upon any first hint that he scented danger, for confirmation of their foes, and Legolas fulfills his end of their reliance and his duty as second in command in informing Aragorn. Legolas is also, later, and bitterly ironically, the first to notice Aragorn's death after the conclusion of the battle.
Ah, but now we come to it, one of the greatest and most crucial book/film canon divergences in the Lord of the Rings trilogy: Aragorn's "death" by falling off a cliff after that Warg attack. I have before spoken at length of the symbolism of this moment for the pairing of Aralas, and those thoughts are now, as usual, widely available for all to read at their leisure on the internet. But, for the sake of this essay being as linear as possible, I will widen the discussion and give a quick summary:
To understand the full significance of this scene for Aralas, one must first rewind through all of Legolas' scenes in the face of death throughout the entire trilogy as it now stands: Balin's tomb in the mines of Moria, the attack of the goblins immediately after, Gandalf's fall, the attack of the orcs upon the shores of Rauros, Boromir's fall, the finding of the orc-pyres set by the Rohirrim in which the Three Hunters suppose lie Merry and Pippin's dead bodies, Gandalf's rebirth, the attack of the Wargs upon their passing company of Rohan-dwellers to Helm's Deep, and, now, Aragorn's "death." These moments looked at one by one show a clear story, a clear progression and change in Legolas' outlook upon death. Let us analyze:
As I analyzed it before, Legolas before Balin's tomb in Moria does not understand the need to linger, to stand around the stone casket wailing and mourning the life of this great dwarven-king now lost. He turns to Aragorn, urging them to continue, with no betrayal of grief or even understanding of the concept upon his unshakeable features. As I noted before, he turns to Aragorn, not Gandalf, for he knows the former will be more understanding of their need for haste. In the following fight with the goblins and the cave-troll of Moria, Frodo is injured and seemingly at death's door. While the rest of the Fellowship huddles around him, notably Sam and Aragorn, concerned for him and already beginning to mourn, though in denial, Legolas is off-screen. This shows his distantness from the entire concept of death, and his distantness from Frodo and the quest as a whole in his moment, for it is canonical that he feels most trapped and ill at ease within the Mines, far from the comfort of open sky and whispering trees.
After Gandalf's fall, Legolas does not linger at the precipice of the Bridge of Khazad-Dûm, as many of the other members of the Company do, anticipating what is to come, but he rather hurries on to the exit of the Mines, rushing to meet the open air and the trees. This is not selfish or disregarding to his companions, as it may at first glance seem, but rather indicative of how Legolas simply does not understand the concept of death, certainly not in Gandalf, a seemingly immortal Maia, whose nature he understands perhaps more than any other in the Fellowship. During the buildup to Gandalf's strife with the Balrog, many have noted before that there is a close-up shot upon Legolas' face, showcasing his expression of pure, unbridled terror. This symbolizes his knowledge of the foe, more than any other in the Company other than Gandalf, for he, an elf of almost three thousand years, understands what the Balrog truly is—a Maia in nature, but truly a demon of the Elder Days. This is directly juxtaposed with Boromir, upon the left side of the screen while Legolas stands upon the right, who asks, "What new devilry is this?" This shows his ignorance of the nature of the foe past that one, simple fact—that it is a foe, while Legolas understands what they are up against. This is also reflected in the following sequence in Lórien when Legolas tells Galadriel that Gandalf fought with a "Balrog ofMorgoth"—not a "Balrog of Sauron", not simply a "Balrog", a "Balrog of Morgoth," the Dark Lord of the Elder Days. This also shows his maturity and showcases his true age, which seems accentuated in Lórien, wherein he comes into his own.
After Gandalf's fall, Aragorn turns notably first to Legolas to urge the hobbits and Gimli up as they grieve the fall of their companion and friend. This not only shows his sudden reliance upon Legolas as second in command, but his knowledge that Legolas will be the most stoic in the face of it all, in the face of death. When Legolas fails in this duty of stoniness—an expression of almost-confusion upon his face as he tries to understand this mortal idea of grief and mourning, death—Aragorn is visibly disappointed and pitches in in Legolas' stead to help his companions up. I will say no more on the aftermath of these scenes now, and for more, look back on my analysis of the Fellowship of the Ring film.
During the attack of the orcs upon the shores of Rauros, it is Legolas again who urges Aragorn on, knowing that they cannot stay, while Frodo wanders in the woods around them, contemplating his path and the death of Gandalf, shown in the voiceover of the latter's words over a shot of Frodo when at last he makes the choice to depart by boat to Mordor alone. This shows, again, Legolas' stoniness and lack of understanding in the face of grieving, not even realizing that his friends are still grieving the Fall of Gandalf—that is all over, is it not? This is also shown in how quickly he seems to forget his "grief" in the familiar setting of Lórien earlier, and how he resorts to verbally stating that it still plagues him with the line, "I have not the heart to tell you [what it means]. For me, the grief is still too near" when the elves of Lórien begin singing their elvish lament to Gandalf beneath the cloak of night.
During the fight near Rauros, as I already stated, Legolas fights mercilessly and near Aragorn. He gives no thought to Boromir, even when he hears his horn, saying, "The horn of Gondor" and letting Aragorn finish the thought with the line, "Boromir" and following immediately suit after Aragorn runs in the direction of the sound, but only after, not before. When Legolas and Gimli enter the clearing in which Boromir lies dying, that same expression almost of twisted curiosity rests upon Legolas' face. What is this death, he is thinking, that comes to mortals so easily? And where is he going, perhaps to the same place as the orcs that we have just now killed in droves?
TBC
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PART 2 UP NOW!!