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The Lord of the Rings (1978 film)

October 16, 2023

The Lord of the Rings is a 1978 animated fantasy film directed by Ralph Bakshi from a screenplay by Chris Conkling and Peter S. Beagle. It is based on the novel of the same name by J. R. R. Tolkien, adapting from the volumes The Fellowship of the Ring and The Two Towers.[6]

The Lord of the Rings
Theatrical release poster by Tom Jung[1]
Directed byRalph Bakshi
Screenplay by
Based onThe Lord of the Rings
by J. R. R. Tolkien
Produced bySaul Zaentz
Starring
CinematographyTimothy Galfas
Edited byDonald W. Ernst
Music byLeonard Rosenman[2]
Production
companies
  • Fantasy Films
  • Saul Zaentz Film Productions
Distributed byUnited Artists
Release dates
  • November 15, 1978 (1978-11-15) (United States)
  • July 5, 1979 (1979-07-05) (United Kingdom)
Running time
133 minutes[3]
Countries
  • United Kingdom
  • United States[4]
LanguageEnglish
Budget$4 million[2]
Box office$32.6 million[3][5]

Set in Middle-earth, the film follows a group of fantasy races—Hobbits, Men, an Elf, a Dwarf and a wizard—who form a fellowship to destroy a magical ring made by the Dark Lord Sauron, the main antagonist.

Bakshi encountered Tolkien's writing early in his career. He had made several attempts to produce The Lord of the Rings as an animated film before producer Saul Zaentz and distributor United Artists provided funding. The film is notable for its extensive use of rotoscoping, a technique in which scenes are first shot in live-action, then traced onto animation cels. It uses a hybrid of traditional cel animation and rotoscoped live-action footage.[7]

The Lord of the Rings was released in the United States on November 15, 1978, and in the United Kingdom on July 5, 1979. Although the film received mixed reviews from critics, and hostility from disappointed viewers who felt that it was incomplete, it was a financial success; there was no official sequel to cover the remainder of the story. However, the film has retained a cult following and was a minor inspiration for New Zealand filmmaker Peter Jackson.

Plot Edit

Early in the Second Age of Middle-earth, Elven smiths forge nine Rings of Power for mortal Men, seven for the Dwarf-Lords, and three for the Elf-Kings. Soon after, the Dark Lord Sauron makes the One Ring, and uses it to attempt to conquer Middle-earth. After defeating Sauron, Prince Isildur takes the Ring, but after he is killed by Orcs, the Ring lies at the bottom of the river Anduin for over 2,500 years. Over time, Sauron captures the Nine Rings and transforms their owners into the Ringwraiths. The One Ring is discovered by Déagol, whose kinsman, Sméagol, kills him and takes the Ring for himself. The Ring twists his body and mind, and he becomes the creature Gollum (Peter Woodthorpe) who takes it with him into the Misty Mountains. Hundreds of years later, Bilbo Baggins (Norman Bird) finds the Ring in Gollum's cave and brings it back with him to the Shire.

Decades later, during Bilbo's birthday celebration, the Wizard Gandalf (William Squire) tells him to leave the Ring for his nephew Frodo (Christopher Guard). Bilbo reluctantly agrees, and departs for Rivendell. Seventeen years pass, during which Gandalf learns that evil forces have discovered that the Ring is in the possession of a Baggins. Gandalf meets Frodo to explain the Ring's history and the danger it poses, and Frodo leaves his home, taking the Ring with him. He is accompanied by three Hobbits, his cousins, Pippin (Dominic Guard), Merry (Simon Chandler), and his gardener Sam (Michael Scholes). After a narrow escape from the Ringwraiths, the hobbits eventually come to Bree, from which Aragorn (John Hurt) leads them to Rivendell. Frodo is stabbed atop Weathertop mountain by the chief of the Ringwraiths, and becomes sickened as the journey progresses. The Ringwraiths catch up with them shortly after they meet the Elf Legolas (Anthony Daniels); and at a standoff at the ford of Rivendell, the Ringwraiths are swept away by the river.

At Rivendell, Frodo is healed by Elrond (André Morell). He meets Gandalf again, after the latter escapes the corrupt wizard Saruman (Fraser Kerr), who plans to ally with Sauron but also wants the Ring for himself. Frodo volunteers to go to Mordor, where the Ring can be destroyed. Thereafter Frodo sets off from Rivendell with eight companions: Gandalf; Aragorn; Boromir (Michael Graham Cox), son of the Steward of Gondor; Legolas; Gimli (David Buck) the Dwarf, along with Pippin, Merry, and Sam.

