The Lord of the Rings: The Two Towers

When Alan Lee joined the project in late 1997, Helm's Deep was the first structure he was tasked to design. At 1:35 scale, it was one of the first miniatures built for the film, and was part of the 45-minute video that sold the project to New Line. It was primarily drawn from an illustration Lee had once done for the book, though the curved wall featured in the film was proposed by fellow illustrator and designer John Howe. Used in the film for wide shots, Jackson also used this miniature to plan the battle, using 40,000 toy soldiers.[20]

Helm's Deep, a pivotal part of the film's narrative, was built at Dry Creek Quarry with its gate, a ramp, and a wall, which included a removable section as well as the tower on a second level. A 1:4-scale miniature of Helm's Deep that ran 50 feet (15 m) wide was used for forced perspective shots,[21] as well as the major explosion sequence.[20]

The film explores the armies of Middle-earth. John Howe was the basic designer of the evil forces of Middle Earth, with the Uruk-hai being the first army approved by Jackson. Howe also designed a special crossbow for the Uruk-Hai characters, which was significant because it did not require external tools to rearm. This design was the realization of a 16th-century manuscript. Also created were 100 Elven suits of armour, for which emphasis was placed on Autumnal colours due to the theme of Elves leaving Middle-earth. Two hundred and fifty suits were also made for the Rohirrim. The designs for Rohan were based on Germanic and Anglo-Saxon patterns, with most of the weapons designed by John Howe and forged by Peter Lyon. Each sword took 3 to 6 days to make.[22]

The exterior of the Rohirrim's capital of Edoras, including its thatched roofs, took six months to build on Mount Sunday. The interior of the buildings doubled as offices and lunch halls. The interior of the Hall of Edoras was filmed at Stone Street Studios with tapestries designed by Lee, and Théoden's wooden throne was partly created by his daughter.[21] Hill endured heavy make-up for the possession scene where his skin was pulled back and released for increased wrinkles. Dourif shaved off his eyebrows and put potato flakes as dandruff in his hair for unnerving effect.

Through Frodo and Sam's story, the film also provides a look at Mordor and Gondor. Barad-dûr is fully seen in a tracking shot, a design which Howe called a mockery of Gothic Cathedrals. He and Lee created the Black Gate (though a typo in the script made the miniature into two[20]) and Osgiliath, a ruined city reflecting London during the Blitz or Berlin in 1945.[23] The set on a backlot was based around a bridge and reused some of Moria.[21]

The hill known as Mount Sunday, in Canterbury Region, provided the location for Edoras

The Two Towers shared principal photography with The Fellowship of the Ring and The Return of the King. The trilogy was filmed between 11 October 1999 and 22 December 2000. The scenes which take place in Rohan were shot earlier in the production, during which time Viggo Mortensen, Orlando Bloom and John Rhys-Davies' stunt double Brett Beattie sustained many injuries. Mortensen broke two toes when he kicked an Orc helmet while filming the scene in which he, Legolas, and Gimli find the remains of the Uruk-hai and believing Merry and Pippin to be dead (a shot which is included in the film). Furthermore, during filming Bloom fell off his horse and cracked three ribs, and Beattie dislocated his knee. These injuries led to the actors suffering two days of pain during the running sequence in the first act of the film, leading Jackson to jokingly refer to them as "The Walking Wounded."[23]

The filming of the Battle of Helm's Deep took approximately three months, with most of the nighttime shots handled by John Mahaffie. Some injuries were sustained during the filming of the sequence, including Mortensen chipping his tooth, and Bernard Hill's ear getting slashed.[23] The sequence also features 500 extras, who insulted each other in Māori,[24] and improvised scenes such as the Uruk-hai stamping their spears before the beginning of the battle.[23] However, there was alleged annoyance among the film's crew for the strength of the gates, which were claimed to be too reinforced during the Battering Ram scene.[21] Mortensen greatly respected the stunt team, and head butted them often as a sign of that respect.[24]

Wood and Astin were joined by Serkis on 13 April 2000.[25]

As with The Fellowship of the Ring, Jim Rygiel served as the visual effects supervisor for The Two Towers, while newcomer Joe Letteri joined the visual effects team to supervise Andy Serkis's motion capture performance in the creation of the character Gollum. During the production of The Two Towers Weta Digital doubled their staff[26] of 260.[27] In total, they would produce 73 minutes of digital effects with 799 shots.[26] The film would feature their first challenge in creating a battle scene, as well as creating two digital characters who needed to act rather than be a set piece, unlike the previous film's Cave Troll and Balrog.[22]

Gollum

Gollum eating a fish

Weta began animating Gollum in late 1998 to convince New Line they could achieve the effect. Andy Serkis "played" Gollum by providing his voice and movements on set, as well as performing within the motion capture suit later on. His scenes were filmed twice, with and without him. Originally, Gollum was set to solely be a CGI character, but Jackson was so impressed by Serkis' audition tape that they used him on set as well.

Gollum's CGI model was also redesigned during 2001 when Serkis was cast as Sméagol, Gollum's former self, so as to give the impression Andy Serkis as Sméagol transforms into the CGI Gollum. The original model can still be glimpsed briefly in the first film. Over Christmas 2001, the crew proceeded to reanimate all the previous shots accordingly within two months. Another problem was that the crew realized that the cast performed better in the takes which physically included Serkis. In the end, the CGI Gollum was rotoscoped and animated on top of these scenes.

Serkis' motion capture was generally used to animate Gollum's body, except for some difficult shots such as him crawling upside down. Gollum's face was animated manually, often using recordings of Serkis as a guide. Gino Acevedo supervised realistic skin tones, which took four hours per frame to render.[28]

While the novel alludes to a division within his mind, the film depicts him as having a split personality. The two personas—the childlike Sméagol and the evil Gollum—are established during a scene in which they argue over remaining loyal to Frodo. The two personalities talk to each other, as established by contrasting camera angles and by Serkis altering his voice and physicality for each persona.

Treebeard

Treebeard took between 28 and 48 hours per frame to render.[26] For scenes where he interacts with Merry and Pippin, a 14-foot-tall puppet was built on a wheel. Weta took urethane moulds of tree bark and applied them to the sculpt of Treebeard to create his wooden skin. Dominic Monaghan and Billy Boyd sat on bicycle seats concealed into Treebeard's hands to avoid discomfort and were left alone on set sitting in the puppet's hands during breaks. The puppet was shot against bluescreen.[22]

The musical score for The Two Towers was composed, orchestrated, and conducted by Howard Shore, who also composed the music for the other two films in the series. While the scores for its predecessor and sequel won the Academy Award for Best Score, the soundtrack for The Two Towers was not nominated. Initially there was confusion over the score's eligibility due to a new rule applying to sequels, but the academy did declare it eligible.[29]

The score features The London Philharmonic Orchestra, London Voices, The London Oratory School Schola and several vocal and instrumental soloists, including soprano Isabel Bayrakdarian, and Irish fiddler and violinist Dermot Crehan, who also performed on the Hardanger fiddle, which is used in this film in conjunction with the various Rohan themes.

The funeral song Éowyn sings during her cousin Théodred's entombment in the extended edition is styled to be a traditional song of the Rohirrim, and has lyrics in their language, Rohirric (represented by Old English). The song does not appear in the book, and the tune is a variation upon a theme of the rímur Icelandic folk tradition; it can be heard as part of track 7 in the 1999 recording of a musical version of the Edda by Sequentia.[30]

The soundtrack was recorded at Abbey Road Studios. The soundtrack has a picture of Peter Jackson (barefoot), the composer, and two producers crossing Abbey Road, referencing The Beatles' album of the same name.

The teaser trailer premiered in theaters on 3 July 2002 with the release of Men in Black II.[31] The theatrical trailer was then released theatrically on 4 October 2002 with the debut of Red Dragon.[32]

The Two Towers was released on VHS and DVD on 26 August 2003 in the United States. The date was originally intended to be a simultaneous worldwide release, but due to a bank holiday weekend in the United Kingdom, some British outlets began selling DVDs as much as four days earlier, much to the ire of the UK distributor, Entertainment in Video, which had threatened to withhold advance supplies of subsequent DVD releases.[33] During its first five days of release, the DVD release sold over 3.5 million units. The film also generated $22.8 million in rentals, breaking The Bourne Identity's record for having the biggest rentals of any DVD release.[34] By December 2003, it was reported that The Two Towers sold 16.4 million copies and earned $305.4 million in sales revenue, becoming the second-highest selling home video release of 2003, after Finding Nemo.[35]

As with Fellowship, an extended edition of Two Towers was released on VHS and DVD on 18 November 2003 with 45 minutes of new material, added special effects and music, plus 11 minutes of fan-club credits. The runtime expanded to 235 minutes.[36][37] The 4-disc DVD set included four commentaries along with hours of supplementary material.

