lop his plotline is well seen in the author using it at the beginning of the movie, right through its denouement and finally into its conclusive point of consummation. Particularly, right at the beginning of the movie, the Balrog is given human qualities as it is depicted fighting Gandalf. To show that the Balrog is anthropomorphized, it is depicted as having fearful wrath and is also able to growl. At one instance, the Balrog fights viciously to the point of hurtling itself down with Gandalf, in a free fall, to show for its vicious wrath. The Balrog also has an exceedingly impeccable prowess in yielding the sword, on one hand.
On the other hand, the Balrog is too ethereal a being to be assumed as human because of these qualities that have been assigned to it. Though made up of flames, he roars and thereby presenting himself also a living being. It is through the introduction of an anthropomorphized Balrog that the link between this movie and the Fellowship of the Ring is disclosed. This is especially the case when the fight between Gandalf and Balrog is taken in slow motion, and thereby letting viewers see for themselves that far from the misconceptions they developed in The Fellowship of the Ring, Gandalf did not actually die as Balrog took Gandalf with him into the fiery abyss, but that he kept fighting. Initially, the war between the two had been played in fast motion, leaving the audience with very little insight, if at all, about Gandalf’s fate.
That the movie uses anthropomorphism to develop the plotline is also underscored by the assigning of these human qualities to nonhuman entities, immediately they are introduced or reintroduced. For instance, as soon as the battle scene between Gandalf and Balrog is lifted away, immediately Gollum, a humanoid appears. He makes a spirited attack against Sam and Frodo. Like humans, Gollum is cunning to the point of being untrustworthy, shows the signs of being mentally demented by an unpleasant catastrophic past