8/6/2023 0 Comments Lotr siege of vienna![]() It is, of course, easier to film the personal. The film goes so far as to have the former save the life of the latter in childhood, such that their fates are intertwined. This film does it, in part, by telling the story as a personal struggle between Kara Mustafa (the commander of the Ottomans) and Marco d’Aviano (a Christian monk, advisor to the Holy Roman Emperor). How does one reduce such a huge military campaign to a TV screen, big budget or little. On top of that, there is my small world problem. One particular scene looked, as it flashed past me, as if it was using computer generated effects over a water-color background scene. Many scenes are done with fairly-transparent computer generated graphics, including both the armies and the famous scenery of Vienna and Istanbul. ![]() For a massive, on-screen epic depicting such a large engagement (including the largest-ever cavalry charge), the limited budget is obviously going to fall short. In a number of ways, the film is a flawed work. Viewed in this context, the various contemporary messages throughout the film seem pretty obvious. While the filming began in 2011, it was actually conceived in 2001 but delayed by an inability to raise funding. This is not necessarily a movie about the September 11th back in 1683, but one perhaps much more present. Misunderstanding of the present grows fatally from the ignorance of the past. The answer may be apparent as the movie opens, quoting French historian Marc Bloch. ![]() One has to wonder what political correctness is involved with all these machinations. In the UK, even more oddly, the release title was Siege Lord 2: Day of the Siege, a reference to the director’s earlier work Barbarossa, as it was called everywhere else, but released as Sword of War in America and Barbarossa: Siege Lord in the UK. On Amazon, the graphic shows the subtitle replaced, offering Day of the Siege: A Battle of Blood and Steel. When I watched it on Netflix, the visible title was simply Day of the Siege. In some cases, the subtitle was de-emphasized and in other cases dropped. In the U.S., the title was Day of the Siege: September Eleven 1683. Internationally, the English title was one of these two titles translated. The Polish title is Bitwa pod Wiedniem or The Battle of Vienna. The original title was 11 Settembre 1683, the date in Italian. The film is a joint Polish and Italian creation of an English-language film dramatizing the Battle of Vienna in 1683, where a coalition of Christian armies defeated a massive invasion of Ottoman Turks, ultimately reversing the expansion of the Ottoman Empire. Again, a strong parallel with the attack on Vienna, where the Turks were relying primarily on sappers and demolition to defeat the defenses.Įnter the 2012 film, September Eleven 1683. Also, Jackson illustrates the books description of “blasting-fire,” portrayed by Bakshi as a magical spell, as a black powder mine, which is then used to breach the walls. His defenders, initially few in number, are augmented by the arrival of reinforcements as the enemy closes in, included the “foreign” elven troops (a significant departure from the book). In particular, Jackson’s version of the battle has a number of key elements that parallel the historical Battle of Vienna. There has been online speculation that either the Battle of the Hornberg and/or the Battle of Pelennor Fields were based on the historical battle which relieved Vienna on September 12th, 1683. When Renzo Martinelli created September Eleven 1683, he had surely watched Jackson’s Lord of the Rings trilogy. Jackson ran with that change, creating a dramatic visual of a dawn charge, led by Gandalf, which singularly turns the tide of the battle. In that depiction of the battle, Bakshi substituted cavalry for the relieving force of infantry that Gandalf leads to the rescue. When Peter Jackson created the Battle of Helm’s Deep (or, as Tolkien called it, the Battle of the Hornberg), he had surely already watched Ralph Bakshi’s cartoon version.
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