By midlandsmovies, Jul 27 2018 07:24AM
The Return of the Ring (2018)
Directed and written by AR Ugas
“Enough teaching about our history. It’s time to fight for our future”.
High fantasy and enduring myth reach the Midlands in a brand new 22-minute short from AR Ugas who brings Tolkien’s tales and epic themes into a contemporary setting with his new film The Return of the Ring.
Described as a fan-film with a title that could elicit groans, don’t let that fool you as the short shouldn’t be dismissed as an amateur production but one which condenses the novel’s rich themes and ideas into a uniquely local idea.
The story follows a young female Elf (Rhi Hardman as Illyandra) who sets out to reclaim the ring after it is told that it was never originally destroyed. This was followed by The Race of Man eradicating Middle-earth which ensured any trace of its history was to become a fairy tale.
Opening with a foot chase involving a mysterious hooded-man in black, the film wears its love of not just the novel but of Peter Jackson’s infamous trilogy on its sleeve. Illyandra escapes from this Nazgûl – the immortal beings bound to the power of the One Ring – and director Ugas, who also writes, scatters some archaic Tolkien language to his script too.
The ring ends up with a barman (Sam Malley as John) and Illyandra makes contact with him at a nightclub. And despite using “orc magic” to get her hand on the powerful item, the Ring Wraith is soon back on their tail. The film balances its extreme fantasy ideas with a suburban realism and the use of potions and pointy ears is subtly ingrained in the film’s modern narrative.
Technically the short suitably aims for the epic with drone shots over the city giving a cinematic feel to the proceedings. Director of photography James Alexander Barnett excellently mixes lens flare with well-chosen locations that give a sly wink to the source material. A conversation in a park against a tree harks to fantasy forests whilst a neon lit water feature in a nightclub echoes a mythic waterfall of sorts.
Sadly, the apartment location– acting as the characters’ main sanctuary – feels a little ‘flat’ but its cramped space seems to represent their confinement – hiding from their enemy in a metaphorical dungeon. But again, its low-budget roots don’t affect the great creativity at work. A clever panning shot, some suitably intense music and well composed colour grading gives the ‘other-worldly’ illusion of the ring-bearer’s scary visions.
Dominic Thompson portrays Alatar the Young (also credited as “The Wizard”) and unfortunately I felt the actor went a bit too far with a slightly pantomime performance. However, his well-delivered monologue to fill in backstory was effectively utilised and the actor nicely incorporated hints of Brad Dourif’s Wormtongue from Jackson’s movie.
Woven into the film was also some excellent, but subtle, updating of ancient costumes. The leather jacket clad Nazgûl, a hooded advisor and the earthy tones of a wood Elf were fantastic and heck, even a white t-shirt embodied John’s naïve innocence to the events unfolding.
Nisaro Karim as Amdir arrives towards the end and the film moves swiftly between locations and characters and flashes of humour keep it light-hearted at times as well. With the power of the ring continuing to corrupt the heart of men, the film shows expert dexterity in technique and cinema skill with its innovative spin of the traditions of Middle-earth whilst still making it accessible and understandable to a modern Midlands audience.
A perfect ending that has a literary nod to Tolkien was a brilliant surprise that will leave you wanting more and the story’s present-day setting blends tones well. With great craftmanship, AR Ugas’ film therefore ends up being not just token Tolkien, but a fully-fledged and ambitious homage that throws in its own satisfying twist on legends with amazing precision. There are some good films in this world and shorts like The Return of the Ring are worth fighting for.
Watch the full short here: