it was "more of a sword and sorcery epic than a realization of [Tolkien's] more naive and guileless vision", and on the other hand gave Jackson "high praise". The scholar Robin Anne Reid analysed the grammar used by Tolkien, which she stated often dwells on the environment, with devices such as placing the characters into subordinate clauses, and the equivalent visual grammar used by Jackson. In her view, the cinematography successfully mirrors the text, except when Frodo and Sam are approaching Mordor, where Reid found the film "perfunctory in its construction of Ithilien compared to earlier scenes". Against that, she considered that the lighting of the beacons to summon the riders of Rohan to Gondor, a lengthy scene at 98 seconds, "exceeds the impact of the novel because of the cinematic narrator's ability to move away from a single character's point of view to dramatize the event". Selling stated that a film adaptation's success requires the film-makers to persuade the audience that their interpretation is valid; she noted that Jackson, Philippa Boyens and Fran Walsh were, as both screenwriters and fans themselves, acutely aware of the "fidelity to the original text expected by the wider community of Tolkien fans". They knew that the books were "unfilmable" without transformation, so they set about "translat[ing]" Tolkien's core themes into film. They preserved Tolkien's dialogue wherever they could, sometimes moving lines to a different time, place, or character, as when Gandalf makes a speech in the Mines of Moria before arriving at Balin's tomb; in the book, the words are spoken in Frodo's home in the Shire, before he sets out. Selling found that the transformations, such as the substitution of the Elf-lady Arwen for the Elf-lord Glorfindel in The Fellowship of the Ring, were mainly successful, but that the omission of the entire Tom Bombadil sequence was more damaging. The medievalist Yvette Kisor wrote that while Jackson had been unfaithful to Tolkien's narrative technique (such as interlacing), character development and motivation, and specific events, he had continually striven to be faithful "to the totality of Tolkien's epic – its impact, its look and feel, and, perhaps, some of its themes". In her view, he allowed himself "unusually free reshuffling" of scenes to simplify the chronology, but managed to build the Tolkienesque themes of "providence, eucatastrophe [sudden happy reversal], interconnectedness" through skilful intercutting and use of music. She gives as example Éowyn's battle