by Chiara Spagnoli Gabardi

‘The Hobbit: The Desolation of Smaug’ is the second instalment of a three-part film series based on J. R. R. Tolkien’s 1937 novel ‘The Hobbit,’ beginning with ‘An Unexpected Journey’ in 2012 and set to conclude with ‘There and Back Again’ in 2014.

The epic fantasy adventure is co-written, produced and directed by Peter Jackson, who had previously directed the three films that act as prequel to his movie adaptation of ‘The Lord of the Rings’ trilogy. In this film, Bilbo along with Gandalf, Thorin Oakenshield and his twelve companions, will face many challenges as they continue travelling east, to the edge of the forest of Mirkwood. On their voyage, they will encounter the skin-changer Beorn, giant spiders, Wood-elves and will finally meet the master of the Lake-town and Bard, a bowman who is the descendant of the original Lord of Dale. The company will eventually climb up to the Lonely Mountain and find the hidden door that leads to the dragon Smaug, keeper of the Arkenstone.

So far the plot seems like a continuous saunter of videogameatic adventures, devoid of feeling, pathos and character layering. Undoubtably all the focus to this junction flick, that stands between the opening and closing of ‘The Hobbit’ trilogy, is on the digital effects. The cartoonishly sped-up 48-frames-per-second rate leaps from one adventure to the next with little breath to spare for anything but the occasional gag. The special effects prevail so much, along with the make-up art that the actors completely lose any trace of empathic flair.

All you have to do is sit back and accept the mildly diverting, often seemingly purposeless noisy and kinetic action.

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