In August 2006, a limited edition was released on DVD, and included both theatrical and extended editions on a double-sided disc along with all-new bonus material.

The theatrical Blu-ray version of The Lord of the Rings was released in the United States in April 2010.[38] The individual disc of Two Towers was released in September 2010 with the same special features as the complete trilogy release, minus digital copy.[39]

The extended Blu-ray editions were released in the US and Canada in June 2011.[40]

Two Towers was released in Ultra HD Blu-ray on 30 November 2020 in the United Kingdom and on 1 December 2020 in the United States, along with the other installments, including both theatrical and extended cuts.[41]

The Two Towers opened in theaters on 18 December 2002. During its opening day, the film grossed $26 million, making it the second-highest opening Wednesday, behind Star Wars: Episode I – The Phantom Menace.[42] It earned $62,007,528 in its opening weekend in the US and Canada, becoming the fifth-highest opening weekend of that year, behind Austin Powers in Goldmember, Star Wars: Episode II – Attack of the Clones, Harry Potter and the Chamber of Secrets and Spider-Man.[43] The film then made $101.5 million during its five-day Wednesday opening.[44]

Outside the US and Canada, The Two Towers made $99.4 million from 25 territories during its opening weekend, which made it the highest international opening weekend.[45] The combined total opening weekend gross increased to $189.9 million, making it the highest worldwide opening weekend of all time. The film would hold both records until 2003 when they were given to The Matrix Reloaded and its successor The Matrix Revolutions respectively.[46][47] The Two Towers set opening day records in Germany, Austria, Finland, the Netherlands, Switzerland, Belgium, Sweden and Norway, as well as a single-day record in Denmark. It then made opening weekend records in the United Kingdom, Spain, France, Mexico, Norway, Switzerland, Denmark, Germany and South Korea.[48]

The film went on to gross $339,789,881 in North America and $596,899,854 internationally for a worldwide total of $936,689,735 against a budget of $94 million.[3] The Two Towers was the highest-grossing film of 2002 worldwide.[49] Box Office Mojo estimates over 57 million sold tickets in the US in its initial theatrical run.[50]

Through re-releases in 2003, 2011, 2017, 2019, 2020 and 2021, the film has grossed an additional $2,761,484 in the United States and Canada, and $8,043,876 overseas for a combined total of $10,805,360. This brings overall earnings to $342,551,365 domestic and $604,943,730 international for a worldwide total of $947,495,095.[51]

On review aggregator Rotten Tomatoes, The Two Towers holds an approval rating of 95% based on 255 reviews, with an average rating of 8.50/10. The website's critics consensus reads, "The Two Towers balances spectacular action with emotional storytelling, leaving audiences both wholly satisfied and eager for the final chapter."[52] Metacritic, which uses a weighted average, has assigned the film a score of 87 out of 100 based on 39 reviews, indicating "universal acclaim".[53] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, a grade up from the "A−" earned by the previous film.[54]

