The Christmas season, a time associated with peace, love and . . . the release of multiple epic fantasy movies? Even though The Lord of the Rings: The Fellowship of the Ring burst onto the screens weeks after that other fantasy movie—awash with wizards, magic, and evil creatures hidden in the darkness—the epic journey of Frodo and his Middle-earth companions seems anything but second-hand.

Director Peter Jackson conjures up a strikingly wonderful adaptation of the first installment of J.R.R. Tolkien's epic three-book series, which recounts the journey of Frodo Baggins, his three hobbit confidants, two men, a dwarf, an elf, and the enchanting wizard Gandalf. Upon the departure of his uncle Bilbo Baggins, young Frodo discovers that among the treasures left to him is a magical ring, a ring rendered by the evil intangible Lord Sauron during the early days of Middle-earth in the fiery pits of Mordor. After a consultation with the wise Elven-kings, Frodo agrees to fulfill his destiny as possessor of the "One Ring to rule them all" and bravely volunteers to venture into the fiery, evil territory of Mordor to destroy the ring capable of mass enslavement.

The humble and initially reluctant hobbit is outfitted with a company of eight other companions as he sets out to save Middle-earth from Sauron's encroaching evil. Although the fellowship seems plagued by peril as nine “ringwraiths” cloaked as black riders are drawn to the evil magnetism of the ring, the company is blessed with the courage of Strider and the loyalty of Frodo’s hobbit friends, Sam, Pippin, and Merry.

Filmed in the mystifying mountainsides of New Zealand, Jackson combines unimaginable special effects, including the towering representation of Saruman's pinnacle, the phantom-like representations of the ringwraiths and the eerily stirring setting of Moria with Tolkien's intangible theme that the power of friendship, loyalty and courage can elude the desperate snatch of darkness. 

Despite Jackson's satisfying use of special effects that fulfill even the most critical of Tolkien fanatics, the screenplay underwent minor yet noticeable changes in its adaptation to the screen. In the film, Jackson expands the role of the Elven-princess Arwen beyond that which Tolkien had prescribed; yet, her cinematic relationship with Strider alludes to the constant thematic concept that love and sacrifice can flourish between different peoples.

Another alteration of Tolkien's original is the deletion of the character Tom Bombadil, whose oasis of security on the outskirts of the forest provided elements of rest and recuperation for the persistent travelers. Yet with a running time of approximately three hours, Jackson knew he couldn't push his luck much further.

Complete with Orcs and hybrid beasts terrifying enough to instill nightmarish images in any viewer’s mind, Jackson miraculously blends the outer limits of fantasy and timeless philosophical themes in his miraculous work of art that put my imagination to shame.

Click here to visit the Lord of the Rings: The Fellowship of the Ring Official Movie Site