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on October 11, 2006
While a Lord of the Rings fanatic myself, I don't see a reason to write an extensive commentary on the trilogy. If you want a review on the book there are more than sufficient amounts of widely varied opinions below my own that should satiate one's curiosity as to the virtues (or lack thereof) of Tolkien's most acclaimed work.

I feel it more important to note that the item you will be receiving is NOT the one portrayed in the image, but rather a boxset of the three individual novels from the relatively recent Harper Collins reprinting. These three novels are the mass market stylized black ones which have a ring of yellow, red or green on the covers, distinguishing one novel from the next, as well as the glossy black background markings. Unfortunately, I had ordered this item thinking that it was a different printing (due to cover art) that I didn't yet possess and upon receiving the product, I was a little put out to discover that I now have two identical boxsets of black covers. The second will still make a great gift for someone else, but you should be aware that this item is inconsistent with the picture.
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on November 6, 2000
This is not a critique of Tolkien's work; rather it is a condemnation of Houghton Mifflin's hardcover boxed set. Thirty years after first reading "The Lord of the Rings" I decided to read it again. Besides the engrossing and detailed story, I had a renewed interest in the technical aspects of Tolkien's craft and his use of the English language. I am not disappointed and I am enjoying the reading immensely.
I bought the Hardcover Boxed edition published October, 1988, by Houghton Mifflin Co (Trd); ISBN: 0395489326 ; because I wanted a high quality, permanent copy with good typesetting and larger print. When I received this particular edition I was shocked at the extremely poor quality of print and generally poor quality of every aspect of the presentation. In two of the volumes the maps are incorrectly bound so that they are impossible to unfold. It is not even possible to cut the map out of the book because important parts of the middle of it have been sewn up in the binding.
But the damning point of this edition is the printed page. Every single page has both drop outs and extra ink everywhere. The printing weight varies from page to page, at times fading to a medium gray, at other times a dense bold face. I am not exaggerating when I proclaim that most paperbacks are printed more carefully and more clearly than this.
Buy the books, read them and enjoy them. But benefit from my misfortune and stay far far away from this edition.
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on November 15, 2004
As an owner of numerous editions, I welcome this latest revision in honour of the 50th anniversary. The soft leather cover is quite nice to the touch and the printing quality is superlative. The numerous revisions to the text are welcome and the two-coloured printing in spots is similar to the deluxe editions from 30 years ago.
If you desire an excellent edition at a very affordable price, this is the one to get. Highly recommended.
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TOP 1000 REVIEWERon February 9, 2010
Only an balrog could object to an revised 50th anniversary edition, with corrections beyond those in the the standard revised version. BUT...

This edition is *not* "leather bound:" it's a less-than-ordinary hardcover binding with paper-thin faux-leather glued over paper boards. The bookmark ribbon breaks the binding. Signatures are glued rather than sewn together, not held together by the 'leather', but glued onto the paper end sheets, which are separated from the paper spine. Poor production generally: end papers badly centred, more than a little random glue and rubber cement on the covers that really mars the appearance. [See annotated Customer Image #2]. Reviewers elsewhere have commented on uneven type quality; this 2nd printing does not have that problem.

It's an OK one-volume edition, given the revisions. *Not* a 'collectible', definitely not worth the CDN$86 list, barely worth the discounted $56 given the disappointment factor. Don't give this as a gift to a Tolkien fan, expecting rapture. I kept mine for the revisions, first-time readers look elsewhere.

Amazon: please *stop* advertising this edition as 'leather bound': it is *serious* misrepresentation of the product.
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on September 15, 2008
While the books are awesome and I, a huge fan, I ordered this edition over a year ago from this site. this particular edition, with the cover art done by one Geoff Taylor was the first edition I ever read, therefore has sentimental value. I'm surprised to see amazon has not changed the picture of this to account for the complete change in cover design. This particular edition portrayed above contains three books, covers run from Green, to Blue, then Red. The Edition you will actually be recieving is the very common Black covers with the coloured circles. Attractive, but ultimately completely different. I would ahve thought amazon fixed this when I was refunded over a year ago... Hardcore fans beware!
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on December 18, 2004
For anyone who is a true fan of Professor Tolkien's works, this is a must-have book. The quality of the pages is fabulous and the case and cover are first-class. I have the paperback version of the book, which I will continue to use for reading purposes ... This beautiful 50th edition book needs to be put on your bookshelf on display. It is a collector's edition that will be passed on from generation to generation.
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"Return of the King" is the worthy climax to J.R.R. Tolkien's epic saga, the fantasy that created the genre as we know it today. Now, as the blockbuster movie adaptation is over, many readers are checking out the dramatic story that ends Tolkien's masterpiece, and the best known part of his life's work.

