That there are many literary devices that literary artistes choose from is not in doubt.
So pervasive is anthropomorphism in the movie, that it is tenable to argue that the author does not merely use it as a literary device, but to actually develop his plotline.
That the author uses anthropomorphism to develop 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. ...
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 and shows the marks of alter personality. He is even subtle enough to trick Sam and Frodo into following a supposed safer path, after passing the Black Gate proves intractable. By assigning these qualities to Gollum, an episodic type of plot is set in motion. Specifically, immediately the power of mental recollection is assigned to the humanoid Gollum, viewers are given a hint on the plotline and the history of the ring. Like a human being, Gollum recalls that he was human like any other person but that the clash between his desire for the ring and the will of the ring leads to his downfall. This brings into play an episodic form of plot since it can be seen to fragmented, incomplete and therefore compels viewers to grasp the plotline by themselves. It is therefore by anthropomorphizing Gollum that the audience is able to understand the importance of Gollum in the movie, and his place in the plotline as he leads Frodo and Sam through the Dead Marshes (Barker and Mathijs, 75). In like manner, the Orcs and the Wild Men are also assigned human qualities. They have the ability to be given commands, have will power and cognitive skills. For instance, they have the capacity to serve Saruman’s orders to freely roam the entire land and to kill people, especially the