Their attempt to cross the Misty Mountains is foiled by heavy snow, and they are forced into Moria. There, they are attacked by Orcs, and Gandalf falls into an abyss while battling a Balrog. The remaining Fellowship continue through the Elf-haven Lothlórien, where they meet the Elf queen Galadriel (Annette Crosbie). Boromir tries to take the Ring from Frodo, and Frodo decides to continue his quest alone; but Sam insists on accompanying him. Boromir is killed by Orcs while trying to defend Merry and Pippin. Merry and Pippin are captured by the Orcs, who intend to take them to Isengard through the land of Rohan. The captured hobbits escape and flee into Fangorn Forest, where they meet Treebeard (John Westbrook). Aragorn, Gimli, and Legolas track Merry and Pippin into the forest, where they are reunited with Gandalf, who was reborn after destroying the Balrog.

The four then ride to Rohan's capital, Edoras, where Gandalf persuades King Théoden (Philip Stone) that his people are in danger. Aragorn, Gimli, and Legolas then travel to the Helm's Deep. Frodo and Sam discover Gollum stalking them in an attempt to reclaim the Ring, and capture him; but spare his life in return for guidance to Mount Doom. Gollum eventually begins plotting against them, and wonders if "she" might help. At Helm's Deep, Théoden's forces resist the Orcs sent by Saruman, until Gandalf arrives with the absent Riders of Rohan, destroying the Orc army.

Cast Edit

This primary cast was supported by a large cast of animation doubles, who were not credited on screen; the matter went to guild arbitration.[9]

Production Edit

Development Edit

Director Ralph Bakshi was introduced to The Lord of the Rings by J.R.R. Tolkien during the mid-1950s while working as an animator for Terrytoons. In 1957, the young animator started trying to convince people that the story could be told in animation.[10]

In 1969, the rights were passed to United Artists, where an "elegant" Peter Shaffer script was abandoned. Film producer Denis O'Dell was interested in producing a film for the Beatles, and approached directors David Lean (busy with Ryan's Daughter), Stanley Kubrick (who deemed it "unfilmable"), and Michaelangelo Antonioni. John Boorman was commissioned to write a script in late 1969, but it was deemed too expensive in 1970.[2]

Bakshi approached United Artists when he learned (from a 1974 issue of Variety) that Boorman's script was abandoned. Learning that Boorman intended to produce all three parts of The Lord of the Rings as a single film, Bakshi commented, "I thought that was madness, certainly a lack of character on Boorman's part. Why would you want to tamper with anything Tolkien did?"[11] Bakshi began making a "yearly trek" to United Artists. Bakshi had since achieved box office success producing adult-oriented animated films such as Fritz the Cat but his recent film, Coonskin, tanked, and he later clarified that he thought The Lord of the Rings could "make some money" so as to save his studio.[12]

In 1975, Bakshi convinced United Artists executive Mike Medavoy to produce The Lord of the Rings as two or three animated films,[13] and a prequel to The Hobbit.[14] Medavoy offered him Boorman's script, which Bakshi refused, saying that Boorman "didn't understand it"[15] and that his script would have made for a cheap film like "a Roger Corman film".[16] Medavoy accepted Bakshi's proposal to "do the books as close as we can, using Tolkien's exact dialogue and scenes".[11]

Although he was later keen to regroup with Boorman for his script (and his surrogate project, Excalibur), Bakshi claimed Medavoy didn't want to produce his film at the time, but allowed him to shop it around if he could get another studio to pay for the expenses on Boorman's script.[16] Bakshi attempted unsuccessfully to persuade Peter Bogdanovich to take on the project, but managed to gain the support of the then President of Metro-Goldwyn-Mayer, Dan Melnick.[16][11] Bakshi and Melnick made a deal with Mike Medavoy at United Artists to buy the Boorman script. Bakshi said later that "The Boorman script cost $3 million, so Boorman was happy by the pool, screaming and laughing and drinking, 'cause he got $3 million for his script to be thrown out."[11] Boorman, however, was unhappy with the project going to animation after Tolkien once wrote to him, pleased that he was doing it in live-action. He never saw Bakshi's film, and after it was released, tried to remake his live-action version with Medavoy.[17]

Work began on scripts and storyboards. When Melnick was fired from MGM in 1976, Bakshi's studio had spent between $200,000 and $600,000. The new executive Dick Shepherd hadn't read the books and, according to Bakshi, did not want to make the movie;[16] Shepherd obliviously asked whether The Lord of the Rings was about a wedding.[16] Bakshi then contacted Saul Zaentz (who had helped finance Fritz the Cat), asking him to produce The Lord of the Rings; Zaentz agreed.[11]

Before production started, Bakshi met with Tolkien's daughter Priscilla to discuss how the film would be made. She showed him the room where her father did his writing and drawing. Bakshi says, "My promise to Tolkien's daughter was to be pure to the book. I wasn't going to say, 'Hey, throw out Gollum and change these two characters.' My job was to say, 'This is what the genius said.'"[18]

Bakshi was approached by Mick Jagger,[16] who wanted to play Frodo, but at the time the roles were already cast and recorded. David Carradine[15] also approached Bakshi, offering to play Aragorn, and even suggested that Bakshi do it in live-action; while Bakshi's contract allowed this, he said it couldn't be done and that he'd "always seen it as animation".[13] He said it was impossible to make it in live-action without it being "tacky".[15]

Screenwriting Edit

Bakshi began developing the script himself. Learning of the project, Chris Conkling got an interview with Bakshi but was initially hired to "do research, to say what the costumes should look like or what the characters would be doing at any given time".[19] Together, they first decided how to break the films down. When they started, they contemplated a three-film structure, but "we didn't know how that middle film would work"[20] without a beginning and an end. Conkling even started writing a treatment for one long, three-and-a-half hour feature of the entire work, but eventually settled on scripts for two 150-minute films, the first of which was titled "The Lord of the Rings, Part One: The Fellowship".[21]

The second draft[20] of the screenplay, written by Conkling,[2] told the bulk of the story in flashback, from Merry Brandybuck's point of view, so as to lead into the sequel.[22][21] This version included Tom Bombadil, who rescues the Hobbits from the Barrow Downs,[21] as well as Farmer Maggot, the Old Forest, Glorfindel, Arwen, and several songs.[20][21] Bakshi felt it was "a much too drastic departure from Tolkien".[22] Conkling began writing a draft that was "more straightforward and true to the source".[22]

Still displeased, Bakshi and Zaentz called in fantasy author Peter S. Beagle for a rewrite.[2][22] Beagle's first draft eliminated the framing device and told the story beginning with Bilbo's Farewell Party, climaxing with the Battle of Helm's Deep, and ending with the cliffhanger of Gollum leading Frodo and Sam to Shelob. The revised draft includes a brief prologue to reveal the history of the Ring.[22] Fans threatened Bakshi that "he'd better get it right"[19] and according to the artist Mike Ploog, Bakshi constantly revised the story to include certain beasts at the behest of such fans.[23]

Differences from the book Edit

Of the adaptation process, Bakshi stated that some elements of the story "had to be left out but nothing in the story was really altered".[10] The film greatly condenses Frodo's journey from Bag End to Bree. Stop-overs at Farmer Maggot's house, Frodo's supposed home in Buckland, and the house of the mysterious Tom Bombadil deep in the Old Forest are omitted. Maggot and his family, Bombadil and his wife Goldberry and the encounter with the Barrow-wight are thus all omitted, along with Fatty Bolger, a hobbit who accompanied Frodo at the beginning. According to Bakshi, the character of Tom Bombadil was dropped because "he didn't move the story along."[10]

Directing Edit

 
Bakshi in January 2009

Bakshi said that one of the problems with the production was that the film was an epic, because "epics tend to drag. The biggest challenge was to be true to the book."[10] When asked what he was trying to accomplish with the film, Bakshi stated "The goal was to bring as much quality as possible to the work. I wanted real illustration as opposed to cartoons."[10] Bakshi said that descriptions of the characters were not included because they are seen in the film. He stated that the key thing was not "how a hobbit looks", since everyone has their own idea of such things, but that "the energy of Tolkien survives".[10] In his view what mattered was whether the quality of animation was enough to make the movie work.[10]

Bakshi was aware of the work of illustrators like the Brothers Hildebrandt, without accepting that their style had driven his approach;[24] he stated that the film presented a clash of many styles, as in his other films.[10]

Animation Edit

Publicity for the film announced that Bakshi had created "the first movie painting" by utilizing "an entirely new technique in filmmaking".[10] Much of the film used live-action footage which was then rotoscoped to produce an animated look.[10] This saved production costs and gave the animated characters a more realistic look. In animation historian Jerry Beck's The Animated Movie Guide, reviewer Marea Boylan writes that "up to that point, animated films had not depicted extensive battle scenes with hundreds of characters. By using the rotoscope, Bakshi could trace highly complex scenes from live-action footage and transform them into animation, thereby taking advantage of the complexity live-action film could capture without incurring the exorbitant costs of producing a live-action film."[2] Bakshi rejected the Disney approach which he thought "cartoony", arguing that his approach, while not traditional for rotoscoping, created a feeling of realism involving up to a thousand characters in a scene.[10]

Bakshi went to England to recruit a voice cast from the BBC Drama Repertory Company, including Christopher Guard, William Squire, Michael Scholes, Anthony Daniels, and John Hurt. Daniels remembers that "The whole cast were in the same studio but we all had to leave a two second gap between the lines which made for rather stilted dialogue."[25] For the live-action portion of the production, Bakshi and his cast and crew went to Spain, where the rotoscope models acted out their parts in costume in the open or in empty soundstages. Additional photography took place in Death Valley. Bakshi was so terrified of the horses used in the shoot that he directed those scenes from inside the caravan.[23]

Bakshi had a difficult working relationship with producer Saul Zaentz. When Zaentz would bring potential investors to Bakshi's studio, he would always show them the same sequence, of Frodo falling off of his horse at the Ford (which was his stunt double actually falling over).[23]

During the middle of a large shoot, union bosses called for a lunch break, and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table, and used the footage in the film.[26] Many of the actors who contributed voices to this production also acted out their parts for rotoscoped scenes. The actions of Bilbo Baggins and Samwise Gamgee were performed by Billy Barty, while Sharon Baird served as the performance model for Frodo Baggins.[2] Other performers used on the rotoscoping session included John A. Neris as Gandalf, Walt Robles as Aragorn, Felix Silla as Gollum, Jeri Lea Ray as Galadriel, and Aesop Aquarian as Gimli. Although some cel animation was produced and shot for the film,[27][28] very little of it appears in the final film. Most of the film's crowd and battle scenes use a different technique, in which live-action footage is solarized (per an interview with the film's cinematographer, Timothy Galfas, in the documentary Forging Through the Darkness: the Ralph Bakshi Vision for The Lord of the Rings) to produce a more three-dimensional look. In a few shots the two techniques are combined.[19]

Bakshi claimed he "didn't start thinking about shooting the film totally in live action until I saw it really start to work so well. I learned lots of things about the process, like rippling. One scene, some figures were standing on a hill and a big gust of wind came up and the shadows moved back and forth on the clothes and it was unbelievable in animation. I don't think I could get the feeling of cold on the screen without showing snow or an icicle on some guy's nose. The characters have weight and they move correctly."[10] After the Spanish film development lab discovered that telephone lines, helicopters, and cars could be seen in the footage Bakshi had shot, they tried to incinerate the footage, telling Bakshi's first assistant director that "if that kind of sloppy cinematography got out, no one from Hollywood would ever come back to Spain to shoot again."[26]

Following the live-action shoot, each frame of the live footage was printed out, and placed behind an animation cel. The details of each frame were copied and painted onto the cel. Both the live-action and animated sequences were storyboarded.[29] Of the production, Bakshi is quoted as saying,

Making two pictures [the live action reference and the actual animated feature] in two years is crazy. Most directors when they finish editing, they are finished; we were just starting. I got more than I expected. The crew is young. The crew loves it. If the crew loves it, it's usually a great sign. They aren't older animators trying to snow me for jobs next year.[10]

Although he continued to use rotoscoping in American Pop, Hey Good Lookin', and Fire and Ice, Bakshi later regretted his use of the technique, stating that he felt that it was a mistake to trace the source footage rather than using it as a guide.[30]

By the time Bakshi was done animating, he had only four weeks left to cut the film[16] from a nearly 150-minute[31] rough cut. Restoring a piece of animation where Gandalf fights the Balrog (replaced in the finished film by a photomontage), Eddie Bakshi remarked that little of the film was left on the cutting room floor. Bakshi asked three additional months to edit the film, but was declined.[16] After test-screenings, it was decided to re-cut the end of the picture so that Gollum would resolve leading Frodo and Sam to Shelob before cutting back to Helm's Deep, so as to not end the film on a cliffhanger.[20][22]

Working on the film were Tim Burton, Disney animator Dale Baer, and Mike Ploog, who worked also on other Bakshi animations such as Wizards.[32]

Music Edit

Main article: The Lord of the Rings (soundtrack)

The film score was composed by Leonard Rosenman.[2] Bakshi wanted to include music by Led Zeppelin but producer Saul Zaentz insisted upon an orchestral score because he would not be able to release the band's music on his Fantasy Records label. Rosenman wanted a large score, involving a 100-piece orchestra, 100-piece mixed choir and 100-piece boy choir,[33] but ended up with a smaller ensemble. Bakshi initially called his score "majestic",[24] but later stated that he hated Rosenman's score, which he found to be too cliché.[34]

In Lord of the Rings: Popular Culture in Global Context, Ernest Mathijs writes that Rosenman's score "is a middle ground between his more sonorous but dissonant earlier scores and his more traditional (and less challenging) sounding music [...] In the final analysis, Rosenman's score has little that marks it out as distinctively about Middle Earth, relying on traditions of music (including film music) more than any specific attempt to paint a musical picture of the different lands and peoples of Tolkien's imagination."[35] The film's score was issued as a double-LP soundtrack album in 1978.[36] The album reached number 33 in the Canadian RPM Magazine album charts on February 24, 1979.[37]

Canceled sequels Edit

The film was originally intended to be distributed as The Lord of the Rings Part I.[11][18] Initially a trilogy was planned, but this was revised to two planned films because of the limited budget.[38] Arthur Krim resigned from United Artists and was replaced by Andy Albeck. According to Bakshi, when he completed the film, United Artists executives told him that they were planning to release the film without indicating that a sequel would follow, because they felt that audiences would not pay to see half of a film.[11][18] Bakshi stated that he strongly opposed this, and agreed with the shocked viewers who complained that the film was unfinished.[11] In his view, "Had it said 'Part One,' I think everyone would have respected it."[18]

Although UA found that the film, while financially successful, "failed to overwhelm audiences", Bakshi began working on a sequel, and even had some B-roll footage shot. The Film Book of J.R.R. Tolkien's the Lord of the Rings, published by Ballantine Books on October 12, 1978, still referred to the sequel in the book's inside cover jacket.[39] Indeed, in interviews Bakshi talked about doing "a part two film picking up where this leaves off",[24] and even boasted that the second film could "pick up on sequences that we missed in the first book".[20] Zaentz went so far as to try to stop the Rankin-Bass The Return of the King TV special (which was already storyboarded before Bakshi's film came out) from airing, so as to not clash with Bakshi's sequel.[40]

Bakshi was aware of Rankin/Bass's The Hobbit TV special, and angrily commented that "Lord of the Rings is not going to have any song for the sake of a record album."[41] During the lawsuit, he commented that "They're not going to stop us from doing The Lord of the Rings and they won't stop us from doing The Hobbit. Anyone who saw their version of The Hobbit know it has nothing to do with the quality and style of our feature. My life isn't going to be altered by what Rankin-Bass chooses to do badly."[40] Years later, he called their film "an awful, rip-off version of The Hobbit."[42]

Bakshi found the two years spent on Rings immensely stressful, and the fan reaction scathing. He took comfort in talking to Priscilla Tolkien, who said she loved it, but got into an argument with Zaentz[20] and refused to do Part Two.[16] Reports vary as to whether the argument had to do with the dropping of the "Part One" subtitle[43] or Bakshi's fee for the sequel.[33]

Bakshi said he was "proud to have made part one"[44] and that his work was "there for anyone who would make part two".[15] In interviews leading up to the year 2000, he still toyed with the idea of making the sequel.[45] For his part, Zaentz said he kept in touch with Bakshi,[20] but confided to John Boorman that making the film was the worst experience of his life, which made him protective of the property.[17] Indeed, he commented that the film "wasn't as good as we should have made"[20] and later remarked that an "animated [film] couldn't do it. It was just too complex for animated to handle it, with the emotion that was needed and the size and scope."[46]

During development of the live-action films, Bakshi said he was approached by Warner Brothers to make the second part, but refused as he was angry of not being notified about the live-action film.[47] He did use the renewed interest in his film to restore it to DVD, and had the final line redubbed to bolster the film's sense of finality. After the live-action films found success, Bakshi stated that he would never have made the film if he had known what would happen during the production. He is quoted as saying that the reason he made the film was "to save it for Tolkien, because I loved the Rings very much".[31] He concluded that the film made him realize that he was not interested in adapting another writer's story.[31]

Reception Edit

Box office, awards and nominations Edit

The Lord of the Rings was a financial success.[48] Reports of the budget vary from $4[2] to $8 million, and as high as $12 million,[49] while the film grossed $30.5 million at the North American box office. It thus made a profit, having kept its costs low.[2] In the United Kingdom, the film grossed over $3.2 million.[5] Despite this, the reaction from fans was hostile; Jerry Beck writes that they "intensely dislike[d]" the film's "cheap-looking effects and the missing ending", having been misled by the title to expect the film to cover the whole of the book.[2]