The story opens where "Two Towers" left off. Gandalf has ridden to the city of Gondor with Pippin (partly to keep him out of trouble), where the forces of Mordor are attacking. There is upheaval in the city itself, as the steward of Gondor is going nuts. Merry pledges his service to King Theoden of Rohan, not knowing what is ahead for the king and his relatives. And Aragorn is seeking out allies to fight Sauron on a military scale, even if they can't defeat him unless the Ring is destroyed. His search will take him to tribes of forest-dwellers, to Gondor -- and even to summon an army of the dead.

In Mordor, the unconscious Frodo has been captured by Sauron's orcs, and taken to the fortress of Cirith Ungol. Sam is desperate to free his friend, but knows that he can't take on an army, and that Frodo would want him to finish the quest. Sam manages to free Frodo from captivity, but they must still brave more dangers before they can come to Mount Doom, the only place where the Ring can be destroyed. As they travel Sam sees Frodo slipping further and further into the Ring's grasp. Will Frodo be able to destroy the Ring?

Usually, the climax of an epic adventure is a disappointment. "Return of the King" succeeds in almost every way, wrapping up each individual storyline, one by one. The ending has a feeling of finality; this is one story that could never have a sequel; Tolkien shows that in a war like this, there is no true "happy ending." Even if the good guys win, there will still be scarring, and death, and haunting memories of what once happened. And even if a person survives, he will never be the same.

This is the grimmest of the three books in this trilogy. Frodo and Sam are stuck in the vividly horrific Mordor, while the city of Minas Tirith is on the verge of completely crumbling. Tolkien does a phenomenal job of exploring the madness, despair, rage and sorrow that accompany a war, and the way it can affect even the idyllic Shire. And he doesn't forget the slow period of healing that follows -- for people, for civilizations, and even for nature.

Though a section of the book near the end descends into near-biblical prose, which changes post-Gondor, Tolkien does not waver in his ability to evoke emotion. One of the most touching scenes in the book is when Sam finds Frodo naked, unconscious and being beaten by an orc. Others include Merry's farewell to Theoden, Eowyn's slaying of the Witch-King, and of course the bittersweet final scene.

Speaking of Frodo, this trilogy's hero is almost unrecognizable in parts of this book. The bright, naive young hobbit of the first book has been worn down to a pale shadow of himself. As he grows increasingly attached to the Ring, we even see him doing what seems unimaginable: threatening Sam with a dagger. Sam has come a long way from the shy young hobbit who couldn't say a word around the High Elves -- now he's attacking orcs and carrying Frodo to Mount Doom.

And the supporting characters are not neglected either, with the younger hobbits being exposed to the horrors of war, Aragorn breaking fully into his role as the future king of Gondor, and passionate war-maiden Eowyn affecting the war as nobody else could. Some much-loved characters are lost, and others will be permanently changed.

The story doesn't really end on the last page; for more background, especially on Aragorn and Arwen, readers should also read the appendices at the end of the book. Another good addition is "The End of the Third Age," in which the unpublished epilogue of this book can be found. Though this is probably not canonical, it nicely concludes the story and is a heartwarming look at what happens in the years following "Return of the King."

It's difficult, once the story has finished, to accept that one has to say goodbye to Middle-Earth and its enchanting inhabitants. But as Gandalf says, "I will not say: do not weep; for not all tears are an evil."
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TOP 500 REVIEWERon December 24, 2007
A single volume is more impressive; yet a little hard to wield. You may want to look up the reviews for the individual books (The Return of the King/the Two Towers/the Fellowship of the Ring.) Note one book or three that this is one story and not a trilogy. The work was artificially split for convenience. Also if you listen to a recorded version you can hear how to pronounce the names and places. Listening also allows time to digest the story as it progresses.

I read several notes on the works and find that it is smarter to read the work first; then if you want to you can compare your view with the notes. You don't want to stop and say "Oh a shadow. What can that mean?" Also even thought J. R. R. Tolkien is quite explicit in the beginning that this is not an allegory or even a reference to events in the real world, some people try to equate the RING with the BOMB.

There are several things that I found pleasing. One is that no one goes off and has any unrecorded adventures. This is each group especially in "The Two Towers" is completely tracked even though the events are parallel; Tolkien does not have to use flash backs to do so. I am also impressed with the fact that even though you see several references to good and evil, that every being in the story had a purpose and a destiny that was not strictly black and white. Gandalf reminds Frodo to spare Gollum as Bilbo did. At other times as in Bible stories evil intentions can bring about good situations. Well, enough philosophizing just read it and enjoy it on the story level. You may find that only drawback is that it ends too soon.
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"Return of the King" is the worthy climax to J.R.R. Tolkien's epic saga, the fantasy that created the genre as we know it today. Now, as the blockbuster movie adaptation is over, many readers are checking out the dramatic story that ends Tolkien's masterpiece, and the best known part of his life's work.

The story opens where "Two Towers" left off. Gandalf has ridden to the city of Gondor with Pippin (partly to keep him out of trouble), where the forces of Mordor are attacking. There is upheaval in the city itself, as the steward of Gondor is going nuts. Merry pledges his service to King Theoden of Rohan, not knowing what is ahead for the king and his relatives. And Aragorn is seeking out allies to fight Sauron on a military scale, even if they can't defeat him unless the Ring is destroyed. His search will take him to tribes of forest-dwellers, to Gondor -- and even to summon an army of the dead.

In Mordor, the unconscious Frodo has been captured by Sauron's orcs, and taken to the fortress of Cirith Ungol. Sam is desperate to free his friend, but knows that he can't take on an army, and that Frodo would want him to finish the quest. Sam manages to free Frodo from captivity, but they must still brave more dangers before they can come to Mount Doom, the only place where the Ring can be destroyed. As they travel Sam sees Frodo slipping further and further into the Ring's grasp. Will Frodo be able to destroy the Ring?

Usually, the climax of an epic adventure is a disappointment. "Return of the King" succeeds in almost every way, wrapping up each individual storyline, one by one. The ending has a feeling of finality; this is one story that could never have a sequel; Tolkien shows that in a war like this, there is no true "happy ending." Even if the good guys win, there will still be scarring, and death, and haunting memories of what once happened. And even if a person survives, he will never be the same.

This is the grimmest of the three books in this trilogy. Frodo and Sam are stuck in the vividly horrific Mordor, while the city of Minas Tirith is on the verge of completely crumbling. Tolkien does a phenomenal job of exploring the madness, despair, rage and sorrow that accompany a war, and the way it can affect even the idyllic Shire. And he doesn't forget the slow period of healing that follows -- for people, for civilizations, and even for nature.

Though a section of the book near the end descends into near-biblical prose, which changes post-Gondor, Tolkien does not waver in his ability to evoke emotion. One of the most touching scenes in the book is when Sam finds Frodo naked, unconscious and being beaten by an orc. Others include Merry's farewell to Theoden, Eowyn's slaying of the Witch-King, and of course the bittersweet final scene.

Speaking of Frodo, this trilogy's hero is almost unrecognizable in parts of this book. The bright, naive young hobbit of the first book has been worn down to a pale shadow of himself. As he grows increasingly attached to the Ring, we even see him doing what seems unimaginable: threatening Sam with a dagger. Sam has come a long way from the shy young hobbit who couldn't say a word around the High Elves -- now he's attacking orcs and carrying Frodo to Mount Doom.

And the supporting characters are not neglected either, with the younger hobbits being exposed to the horrors of war, Aragorn breaking fully into his role as the future king of Gondor, and passionate war-maiden Eowyn affecting the war as nobody else could. Some much-loved characters are lost, and others will be permanently changed.

