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THE RING AND THE RINGS.

The New Yorker

| December 22, 2003 | Ross, Alex | COPYRIGHT 2003 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Early in "The Fellowship of the Ring," the first film in Peter Jackson's monumental "Lord of the Rings" trilogy, the wizard Gandalf finds himself alone in a room with the trinket that could end the world. It lies gleaming on the floor, and Gandalf regards it with an attitude of fascinated fear. The audience feels a chill that neither Jackson's vertiginous camera angles nor Ian McKellen's arching eyebrows can fully explain. The Ring of Power extends its grip through the medium of music, which is the work of the gifted film composer Howard Shore. In the preceding scenes, an overview of the habits of hobbits, Shore's music had an English-pastoral, dance-around-the-Maypole ...

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