Peter Jackson made four epic fantasy films that defined the cinematic spectacle for the new decade. His films made the act of viewing a physical activity: His shortest film, “The Fellowship of the Ring” (2001), is three hours long; the extended cut of “The Return of the King” (2004) is over four hours long. Avant-garde films have long used duration to push the boundaries of film, but duration hadn’t really been a part of mainstream films up until this point.

Many viewers—especially those afflicted with smaller bladders—probably viewed the hefty running times as a narcissistic and excessive exercise in filmmaking. But I believe that the running times reflect Jackson’s respect for his audience: He felt that viewers had the patience and intelligence to follow a fantasy series with a large ensemble cast over a three-year period.

Legacy

Jackson’s “The Lord of the Rings” trilogy—an adaptation of J.R.R. Tolkien’s three-volume novel—was shot over several years, and each installment was edited in post-production for a full year. The resulting films not only made it cool to be geeky, but also made the fantasy genre something that should be taken seriously. They brought Viggo Mortensen, a previously unknown actor who had starred in supporting roles, into the forefront. He would go on to give fantastic, critically acclaimed lead performances in “A History of Violence” (David Cronenberg, 2005) and “Eastern Promises” (2007). And in 2004, “The Return of the King” won an astounding 11 Oscars, including Best Adapted Screenplay, Best Director and Best Picture.

Special Effects

After nearly a decade, the special effects in “The Fellowship of the Ring” have held up remarkably well, because Jackson and his team seamlessly combined digital effects with tactile models and sets. This is a method that Jackson would improve upon as the trilogy developed. It also manifested itself in other films this decade, including “Master and Commander: The Far Side of the World” (Peter Weir, 2003), which beautifully melded footage of the ocean, models and effects to create an immersive world.

“The Two Towers” (2002) and “King Kong” (2005), in particular, represent landmarks in special effects: Jackson created fully formed characters out of digitally rendered monsters. In an interview, Jackson explained that he approached Gollum, a slimy creature driven insane by his obsession with the Ring, as a character, rather than as a special effect. The results speak for themselves: Gollum, played to perfection by Andy Serkis—whose movements and facial expressions were recorded with motion-capture devices—interacts with Frodo (Elijah Wood) and Sam (Sean Astin) in a believable way. A couple of years later, Serkis, with the aid of digital effects tools, almost literally became King Kong, embodying the perfect counter—and even love interest—to Naomi Watts.

Characters

Despite the strong reliance on special effects, the “Lord of the Rings” trilogy has an unusually organic feel that allows its world and characters to come alive. Jackson shot much of his footage on location in New Zealand, and many of the jaw-dropping moments in the trilogy come from long shots of beautiful, untouched landscapes.

Jackson also made viewers comfortable with fully embracing fictional characters. He tends to bring his camera in for a close-up and keep it there, so viewers are compelled to make a connection with the character. (This technique is taken to an almost comical extreme in “King Kong,” but the close-ups do allow us to better appreciate Naomi Watts’s fine performance).

Jackson’s characters are extremely complex, and their problems hit uncomfortably close to home. They are filled with self-doubt and weaknesses, yet they also embody an enduring and inspiring form of resilience that viewers can relate to. These qualities account for the sheer emotional power of “The Return of the King,” a film that is both sprawling and unforgettable because of its characters.

Peter Jackson may be operating in fantasy worlds filled with hobbits, elves, orcs and King Kong, but the fact that viewers can better relate to his characters than those in films based in the present day is a testament to the power of his cinematic spectacles, rooted by strong, intricately developed characters.

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Peter Jackson’s Filmography (2000s):

The Lord of the Rings: The Fellowship of the Ring (2001)
The Lord of the Rings: The Two Towers (2002)
The Lord of the Rings: The Return of the King (2003)
King Kong (2005)

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Image Sources: DreamWorks Pictures, New Line Cinema, Universal Studios
Links: IGN, IMDb