The mountainous terrain, increasingly dark and menacing as the story progresses, at times resembles paintings by John Martin and Caspar David Friedrich, and is beautifully photographed by Jackson's regular cinematographer, Andrew Lesnie, who has that feeling for landscape that's such a feature of antipodean cinema. At the centre of the film, and sensitively handled by Jackson, are the relationships between Bilbo, his gruff mentor Gandalf and his antagonist Thorin, and it's something children will respond to. In his book Anatomy of Criticism, the Canadian literary theorist Herman Northrop Frye makes a distinction between "high mimetic" and "low mimetic" figures, ie heroes who are mythically and socially superior to ordinary people or at the same human level as the rest of us. Gandalf, who teaches Bilbo what heroism is, and Thorin, who exhibits the necessary qualities in his actions, are high mimetic figures, while Bilbo is low mimetic. Bilbo can become a hero and then return to his former world, as indeed is suggested at the beginning of The Hobbit. What we see in Martin Freeman's moving and endearing performance is Bilbo doing just that. I liked the film and its measured pace and, except when I found myself looking over the top of my glasses, was largely unaware of the 3D. You also love it
