Reprise du message précédent :

 
Il est jaloux.

 
Il a besoin d'une longue psychothérapie le monsieur!

Dans le genre:
 

 
Je vois pas le rapport entre un poing levé et un pseudo-américanisme/patriotisme pendant la guerre du Viet-Nam (et une allusion au KKK ?)

 
 
Ben il voit tous ses propres clichés de la société américaine dans chaque scenes du film! Il a besoin d'etre soigné, il se sent persecuté le pauvre!

 
Non c'est bien Christopher Lee, Alan Lee est un jeunôt a coté

 
ça a aussi été cité sur ce topic, alors que bon... lever le poing ça doit être un truc ancré dans la mémoire de l'être humain depuis la nuit des temps

D'ailleur, dans le bouquin en anglais, tolkien ne voit les urukai et autres orques comme des noirs? Jsais plus ou j'avais lu ca, jme trompe peut-etre completement ceci dit

 
Qu'est-ce qu'un Uruk-Hai... une race d'orcs. Qu'est-ce que les orcs ? Des Elfes...
Et il ne voit pas les Uruk-Hai comme des noirs...

et surtout Tolkien a toujours démenti toute allégorie dans son oeuvre.
Récit historique point.
 
 
EDIT : par ex., le livre ayant été en partie écrit pendant la guerre 39/45, certains lui demandaient si l'anneau qui représente la toute puissance dangereuse entre les mains des "méchants", et dont les "gentils" veulent se servir à bon escient, n'était pas l'allégorie de l'arme atomique.
Négation en bloc !  

ouais et pis là on atteint un haut degré de branlette intelectuelle.

 
 
Rien ne vaut un bon apéro musclaÿ  

   
la préface de LOTR, par Tolkien (qui ne se trouve pas dans la VF) :  
 
