The Lord of the Rings
Lord of the Rings definitely belongs to the genre of fantasy movies with the soft touch of an action movie and a big portion of an adventure one. This cinematographic piece is very serious with a difficult impending doom feeling. Turning The Lord of the Rings into a light-hearted parody or an absurd spoof is the only thing any optimist would do with it. The choice like this may seem a childish way of treating such an outstanding piece of work. But it is hard to disagree with these words:
“Though the fundamental goal of parody is to be funny (something that should never be lost on the scholar), this genre is also an educational tool. This might be best defined as “creative criticism” (Gehring 3).
Genre conventions of the comedy are very specific. The setting is different depending on the type of the comedy (there are three parts so the types may interchange). These could be highly populated modern cities or some horrible lands for the dashing contrast to the spoof. Mostly, in the beginning of the scene the camera goes from above to show the environment and the spectacular view. In other cases the camera moves naturally with random close-ups (so everybody can notice something funny during awkward situations). Nothing can absolutely ruin a comedy faster than the slow pace. The pace of the comedy is nothing compared to drama or horror. It allows slow motion only while the character is falling down, having slipped on a banana peel. This genre should bring good mood and a good laugh. Comedy must mock and criticize at the same time.
Most of the techniques of any comedy appear in creating a particular type of irony, paradox, or ambiguity, hyperbole, etc. Hyperbole use is the easiest way to make a person smile. Every character has specific features and is recognized for these. For example, hobbits are already short but could be made super small through editing. Normal height characters could see them only through the magnifying glass. Double entendre usage in the intercourse gets people thinking. There are some of the ambiguous phrases in the book already; we only have to emphasize them so they are obvious for every viewer. The scriptwriter may play his cards right by choosing the phrase “I did not know you rode bare-back, Gandalf”. So-called “Monocle” technic is traditional. After Arwen tells her father about her decision to stay with Aragorn the facial expression of the troubled parent is exaggerated with the “monocle” falling down. The role of the monocle could be acted by the famous agent Smith’s sunglasses (reference to the previous acting experience of Hugo Wallace Weaving). Taboo became a mass-culture after the series of American Pies. In the scene with Orlando Bloom looking intensely into the far darkness a taboo joke is conducted in the following way. Mise-en-scene: the wall of the fortress, mountain range in far distance, night, full Moon. We can hear the sound of the water pouring. As the camera moves closer from aback to Orlando Bloom (aka Legolas) we understand that he is urinating down the wall. Aragorn enters the scene and asks if he could join. They talk at slow pace about the future without stopping doing their private business. Battle scenes are numerous and they are depressing at times. Making at least one orc perish because of the piano fall will change that. Some physical abilities of the characters can be changed in order to preserve the comedy genre.
Iconography of the comedy should bring cheer and joy. Dim and dark color will be substituted with bright and light ones. Blue, yellow and red colors are nourishing everything with a positive energy. A lot of green and white will shake off the sleepy influence of the forest where elves live and give the viewer a fresh and positive impression. More daytime shots that nighttime will come with the change of the genre to make the movie more facile. Natural lightning during the scenes with the battles and pursuit must prevail. Hobbits are far more comedian running, falling and getting up again to run not in the moonlit marshes, but in the flowery meadows. The torches and fires excluded.
Narrative structure is good enough because it is developed in the book and in the movie. We preserve it as the following:
“The standard pattern that shapes narrative films is the three-act structure. Act One introduces characters, goals, and conflicts and ends with a first turning point, which causes a shift to Act Two. A turning point, which may be signaled through dialogue, setting, or other visual or sound techniques, represents a moment when an important change hs occurred that effects a character or situation. Generally, at this point the main character (he protagonist) modifies the methods by which he plans to attain his goals, or changes those goals altogether. Act Three resolves the conflicts” (Pramaggiore and Wallis 38-39).
To add humor the original voice tracks should be spiced up with funny sounds like in the cartoons. For example, the sound of the shooting arrow can be substituted with the sound of the shooting gun or a chopper. Funny songs will substitute the epic music themes. Lady Gaga’s “Show me your teeth” will go as sound backing during the scene with the creation of the new kind of orcs. This beat will distract the viewer from the scary sense of the scene. Rammstein songs for the scenes were the main protagonists appear.
Acting styles of the comedy. Extremely awkward or stupid people are mostly very funny. Chaplin proved that to the whole world. The actors may also try acting too seriously so it becomes ridiculous. It is like a situation when you are offered a piece of pizza and you say that you may need a day or two to consider a serious decision like that.