The story doesn't really end on the last page; for more background, especially on Aragorn and Arwen, readers should also read the appendices at the end of the book. Another good addition is "The End of the Third Age," in which the unpublished epilogue of this book can be found. Though this is probably not canonical, it nicely concludes the story and is a heartwarming look at what happens in the years following "Return of the King."

It's difficult, once the story has finished, to accept that one has to say goodbye to Middle-Earth and its enchanting inhabitants. But as Gandalf says, "I will not say: do not weep; for not all tears are an evil."
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A new wave of readers have discovered "The Fellowship of the Ring," thanks to the arrival of the epic movie hits. And that is definitely a good thing, because this trilogy not only spurred the fantasy genre into a respectable position, but also provided the template for virtually every elf, dwarf, lost king, and medieval fantasy world since. It's also a wicked good read.

We open some sixty years after the events of "The Hobbit" -- Bilbo Baggins is older, not much wiser, substantially wealthier, and quite eccentric (one not-so-affectionate nickname is "Mad Baggins"). He has also adopted his bright young cousin Frodo, who was orphaned at a young age and had led a rather fractured life since then. On his 111th birthday, Bilbo suddenly vanishes, leaving behind all his possessions to Frodo -- including the golden ring that allows its wearer to become invisible.

Seventeen years later, Gandalf the wizard shows up again on Frodo's doorstep, and informs the young hobbit that his ring is in fact the One Ring of the Dark Lord Sauron. It inevitably corrupts those who have it, and most of Sauron's power is invested in it. Trying to deflect danger from the Shire, Frodo leaves with his best friend Sam and his loyal cousins Merry and Pippin. But Frodo has only the slightest idea of the hideous and dangerous journey ahead of him, that will take him across Middle-Earth to the evil land of Mordor.

Many fantasy cliches were spawned from this book (although they weren't cliches when Tolkien used them). Orcs, elves, dwarves, halflings, sprawling medieval kingdoms, dethroned kings, gray-bearded wizards and evil Dark Lords. But no one will feel that these are stale; on the contrary, they feel fresh and unused, because that is what they were when the book was first penned.

Narrative-wise, this book begins on much the same note as "The Hobbit": it's lighter and more cheerful, since it opens in the Shire. But darker undertones begin to crop up in the very first chapter, when Bilbo begins clutching at the Ring and speaking in a Gollum-like manner. The pace is pretty slow and gradual until the hobbits reach Bree, at which point it becomes darker, faster and harsher in tone and pace. The matter in it also becomes more mature, particularly in the chilling scenes after Frodo is stabbed by a Nazgul.

One of the things that Tolkien did exceptionally well is atmosphere. With a minimum of words, he conveys the menace of the Black Riders, the beauty of the Elves, the decay of the ancient kingdom of Moria, the mystery of such characters as Aragorn. In some areas, he deliberately didn't elaborate on the such things as the Balrog, leaving the visualization up to the readers.

Another strong point is a sense of epic proportions. Too often a fantasy writer TRIES to write an epic, at the expense of individual character development. Tolkien managed to balance both of them, by focusing on the individuals in the center of epic struggles.

Frodo himself is the quintessential "little guy" hero, one of the last people whom you'd expect to be on a mission to save the world. He's prone to moods of either cheerfulness or sadness, a little immature and bored at the beginning, but incredibly brave and stout-hearted when the pressure is put on him. He has no astounding destiny or special powers to help him. He's simply an ordinary person.

We also have Gandalf, who is fleshed out from the pleasantly crabby wizard of "Hobbit" -- we see more of his hidden sides and powers here. And Frodo is surrounded by a well-rounded cast of characters, including his loyal gardener Sam and his charmingly sneaky cousins, as well as a rich fellowship of ethereal Elves, mysterious men and doughty dwarves.

Tolkien wasn't the first fantasy writer, but he can rightly be described as the first noted fantasy writer, and he remains top of the heap today. "Fellowship of the Ring" is a must-read -- and then go watch the movies again.
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