This tale grew in the telling, until it became a history of the Great War of the Ring and included many glimpses of the yet more ancient history that preceded it. It was begun soon after The Hobbit was written and before its publication in 1937; but I did not go on with this sequel, for I wished first to complete and set in order the mythology and legends of the Elder Days, which had then been taking shape for some years. I desired to do this for my own satisfaction, and I had little hope that other people would be interested in this work, especially since it was primarily linguistic in inspiration and was begun in order to provide the necessary background of 'history' for Elvish tongues.
When those whose advice and opinion I sought corrected little hope to no hope, I went back to the sequel, encouraged by requests from readers for more information concerning hobbits and their adventures. But the story was drawn irresistibly towards the older world, and became an account, as it were, of its end and passing away before its beginning and middle had been told. The process had begun in the writing of The Hobbit, in which there were already some references to the older matter: Elrond, Gondolin, the High-elves, and the orcs, as well as glimpses that had arisen unbidden of things higher or deeper or darker than its surface: Durin, Moria, Gandalf, the Necromancer, the Ring. The discovery of the significance of these glimpses and of their relation to the ancient histories revealed the Third Age and its culmination in the War of the Ring.
Those who had asked for more information about hobbits eventually got it, but they had to wait a long time; for the composition of The Lord of the Rings went on at intervals during the years 1936 to 1949, a period in which I had many duties that I did not neglect, and many other interests as a learner and teacher that often absorbed me. The delay was, of course, also increased by the outbreak of war in 1939, by the end of which year the tale had not yet reached the end of Book One. In spite of the darkness of the next five years I found that the story could not now be wholly abandoned, and I plodded on, mostly by night, till I stood by Balin's tomb in Moria. There I halted for a long while. It was almost a year later when I went on and so came to Lothlórien and the Great River late in 1941. In the next year I wrote the first drafts of the matter that now stands as Book Three, and the beginnings of chapters I and III of Book Five; and there as the beacons flared in Anórien and Théoden came to Harrowdale I stopped. Foresight had failed and there was no time for thought.
It was during 1944 that, leaving the loose ends and perplexities of a war which it was my task to conduct, or at least to report, I forced myself to tackle the journey of Frodo to Mordor. These chapters, eventually to become Book Four, were written and sent out as a serial to my son, Christopher, then in South Africa with the RAF. Nonetheless it took another five years before the tale was brought to its present end; in that time I changed my house, my chair, and my college, and the days though less dark were no less laborious. Then when the 'end' had at last been reached the whole story had to be revised, and indeed largely re-written backwards. And it had to be typed, and re-typed: by me; the cost of professional typing by the ten-fingered was beyond my means.
The Lord of the Rings has been read by many people since it finally appeared in print; and I should like to say something here with reference to the many opinions or guesses that I have received or have read concerning the motives and meaning of the tale. The prime motive was the desire of a tale-teller to try his hand at a really long story that would hold the attention of readers, amuse them, delight them, and at times maybe excite them or deeply move them. As a guide I had only my own feelings for what is appealing or moving, and for many the guide was inevitably often at fault. Some who have read the book, or at any rate have reviewed it, have found it boring, absurd, or contemptible; and I have no cause to complain, since I have similar opinions of their works, or of the kinds of writing that they evidently prefer. But even from the points of view of many who have enjoyed my story there is much that fails to please. It is perhaps not possible in a long tale to please everybody at all points, nor to displease everybody at the same points; for I find from the letters that I have received that the passages or chapters that are to some a blemish are all by others specially approved. The most critical reader of all, myself, now finds many defects, minor and major, but being fortunately under no obligation either to review the book or to write it again, he will pass over these in silence, except one that has been noted by others: the book is too short.
As for any inner meaning or 'message', it has in the intention of the author none. It is neither allegorical nor topical. As the story grew it put down roots (into the past) and threw out unexpected branches: but its main theme was settled from the outset by the inevitable choice of the Ring as the link between it and The Hobbit. The crucial chapter, "The Shadow of the Past', is one of the oldest parts of the tale. It was written long before the foreshadow of 1939 had yet become a threat of inevitable disaster, and from that point the story would have developed along essentially the same lines, if that disaster had been averted. Its sources are things long before in mind, or in some cases already written, and little or nothing in it was modified by the war that began in 1939 or its sequels.
The real war does not resemble the legendary war in its process or its conclusion. If it had inspired or directed the development of the legend, then certainly the Ring would have been seized and used against Sauron; he would not have been annihilated but enslaved, and Barad-dûr would not have been destroyed but occupied. Saruman, failing to get possession of the Ring, would in the confusion and treacheries of the time have found in Mordor the missing links in his own researches into Ring-lore, and before long he would have made a Great Ring of his own with which to challenge the self-styled Ruler of Middle-earth. In that conflict both sides would have held hobbits in hatred and contempt: they would not long have survived even as slaves.
Other arrangements could be devised according to the tastes or views of those who like allegory or topical reference. But I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history, true or feigned, with its varied applicability to the thought and experience of readers. I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author.
An author cannot of course remain wholly unaffected by his experience, but the ways in which a story-germ uses the soil of experience are extremely complex, and attempts to define the process are at best guesses from evidence that is inadequate and ambiguous. It is also false, though naturally attractive, when the lives of an author and critic have overlapped, to suppose that the movements of thought or the events of times common to both were necessarily the most powerful influences. One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918 all but one of my close friends were dead. Or to take a less grievous matter: it has been supposed by some that 'The Scouring of the Shire' reflects the situation in England at the time when I was finishing my tale. It does not. It is an essential part of the plot, foreseen from the outset, though in the event modified by the character of Saruman as developed in the story without, need I say, any allegorical significance or contemporary political reference whatsoever. It has indeed some basis in experience, though slender (for the economic situation was entirely different), and much further back. The country in which I lived in childhood was being shabbily destroyed before I was ten, in days when motor-cars were rare objects (I had never seen one) and men were still building suburban railways. Recently I saw in a paper a picture of the last decrepitude of the once thriving corn-mill beside its pool that long ago seemed to me so important. I never liked the looks of the Young miller, but his father, the Old miller, had a black beard, and he was not named Sandyman.
The Lord of the Rings is now issued in a new edition, and the opportunity has been taken of revising it. A number of errors and inconsistencies that still remained in the text have been corrected, and an attempt has been made to provide information on a few points which attentive readers have raised. I have considered all their comments and enquiries, and if some seem to have been passed over that may be because I have failed to keep my notes in order; but many enquiries could only be answered by additional appendices, or indeed by the production of an accessory volume containing much of the material that I did not include in the original edition, in particular more detailed linguistic information. In the meantime this edition offers this Foreword, an addition to the Prologue, some notes, and an index of the names of persons and places. This index is in intention complete in items but not in references, since for the present purpose it has been necessary to reduce its bulk. A complete index, making full use of the material prepared for me by Mrs. N. Smith, belongs rather to the accessory volume.

