To truly appreciate a work of art, one must also recognize its imperfections. Peter Jackson’s adaptation of The Lord of the Rings is iconic, yet it has its flaws. Embracing these shortcomings allows us to consider that recent adaptations of Tolkien’s Middle-earth, including Prime Video’s The Rings of Power and Kenji Kamiyama’s upcoming anime film The War of the Rohirrim, may actually excel in certain areas where the original trilogy falls short.
For instance, did you know that Peter Jackson’s trilogy doesn’t fully pass the Bechdel Test? While it technically meets the criteria under a narrow interpretation, this occurs through a mere technicality in a scene involving Rohan, raising questions about its true representation. In contrast, The War of the Rohirrim addresses this concern effectively, passing the test with impressive scenes that highlight female interactions amidst the narrative’s epic backdrop. The Riders of Rohan indeed contribute significantly to this cinematic evolution.
Understanding the Bechdel Test
The Bechdel Test serves as an informal benchmark for evaluating the depiction of women in various forms of media, including film and literature. To pass this test, a work must satisfy three simple criteria: it must feature at least two named female characters, these characters should engage in a dialogue with each other, and their conversation must revolve around topics other than men.
You might be surprised to learn that even many critically acclaimed films released recently struggle to meet these standards. Often, films that showcase a strong female lead do so at the expense of including multiple women, resulting in tokenistic representation rather than genuine depth.
The Bechdel Test and The Lord of the Rings Trilogy
The narratives crafted by J.R.R. Tolkien include a variety of compelling female characters whose stories are deserving of exploration. Notable figures like Númenor’s Queen Míriel in The Rings of Power provide glimpses into this potential, yet the core stories predominantly focus on male realms, leaving minimal interaction between female characters. For example, while Galadriel is Arwen’s grandmother, their relationship exists merely in the background due to Tolkien’s original writings lacking direct interactions between them.
Despite Peter Jackson’s efforts to enhance Arwen’s role significantly, the trilogy still falls short in this regard. The passing of the Bechdel Test is thus achieved in a rather tenuous manner during a scene in The Two Towers. In this moment, Éowyn is seen comforting a young girl, Freda, who narrowly escapes an orc attack, with their interaction faintly establishing a connection between them. Unfortunately, Morwen, their mother, does not actually speak in the film, resulting in a somewhat inadequate application of the test.
How The War of the Rohirrim Successfully Passes the Bechdel Test
From the moment its first trailer premiered, it was clear that The War of the Rohirrim centers around a female protagonist. Helm Hammerhand’s daughter, Héra, voiced by Gaia Wise, emerges as a pivotal character, leading her people to safety during a civil war precipitated by a broken marriage proposal. Her journey exemplifies the valor and tenacity emblematic of a Rohan shieldmaiden.
While it would have been simple for Héra to be characterized as the singular female presence in the tale, this would have rendered the film incapable of passing the Bechdel Test. Fortunately, the narrative evolves to include multiple female characters who play significant roles in Héra’s fight against Wulf, the Dunlendings’ fierce leader.
Among these female figures is Olwyn, portrayed by Lorraine Ashbourne, a warrior who has helped raise Héra since the loss of her mother. Olwyn embodies the qualities of a skilled strategist and warrior, reflecting the bravery of women in the lore of Rohan. Additionally, another character, Old Pennicruik, introduces a whimsical yet significant presence that adds depth to the female narrative.
In a touching moment, the film illustrates unity among these characters as they form a strength circle before battle, embodying the spirit of the shieldmaidens of Rohan. This pivotal moment not only signifies empowerment but also showcases the richness of female representation within the Rohan narrative. Thus, it is fitting that Miranda Otto’s Éowyn, whose own heroic legacy was inspired by such stories, serves as the perfect narrator for this film.
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