The film was nominated for a Hugo Award for Best Dramatic Presentation.[50] It was nominated for a Saturn Awards for Best Fantasy Film.[16] Leonard Rosenman's score was nominated for a Golden Globe for Best Original Motion Picture Score, and Bakshi won a Golden Gryphon award for the film at the Giffoni Film Festival.[16]

Critical response Edit

Critics gave mixed responses to the film, but generally considered it to be a "flawed but inspired interpretation".[2] On review aggregator Rotten Tomatoes, the film holds an approval rating of 50% based on 44 reviews, with an average of 5.5/10. The site's critical consensus reads: "Ralph Bakshi's valiant attempt at rendering Tolkien's magnum opus in rotoscope never lives up to the grandeur of its source material, with a compressed running time that flattens the sweeping story and experimental animation that is more bizarre than magical."[51]

Frank Barrow of The Hollywood Reporter wrote that the film was "daring and unusual in concept".[2] Joseph Gelmis of Newsday wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment."[2] Roger Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job ... [which] still falls far short of the charm and sweep of the original story."[52] Vincent Canby of The New York Times called the film "both numbing and impressive".[53]

David Denby of New York magazine felt that the film would not make sense to viewers who had not previously read the book. Denby wrote that the film was too dark and lacked humour, concluding that "The lurid, meaningless violence of this movie left me exhausted and sickened by the end."[54] Michael Barrier, an animation historian, described The Lord of The Rings as one of two films that demonstrated "that Bakshi was utterly lacking in the artistic self-discipline that might have permitted him to outgrow his limitations."[55]

Barry Langford, writing in the J. R. R. Tolkien Encyclopedia, noted the film's deficiencies, including the "glaringly evident"[9] weaknesses in the rotoscoping animation. The quality of rotoscoping from filmed live action is limited by the quality of the acting, which, given the lack of rehearsal and time for retakes, was not high. The prologue was not rotoscoped, but shot as "silhouetted dumb show through red filters",[9] revealing clumsy mime and confused voiceover, announcing that Mordor defeated Elves and Men at the Battle of Dagorlad, which Langford observes would make the rest of the action incomprehensible. The small budget led to underwhelming battle scenes, as in the Mines of Moria where the Fellowship is confronted by what looks like a very small force of Orcs. The rotoscoping varies from strongly drawn to almost absent, leading to a markedly uneven treatment through the film. The characterisation, in Langford's view, similarly leaves much to be desired.[9]

Influence on Peter Jackson's The Lord of the Rings Edit

The film has been cited as an influence on director Peter Jackson's The Lord of the Rings film trilogy, although Jackson said that "our film is stylistically very different and the design is different."[56] Reading about attempts to make the films live-action by Boorman and the Beatles contacting Kubrick and Lean to do the same, Jackson agreed animation was the most sensible choice at the time. Jackson remembers Bakshi's film as a "brave and ambitious attempt".[57] In another interview, Jackson stated that it had "some quaint sequences in Hobbiton, a creepy encounter with the Black Rider on the road, and a few quite good battle scenes" but "about half way through, the storytelling became very disjointed"[58] and it became "confusing"[57] and "incoherent".[44] He and his screenwriter and producer Fran Walsh remarked that Bakshi's Treebeard "looked like a talking carrot". Jackson watched the film for the first time since its premiere in 1997, when Harvey Weinstein screened it to begin the story conferences.[44]

Ahead of the films' release, Bakshi said he did not "understand it" but that he does "wish it to be a good movie". He felt bad that he wasn't contacted by Zaentz, who was involved in the project, and erroneously said they were screening his film at New Line while working on the live-action films.[44] Nevertheless, he clarified he wished the filmmakers success.[45][59] He claims Warner Brothers approached him with a proposal to make part two at the time, but he complained that they didn't involve him in the live-action film, and refused.[47]

After the films were released Bakshi said that while, "on the creative side", he does "feel good that Peter Jackson continued," he begrudged Saul Zaentz for not notifying him of the live-action films. He said that, with his own film already made, Jackson could study it: "I'm glad Peter Jackson had a movie to look at—I never did. And certainly there's a lot to learn from watching any movie, both its mistakes and when it works. So he had a little easier time than I did, and a lot better budget."[31]