Tas bien raison    
 
Sinon, les grands frissons avant la charge ...
 
DEATH, DEAAATTHHHHH !    
 
Sinon dans l ordre de preference 3, 1, 2  

 
c'est bizare moi Cate Blanchet je la trouve bien plus belle dans ses autres films, Dans FOTR on dirait qu'ils lui ont rajouté un gros pif alors que naturelement c'est une superbe femme

je l'ai entendu le dire de lui même, c'était l'année derniere, il parlait parfaitement français  

elle a une tete de souris dans LOTR
 

 
Il le dit (C. Lee) dans les bonus de TTT. Il l'a rencontré dans un pub.

 
   
 
Attention, j ai pas si plus belle, mais plus subtile et enigmatique    
 
Mais c est clair que PJ lui a mis un gros pif je trouve  

Ce n'est pas le sien   ?

 
c'est bien moins prise de tête en tout cas.

ha oué ...

Dans le genre critique "facile" y'a aussi tout un tas de plans filmés différemment ou retirés, dans FOTR, la bataille ou Boromir meurt, en version courte ca ressemble tres fort à une escarmouche sans grande empleur je trouve, en VL, les plans ajoutés (qui doivent durer pas bien longtemps à mon avis) rendent tout de suite la bataille plus épique et puissante..c'est mon sentiment..

Sur le superbe supertrailer de 6min sur la trilogie (qu'on trouve aussi le DVD bonus de la soundtrack de ROTK), y'a un plan qui m'est inconnu à 00:23s:
 

 
Il est censé être dans FOTR... j'ai perdu la mémoire ou il y est vraiment pas ?

 
Remercions le tous en coeur
(c'est d'ailleurs en réponse de la fameuse "critique" )

non ce plan n'est dans aucun film ,je l'ai trouvé très joli. ptet pour le super vl

ce kloczko me dégoutte ...  

Mais il est totalement débile ce type, c'est pas possible.
PJ en tant que grand fan de LoTR (il l'est, il suffit de regarder les bonus des 2 VL pour le comprendre) n'aurait jamais entendu parlé de ces 2 types ?!
Et ce n'est pas Peter Jackson himself qui a contacté Howe et Lee ? Ah bon, c'est pourtant pas ce qu'il dit dans les bonus de la VL de FoTR.
 
Enfin bref... "ce" Edouard m'a l'air d'être un bon gros connard comme on en fait plus. Il est d'ailleurs entourré de gens de son espèce sur le forum JRRVF (pas tous heureusement, mais leurs discutions sont parfois d'un ridicule...)

  I totally agree with you!

 
     
 
(Télé 7 Jour)

 
Comme je l'ai répondu sur le forum d'où tu tiens l'image ( ), il doit s'agir à mon avis de Bilbo    
 
 
PS : mon voisin vient de me prêter les 2 VL    

C'est trop balot ca... Lever le bras pour arreter une troupe est un geste naturel tout simplement pasque c'ets un signal visible par tous (alors que baisser le bras non)...
Ensuite le poing levé ca colle mieux pour un ourouk hai qui tient plus de la brute épaisse que d'une danseuse étoile...
Ce mec est parano comme pas permis...

Bon j'ai craqué, j'ai commandé le Dico sur les languages Hobbits, Orcs et compagnie

 
g pas eu de dvd bonux moi ds le coffret des 3cd BO      

Et hop, je suis allé voir le film. Je suis emballé évidemment.  
 
 
Le dvd sort quand en version longue?

Pour le DVD, c'est pas dans le coffret des 3 B.O mais dans l'édition spéciale de la B.O de RoTK.
 
Pour la sortie en DVD, on parle de Mars 2004 aux USA mais seulement Juin en France à cause du délais de 6 mois avec la sortie en salle.
Pour la VL, on ne sait pas trop, sûrement Novembre, comme les autres.