In the early 1980s, invulnerable alpha males became massive action heroes. These no-nonsense testosterone idols remained on the Hollywood pedestal for many years, with the action hero seamlessly transitioning from the likes of Sylvester Stallone and Arnold Schwarzenegger, to the glorified ancient heroes of 300, Troy, and Gladiator, toward Jack Reacher-esque secret agents, and culminating as superheroes.
Although the characters and gender roles of protagonists in the film industry are gradually changing, there is still a prevalent image of a male lead in an action movie as a big brooding asshole (let’s not forget the negative things Daniel Craig says about James Bond, like calling him a misogynist). The spectrum of feelings allowed for these tough lone-wolves is severely limited, and great displays of emotions are used mostly as laughingstock.
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It is then all the more refreshing to see a departure from machismo when it comes to one of the highest-grossing movie franchises. Peter Jackson’s The Lord of the Rings beautifully translates the combination of brutality and sensitivity of Tolkien’s work, offering unconventional and sustainable representations of masculinity. One of the best movie trilogies, this saga portrays valor that is not measured solely by someone’s ability to kick ass but as, foremost, the strength of spirit and resolve to do what is necessary, even if the outcome is futile.
How Lord of the Rings Portrays Male Intimacy
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Aragorn is the character that seemingly embodies traditional features of hypermasculinity: he looks the part with his muscles and stubble on a square jaw, is the greatest warrior among men, and is the heir to the throne. At the same time, however, there is something more to him; Aragorn is gentle and vulnerable. He fears that he is unworthy of the crown and will let his people down — and he speaks openly about his doubts. Aragorn kneels three times before Frodo, and this act in no way hurts his pride; on the contrary, it reveals his honorable side.
When Aragorn talks to the mortally wounded Boromir, he leans towards him, hugs him, and even (oh, horror!) kisses him on the forehead, whereas toxic masculinity denies even the slightest tactile contact between men. There is no manifestation of passionate attraction between Aragorn and Boromir, but rather a gesture of respect for a worthy warrior, a desire to soothe him in the last minutes of his life. Aragorn does not become less of a man, showing sympathy and care for Boromir.
The male characters of The Lord of the Rings display vivid emotions and do not shy away from tears, which men have been ashamed of throughout the existence of cinema. On the other hand, someone who is indifferent is shown to have his mind dimmed by evil forces, like Theoden under Saruman’s control or Denethor, who dines as his son leaves for a suicide mission. In contrast, Pippen unabashedly cries and sings a mournful song. Jackson rejects the boys-don’t-cry edict of toxic masculinity. Tears in The Lord of the Rings are an indicator of mental health.
Queer Readings of Frodo and Sam’s Relationship
The Lord of The Rings has few female characters, as its focus primarily is on different relationships between men, complex and intense yet all platonic. Male characters like Legolas and Aragorn, Merry and Pippin, Frodo and Gandalf, and so on, cry for each other, they hug and kiss, and their closeness is presented in a familial, friendly, or brother-in-arms sort of way, devoid of intentional romantic connotations. For a long time, however, Frodo and Sam’s relationship has been subject to queer interpretations, despite Sam marrying Rosie at the end of the story.
While Frodo and Sam’s characters are based on that of an upper-class officer and his batman (a personal assistant, escort, and a loyal companion), as pointed out by Molly Ostertag for Polygon, this setting does not preclude romance. Far away from their peaceful, conservative land; on an extremely dangerous, perhaps deadly, adventure, they “live out relationships that would be impossible at home”.
Critics note the absolute tenderness of their relationship, how intimate they are with each other, and how they show their affection with the smallest and the biggest gestures. For modern viewers especially, as they cannot really relate to the glorified poetical frontline writings of the utter loyalties of subservient batman to his benevolent officer, their connection reads like nothing less than a love story. LaFontaine draws a parallel to the scene where Frodo appears to be killed by Shelob, and Sam begs him not to go where he cannot follow, with a similar scene in Romeo and Juliet.
Ian McKellen, whose portrayal of Gandalf was monumental, says in the backstage commentary: “When I suggested to Sean that he take Elijah’s [Wood, who plays Frodo] hand… it was because I thought anyone who would care about the deep friendship (often of an innocent physical nature) … I thought that might be missed by two resolutely heterosexual actors who might not appreciate that gay people, like myself, saw in a touch something, perhaps, more meaningful than others might”.
What Makes Someone a Hero in Middle-Earth?
Whereas Aragorn looks like a typical American action hero on paper, it is Frodo who carries the ring. The quest proves to be unbearable for Frodo, but it does not mean he is not a hero, quite the contrary. The Lord of the Rings’ characters are treated with empathy in a series which appeals to the classic Arthurian chivalry, where courage is no longer measured simply by the ability to kick someone’s ass; true courage is simultaneously romanticized and humanistic, raw. The biggest power in LotR is moral, and it doesn’t need a heroic masquerade, because sometimes, it’s normal to be scared and unsure.
Sam is a clumsy hobbit who never ventured beyond the Shire; he cannot even swim. Yet, this is the same Sam who went against one of the biggest and scariest movie spiders. Pippin and Merry are silly, insignificant in the eyes of pretty much everyone — and it is them who gather forces to overthrow Saruman. Merry is no man in the eyes of toxic masculinity, same as Eowyn, but together, they defeat Nazgûl.
Eowyn is a particularly interesting subversion of a shieldmaiden trope. The “I am no man” moment is probably a great contender on everyone’s list of what to watch if you want to see women smash the patriarchy. Eowyn exists in a benevolently patriarchal world, and she is not allowed to take up a sword to protect those she loves, but must hide with women and children. Unlike her family, Aragorn treats her desires with respect, recognizing her as an equal. Later on, though, after experiencing the horrors of the battlefield, she realizes that warrior glory is empty. She is not diminished to the role of a healer, instead, she actively chooses to preserve life instead of bringing death.
The dichotomy of Warriors and Healers is explored through Aragorn too. Aragorn is a great warrior, yet equally if not more prominent is his role as a healer. People follow him not because he is so masterful with his sword, but rather because he is not afraid to express his feelings and show that he cares. His subjects do not fear him but love him.
The ‘Ordinary Boys’ of Lord of the Rings
Even at the time of the publication of the novel, such an approach aroused the indignation of critics, who saw Tolkien’s characters as an attack on traditional masculinity. For instance, in 1955, Edwin Muir called Tolkien’s characters “ordinary boys”.
Tolkien, who based these “ordinary boys” on young soldiers he met in the trenches of the First World War, knew a lot about heroism. Having lost all his friends in the war, he does not romanticize battles. For him, the battle is not for the sake of glory, but for the sake of life on earth. This humanistic understanding is akin to Remarque’s anti-militarism, and a stance against Horace’s patriotic agitation (“Death is sweet and beautiful for the motherland”). The film adaptation does the original justice, contributing largely to the lift of the ban on the depiction of male fragility not only in dramas but also in mainstream action movies — and doing it beautifully.
