The concept of discovering films that exemplify or demonstrate the Gorean philosophy has much going for it. They're a great way to start off a discussion, especially with those unfamiliar with John Norman's books. Issues of male and female roles, relationships between men and women, relationships between men and men; concepts like honor and integrity, Home Stones, Codes and caste; and the historical influences and foundations of Gorean culture are more easily broached when presented through the abstract and remove of film.

The reason for this is simple, but most people are unaware of the process. Film, like literature, relies on a psychological idea called "suspension of disbelief". As we enter into a story we mentally accept it's underlying premises. Animals are allowed to talk, magic works, inanimate objects are sentient, future technology is taken for granted. We are mentally transported "to a galaxy far, far away", to the distant past, to "once upon a time", or into a fantasy world where the logic and rules of our own existence are suspended.

Films primarily about warfare, slavery, bdsm or whose primary focus is on bevies of scantily clad females are NOT what we're looking for. For a film to be considered and reviewed, it must tie in somehow to ideas relevant to modern Gorean lifestylers. They are meant to be excellent jumping off points for serious discussion; they might be used as part of training a girl; and they're all meant to be rousing good entertainment. Both current films and those readily available through video and DVD, and occasionally a film frequently shown on late night television, may make an appearance. Comedies, dramas, mysteries, science fictions, westerns, historical costume epics - even musicals - are all fair game.

Your suggestions on films are very welcome, as well as your contributions of reviews themselves. Suggestions on films to be reviewed can be sent to Arthur       gorean_voice@hotmail.com

The following link to the archives, , will have a list of films reviewed and many suggestions from members of the on-line Gorean community.

If you don't like the choices of films reviewed here, send in a suggestion or review yourself.     gorean_voice@hotmail.com

Like Leonard Maltin, Roger Ebert, and your local newspaper, the opinions of the writer are strictly subjective. Enjoy!

The Lord of the Rings: The Fellowship of the Ring     In theaters now.

5 bosk heads out of five.     

Director - Peter Jackson
Screenplay - Fran Walsh, Philippa Boyens, and Peter Jackson, based on the book by J.R.R. Tolkien.

Starring: Sean Astin, Sean Bean, Cate Blanchett, Orlando Bloom, Billy Boyd, Marton Csokas, Ian Holm, Christopher Lee, Ian McKellen, Dominic Monaghan, Viggo Mortensen, John Rhys-Davies, Andy Serkis, Liv Tyler, Hugo Weaving, and Elijah Wood.

Part of an interview with Sean Astin, who plays Sam Gamgee -

"I can't think of a more appropriate series than LOTR to speak to the issues of the day. It's about little vulnerable creatures whose way of life is under siege, and I think all human beings on this planet are facing this kind of test, and so to be able to hearken back to an ideal age where there's clean air and good tilled earth and people laughing and singing and rallying together to preserve the sanctity of that kind of life has a real place in popular culture and a real place in the world. As the globe is preparing for a war that's being billed by our leaders as this epic fight of good against evil, I for one am grateful and honored and so proud of the fact that we made these movies in what, for me, is the nick of time."

Let me begin by saying that I walked out of the theater totally enthralled with Jackson's vision of Tolkien's beloved fantasy. The acting, costumes, sets, special effects, camera work, and sheer scale is amazing. Faithful to the greatest fantasy tale ever written, I truly believe this is destined to become a classic and a benchmark. Sean Astin's quote, above, goes far to explain why this story has always been so beloved, as well as why it may have a special resonance today. Like most great literature, Tolkien's tale is more than a story; it's a vast morality play, using archetypes and mythic characters, that speaks to deep parts of the human psyche. Peter Jackson has brought amazing skill to telling this story. While I can't wait to see the DVD with a director's cut, out takes and such, for now I can't find a single fault to criticize. While a few cuts from the original story are needed to bring the film in at 2 1/2 hours (Fatty Boulger is eliminated, along with Farmer Maggot, and there are some changes and characters left out in Bree), Jackson has been true to Tolkien's plot and intent.

As in Tolkien's book, the Hobbits are portrayed as fun loving Peasants with a love for the good things in life. Yet, they possess a depth of character and inner strength that continually amazes the elves, humans and dwarves they encounter. Accustomed to six or seven meals a day, sleeping in soft beds, preoccupied with creature comforts - once deprived of all these things they demonstrate that they don't really need them. The miner dwarf Gimli is plain spoken and straightforward. Gandalf and the elves - Legolas, Elron, Galadriel, and others - are wizards, haughty diplomats, woodsmen and fine craftsmen. The humans Aragorn and Boromir are warriors, portrayed with a depth of emotion and little artifice - while Aragorn is capable of playing his cards close to his chest, both men allow their emotions to show freely. Like Hamlet and Othello, the character of Boromir, who succumbs to evil impulses but later redeems himself, may become a cultural shorthand for the concepts of human frailty, jealousy and repentance.

The single largest criticism I've seen from others is in regard to the female elf character Arwen. In the book she has only a small part to play, as the love interest of Aragorn. In this film she makes an early and important appearance, defending Frodo at the Ford of Rivendale against the Black Riders. While the book battle at the ford is a major step in Frodo's development, a deeper objection is the creation, or re-creation, of a character Tolkien never intended. Some reviewers seem to feel that Jackson has made Arwen into a female warrior. The only other major female character is Galadriel, queen of the Elves, who is shown in all the beauty and terrible majesty Tolkien described. Galadriel has only a minimal part to play once the Fellowship leaves Lothlorien, so the director's desire to bring depth to another female is certainly understandable. Having a strong female character is of course also sound marketing, attracting more of an audience.

I don't agree that Arwen is being made into a female warrior, rather I think she provides the viewer a way to understand the depth of Aragorn and why he fights and struggles, as well as giving a smoothness to the story Tolkien may have lacked. She finds and tells Aragorn that she has been searching for the group two days - originally a part meant for Legolas, who makes a later appearance. Since Frodo is close to death, Arwen reminds Aragorn her's is the faster horse, and he allows her to carry the Ring Bearer to Rivendale; of course Arwen must protect Frodo along the way. While she is armed and does threaten the Black Riders, servants of the enemy, she uses means other than a sword to protect her charge. Arwen then is a strong woman, willing to risk herself for the greater good; but she doesn't engage in swordplay or use the conventional weapons of a warrior; and carrying a sword does not a warrior make. She is an elf and a strong Free Woman, comfortable with riding and being alone in the wilderness - if she were unarmed it would be more strange. Once back in Rivendale she adopts feminine dress, and offers her heart to Aragorn. Some of the Rivendale scenes are suggested in Tolkien's writing, but never shown; showing them in the film gives more depth to the characters involved, and a deft economy in character development is the sign of a good director and screenplay.

Tolkien did have the female warrior character of Theoden's niece, who will no doubt appear in the coming films, and he painted her in a positive light - he describes the Riders of Rohan as having a tradition of shield maidens. Some ancient cultures, such as the Norse and Celtic, did have a few female warriors. They were always portrayed as exceptional women, more than the equal of any run-of-the-mill swordsman. This type of portrayal actually enhances the domestic role of women. For a woman to be a fighting warrior, she must be exceptionally good at it; otherwise she remains in her more usual roles. This idea also allowed the more typical Norse or Celtic farm wife to take up arms in times of emergency, to defend home and family, without breaking some taboo against bearing arms. Many other cultures have a concept of gender cross roles, with the idea being that they are often the best hunter, healer, weaver, warrior, etc.

The government of New Zealand is using the film as publicity for tourism, and justifiably so; the landscape is a major character. Rivendale, Lothlorien, Isengard, and Minas Tirith are perfectly realized on a massive scale. A real volcano is Mount Doom, the Shire is real sheep and farm country, the forests and mountains are as real and as mythical as Tolkien described them. This is also the very first time ever that three films have been shot simultaneously, with the sequels scheduled to be brought out in December 2002 and 2003.

Since this is a tale about war and struggle, warrior characters are frequent. But, this war is not between two countries or alliances of countries, where both sides are mixes of good and bad. It is an ultimate battle between Good and Evil. The heroes of this tale, as they must be and as every reader of Tolkien knows, are not the warriors. Merry and Pippin are adolescents that have yet to settle down, more interested in beer and a good dinner than anything else - along with first and second breakfast, elevenses, lunch, tea and supper. Frodo is a peasant farmer, Sam his gardener. At the end of the story it is the good and honest common folk that save Middle Earth, while the warriors deal with the servants of Evil. A massive struggle of epic proportions that involves the breeding of evil creatures, armies, magic rings and crystal balls, wizardry, and demons - is decided by the hearts of humble Hobbits, who just want to go home and have a peaceful life. This war of Good and Evil, the War of the Rings, is fought in the heart of Frodo Baggins, our Everyman; just as it is fought every day, in our own mundane world.