Bakshi had never watched the films,[42] but saw trailers[15] and while he praised the special effects,[60][15] he said that Jackson "didn't understand" Tolkien[47] and created "special effects garbage" to sell toys,[15] saying his film has "more heart" and that, had he a similar budget, would have made a better film.[43] Bakshi was told the live-action film was derivative of his own,[61] and blamed Jackson for not acknowledging this influence: "Peter Jackson did say that the first film inspired him to go on and do the series, but that happened after I was bitching and moaning to a lot of interviewers that he said at the beginning that he never saw the movie. I thought that was kind of fucked up."[31] Bakshi then said that Jackson mentioned his influence "only once" as "PR bologny".[15] Jackson, who took a fan photograph with Bakshi in 1993, remains puzzled about Bakshi's indignation.[44] In 2015, Bakshi apologized for some of his remarks.[15] Bakshi's animator Mike Ploog praised the live-action film.[23]

In fact, Jackson did acknowledge Bakshi's film as early as 1998, when he told a worried fan that he hoped to outdo Bakshi,[62] as well as mentioning in the behind-the-scenes features that "the black Riders galloping out of Bree was an image I remember very clearly [...] from the Ralph Bakshi film."[63] In the audio commentary to The Fellowship of the Ring, Jackson says Bakshi's film introduced him to The Lord of the Rings and "inspired me to read the book" and in a 2001 interview, said he "enjoyed [the film] and wanted to know more".[64] On the audio commentary for the DVD release of The Lord of the Rings: The Fellowship of the Ring, Jackson acknowledges one shot, a low angle of a hobbit at Bilbo's birthday party shouting "Proudfeet!", as an intentional homage to Bakshi's film, which Jackson thought was "a brilliant angle".[56]

Another influence came through one of Jackson's conceptual artists, John Howe, who unwittingly copied a scene from Bakshi's film in a painting that depicted the four Hobbits hiding under a branch from a Ringwraith.[65] The painting was used in the 1987 J. R. R. Tolkien Calendar.[66] Jackson turned the painting into a scene in the film.[15][67]

Legacy Edit

The film was adapted into comic book form with artwork by Spanish artist Luis Bermejo, under licence from Tolkien Enterprises. Three issues were published for the European market, starting in 1979, and were not published in the United States or translated into English due to copyright problems.[68][69]

Warner Bros. (the rights holder to the post-1973 Rankin-Bass library and the pre-1990 Saul Zaentz theatrical library) first released the film on DVD and re-released on VHS in 2001 through the Warner Bros. Family Entertainment label. While the VHS version ends with the narrator saying "Here ends the first part of the history of the War of the Ring.", the DVD version has an alternate narration: "The forces of darkness were driven forever from the face of Middle-Earth by the valiant friends of Frodo. As their gallant battle ended, so, too, ends the first great tale of The Lord of the Rings." Later, The Lord of the Rings was released in a deluxe edition on Blu-ray and DVD on April 6, 2010.[70][71] The Lord of the Rings was selected as the 36th greatest animated film by Time Out magazine,[72] and ranked as the 90th greatest animated film of all time by the Online Film Critics Society.[73]

References Edit

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External links Edit

 
Wikiquote has quotations related to The Lord of the Rings (1978 film).