Like its predecessor, The Two Towers was released to universal critical acclaim. Roger Ebert of the Chicago Sun-Times gave the film three stars out of four, describing it as "one of the most spectacular swashbucklers ever made", and stating "It is not faithful to the spirit of Tolkien and misplaces much of the charm and whimsy of the books, but it stands on its own as a visionary thriller".[55] Nev Pierce for the BBC gave the film four stars out of five, and wrote that while it lacked "the first film's wow-factor", it surpassed The Fellowship of the Ring "in terms of wit, action and narrative drive". Pierce described Gollum as "the first believable CG character" and the Battle of Helm's Deep as "one of the finest, most expansive combat sequences ever filmed".[56] Writing for The Observer, Philip French described The Two Towers as a "stunning visual epic". French commended the battle scenes and the visual style of the film, relating it to the paintings of "Caspar David Friedrich, the Pre-Raphaelites, Art Nouveau illustrations for children's books, and the apocalyptic biblical landscapes ... of the Victorian visionary John Martin". He concluded the review looking forward to the release of the final chapter, writing "This is likely to be happier, more decisive and infinitely more satisfying than anything that will happen to our world in the next 12 months."[57] Joe Morgenstern for The Wall Street Journal lauded the narrative construction of The Two Towers: "Elaborate preparations are required for the payoff in this installment -- the massing of troops plus much individual struggle as splintered groups of the Fellowship make their separate ways toward the defining battle of Helm's Deep ... Yet these preparations count as payoffs too ... Seldom has a popular entertainment set its stage so carefully or evocatively, with such lavish respect for its audience." Morgenstern also highlighted the digital effects and the battle scenes, and said of the series "The Lord of the Rings continues to stake its singular claim on movie history; it's a gift of epic proportions."[58] In his review for the Evening Standard, Alexander Walker wrote that the Battle of Helm's Deep was "probably the greatest battlepiece composed for the screen since Eisenstein's Ivan the Terrible", and that with The Two Towers the trilogy had achieved "a majestic proportion, chivalric and quixotic, earthly and magical, an experience that reaches beyond the dimensions of the cinema screen and somehow reflects the global unease of the world in the first years of the 21st century".[59]

In his review for Newsweek, David Ansen commended Jackson's direction of the battle scenes, writing "Few people can stage a battle -- and the eyepopping siege of Helms Deep is one of the most spectacular you'll ever see -- with such sweep and clarity that the carnage doesn't seem an oppressive end in itself". Ansen also praised the complexity of the character of Gollum, commenting "While everyone else in Tolkien's myth falls neatly into the camps of Good and Evil, the self-lacerating Gollum is at war with himself. In an epic drenched in medievalism, he's the dangerously ambiguous voice of the modern."[60] Caroline Westbrook, for Empire, gave the film five stars out of five, and wrote "It may lack the first-view-thrill and natural dramatic shape of Fellowship, but this is both funnier and darker than the first film, and certainly more action-packed. An essential component of what is now destined to be among the best film franchises of all time." Westbrook lauded Jackson's ability to temper the spectacular scenes "with some heartstring-tugging moments - peasants despondent as they are forced to abandon their villages, Aragorn and Arwen's troubled relationship, and, of course, the return of Gandalf (Sir Ian McKellen, superb as ever), one of the film's most powerful, memorable images that may well leave Ring devotees a little misty-eyed."[61] A less enthusiastic review was written in The Guardian by Peter Bradshaw, who had already written a mixed review of The Fellowship of the Ring.[62] Bradshaw gave The Two Towers three stars out of five, appreciating it as "a very watchable, distinctive, if over-extended FX spectacle". However, he commented that the film could not be taken as "a serious evocation of good and evil", and dismissed the subject as "lots and lots of interminable nerdish nonsense".[63]

The Battle of Helm's Deep has been named by CNN as one of the greatest screen battles of all time,[64] while Gollum was named as the third favourite computer-generated film character by Entertainment Weekly in 2007.[65]

• Academy Awards[66]
  • Winner: Best Visual Effects (Jim Rygiel, Joe Letteri, Randall William Cook and Alex Funke) and Best Sound Editing (Ethan Van der Ryn and Michael Hopkins).
  • Nominee: Best Picture (Fran Walsh, Philippa Boyens, Stephen Sinclair and Peter Jackson, producers), Best Art Direction (Art Direction: Grant Major; Set Decoration: Dan Hennah and Alan Lee), Best Film Editing (Michael J. Horton) and Best Sound (Christopher Boyes, Michael Semanick, Michael Hedges and Hammond Peek).
• British Academy Film Awards: Best Costume Design, Best Special Visual Effects, Orange Film of the Year (voted on by the public)
• Empire Awards: Best Picture
• Grammy Awards: Best Score (Howard Shore)
• Hugo Awards (World Science Fiction Society): Best Dramatic Presentation — Long Form
• 2003 MTV Movie Awards: Best virtual performance (Gollum)
• Saturn Awards: Best Fantasy Film, Best Costume (Ngila Dickson), Best Supporting Actor (Andy Serkis)

• AFI's 100 Years...100 Movie Quotes:
  • "My precious." – #85