If you have typed the phrase "index of the hobbit the desolation of smaug" into a search engine, you are likely on a specific mission. You aren't just looking for a review, a trailer, or the movie’s Wikipedia page. You are searching for a raw, unfiltered directory listing—a digital index—that contains the second installment of Peter Jackson’s The Hobbit trilogy.
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The Hobbit: The Desolation of Smaug (2013), the second installment in Peter Jackson’s three-part adaptation of J.R.R. Tolkien’s slim novel, holds a unique place in the "index of" hall of fame:
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If you index The Desolation of Smaug, you have to start with a prologue: The Dwarves of Erebor. Without that backstory (Thorin’s father, the Arkenstone, the flight from Moria), Smaug is just a lizard with a hoarding problem.
But because of the index—because we can look up Gold-sickness, Thorin Oakenshield, and The Seven Dwarven Rings on the same page—we realize the film isn't really about a hobbit.
It’s about the terrifying weight of a homecoming.
What entry would you add to the Index of The Desolation of Smaug? Is it "Barrel Escape Sequence (Physics of)" or "Tauriel (Original Character)"? Let me know in the comments below. index of the hobbit the desolation of smaug
Loved this deep dive? Check out our previous post: "The Ecclesiastical Geography of Middle-earth" or subscribe for our review of The Battle of the Five Armies through the lens of a Dwarven census record.
Title: Fire, Shadow, and Barrel-Rides: A Review of The Desolation of Smaug
Rating: ★★★★½ (4.5/5)
If An Unexpected Journey was a cozy, foot-warming introduction to Middle-earth, The Desolation of Smaug is the moment someone throws kerosene on the fire. Directed by Peter Jackson, this second installment in The Hobbit trilogy sheds much of the first film’s baggage—specifically the slow pacing and excessive exposition—to deliver a muscular, thrilling, and visually spectacular fantasy adventure.
The Narrative Momentum The film wastes no time. We are thrust immediately into the hunt, with Thorin Oakenshield’s company racing against the clock to reach the Lonely Mountain before the last light of Durin’s Day. The narrative structure here is vastly superior to its predecessor. By splitting the party and weaving in the subplot of the Necromancer in Dol Guldur, Jackson creates a sense of urgency that was previously missing. The stakes feel real, the danger feels imminent, and the road is no longer a tourist trip—it’s a desperate flight.
Action and Set Pieces This film contains some of the finest action sequences in the entire Lord of the Rings saga. The highlight is undoubtedly the "Barrels out of Bond" sequence. Jackson transforms a simple escape from the book into an adrenaline-fueled rapids chase that is equal parts terrifying and hilarious. It is a masterclass in chaotic choreography.
Similarly, the encounter with the spiders of Mirkwood is genuinely creepy, utilizing the 3D format to make the audience feel the sticky suffocation of the webs. The film leans harder into the horror elements of fantasy, which serves it well. The Ultimate Guide to "Index of The Hobbit:
The Dragon and the Dialogue The titular antagonist is the film's crowning achievement. Smaug is not merely a beast; he is a character—arrogant, clever, and terrifyingly vast. The motion-capture performance by Benedict Cumberbatch is nothing short of brilliant, imbuing the dragon with a serpentine menace and a velvety voice that commands attention.
The "Riddles in the Dark"-style confrontation between Bilbo (Martin Freeman) and Smaug is the script’s strongest dialogue. Freeman continues to be the heart of the franchise, balancing fumbling cowardice with emerging bravery. The scene where Bilbo realizes the dragon knows he is there is a masterstroke of tension.
The Controversies: Tauriel and Legolas It is impossible to review this film without addressing the additions to the source material. The inclusion of Evangeline Lilly as Tauriel, the Silvan Elf, was a point of contention for purists. However, from a cinematic standpoint, she is a welcome addition. She brings warmth, distinct fighting skills, and a perspective that the rigid elf hierarchy lacks. Her chemistry with Aidan Turner’s Kili adds an emotional anchor to the dwarf company, making the audience care about characters that often blur together.
The return of Legolas (Orlando Bloom), while feeling slightly like fan service, provides some of the most visually inventive fight choreography in the series. While the "elf-dwarf love triangle" feels forced and unnecessary, the action beats involving these characters are undeniably entertaining.
Visuals and Atmosphere The visual palette has shifted from the green pastures of the Shire to the suffocating browns of Mirkwood and the scorching golds of Erebor. The production design is breathtaking, particularly in the depiction of the inside of the Lonely Mountain, which feels ancient, vast, and flooded with a sickly, golden light.
The Verdict The Desolation of Smaug is a significant improvement over An Unexpected Journey. It is darker, faster, and more confident. While it suffers slightly from sequel bloat—the movie ends on a cliffhanger just as the action peaks—the sheer spectacle of Smaug and the strength of the action set-pieces make it one of the most entertaining entries in the Middle-earth saga.
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Final Thought: A roaring adventure that successfully bridges the gap between the whimsy of The Hobbit and the darkness of The Lord of the Rings.
You might also see or use these variations:
intitle:index.of hobbit desolation of smaug"index of" "The Desolation of Smaug" 1080pindex of /The.Hobbit.The.Desolation.of.Smaug.2013"parent directory" "The Desolation of Smaug" .mkvThe most fascinating part of this hypothetical index is what isn’t there.
Look for The Necromancer. He appears on page 145 (Dol Guldur). Look for Gandalf. He disappears from the main plot around page 80 and reappears off-screen.
The index reveals the structural flaw that fans love to debate: The film has two spines. One is the Dragon (Smaug). The other is the Shadow (Sauron). In a novel, you can footnote that. In a film’s index, it feels like you’ve dropped a chapter.