October 16, 2023
lord, rings, 1978, film, lord, rings, 1978, animated, fantasy, film, directed, ralph, bakshi, from, screenplay, chris, conkling, peter, beagle, based, novel, same, name, tolkien, adapting, from, volumes, fellowship, ring, towers, lord, ringstheatrical, release. The Lord of the Rings is a 1978 animated fantasy film directed by Ralph Bakshi from a screenplay by Chris Conkling and Peter S Beagle It is based on the novel of the same name by J R R Tolkien adapting from the volumes The Fellowship of the Ring and The Two Towers 6 The Lord of the RingsTheatrical release poster by Tom Jung 1 Directed byRalph BakshiScreenplay byChris Conkling Peter S BeagleBased onThe Lord of the Rings by J R R TolkienProduced bySaul ZaentzStarringChristopher Guard William Squire Michael Scholes John Hurt Simon Chandler Dominic Guard Michael Graham Cox Anthony Daniels David BuckCinematographyTimothy GalfasEdited byDonald W ErnstMusic byLeonard Rosenman 2 ProductioncompaniesFantasy Films Saul Zaentz Film ProductionsDistributed byUnited ArtistsRelease datesNovember 15 1978 1978 11 15 United States July 5 1979 1979 07 05 United Kingdom Running time133 minutes 3 CountriesUnited Kingdom United States 4 LanguageEnglishBudget 4 million 2 Box office 32 6 million 3 5 Set in Middle earth the film follows a group of fantasy races Hobbits Men an Elf a Dwarf and a wizard who form a fellowship to destroy a magical ring made by the Dark Lord Sauron the main antagonist Bakshi encountered Tolkien s writing early in his career He had made several attempts to produce The Lord of the Rings as an animated film before producer Saul Zaentz and distributor United Artists provided funding The film is notable for its extensive use of rotoscoping a technique in which scenes are first shot in live action then traced onto animation cels It uses a hybrid of traditional cel animation and rotoscoped live action footage 7 The Lord of the Rings was released in the United States on November 15 1978 and in the United Kingdom on July 5 1979 Although the film received mixed reviews from critics and hostility from disappointed viewers who felt that it was incomplete it was a financial success there was no official sequel to cover the remainder of the story However the film has retained a cult following and was a minor inspiration for New Zealand filmmaker Peter Jackson Contents 1 Plot 2 Cast 3 Production 3 1 Development 3 2 Screenwriting 3 3 Differences from the book 3 4 Directing 3 5 Animation 3 6 Music 4 Canceled sequels 5 Reception 5 1 Box office awards and nominations 5 2 Critical response 5 3 Influence on Peter Jackson s The Lord of the Rings 6 Legacy 7 References 8 External linksPlot EditEarly in the Second Age of Middle earth Elven smiths forge nine Rings of Power for mortal Men seven for the Dwarf Lords and three for the Elf Kings Soon after the Dark Lord Sauron makes the One Ring and uses it to attempt to conquer Middle earth After defeating Sauron Prince Isildur takes the Ring but after he is killed by Orcs the Ring lies at the bottom of the river Anduin for over 2 500 years Over time Sauron captures the Nine Rings and transforms their owners into the Ringwraiths The One Ring is discovered by Deagol whose kinsman Smeagol kills him and takes the Ring for himself The Ring twists his body and mind and he becomes the creature Gollum Peter Woodthorpe who takes it with him into the Misty Mountains Hundreds of years later Bilbo Baggins Norman Bird finds the Ring in Gollum s cave and brings it back with him to the Shire Decades later during Bilbo s birthday celebration the Wizard Gandalf William Squire tells him to leave the Ring for his nephew Frodo Christopher Guard Bilbo reluctantly agrees and departs for Rivendell Seventeen years pass during which Gandalf learns that evil forces have discovered that the Ring is in the possession of a Baggins Gandalf meets Frodo to explain the Ring s history and the danger it poses and Frodo leaves his home taking the Ring with him He is accompanied by three Hobbits his cousins Pippin Dominic Guard Merry Simon Chandler and his gardener Sam Michael Scholes After a narrow escape from the Ringwraiths the hobbits eventually come to Bree from which Aragorn John Hurt leads them to Rivendell Frodo is stabbed atop Weathertop mountain by the chief of the Ringwraiths and becomes sickened as the journey progresses The Ringwraiths catch up with them shortly after they meet the Elf Legolas Anthony Daniels and at a standoff at the ford of Rivendell the Ringwraiths are swept away by the river At Rivendell Frodo is healed by Elrond Andre Morell He meets Gandalf again after the latter escapes the corrupt wizard Saruman Fraser Kerr who plans to ally with Sauron but also wants the Ring for himself Frodo volunteers to go to Mordor where the Ring can be destroyed Thereafter Frodo sets off from Rivendell with eight companions Gandalf Aragorn Boromir Michael Graham Cox son of the Steward of Gondor Legolas Gimli David Buck the Dwarf along with Pippin Merry and Sam Their attempt to cross the Misty Mountains is foiled by heavy snow and they are forced into Moria There they are attacked by Orcs and Gandalf falls into an abyss while battling a Balrog The remaining Fellowship continue through the Elf haven Lothlorien where they meet the Elf queen Galadriel Annette Crosbie Boromir tries to take the Ring from Frodo and Frodo decides to continue his quest alone but Sam insists on accompanying him Boromir is killed by Orcs while trying to defend Merry and Pippin Merry and Pippin are captured by the Orcs who intend to take them to Isengard through the land of Rohan The captured hobbits escape and flee into Fangorn Forest where they meet Treebeard John Westbrook Aragorn Gimli and Legolas track Merry and Pippin into the forest where they are reunited with Gandalf who was reborn after destroying the Balrog The four then ride to Rohan s capital Edoras where Gandalf persuades King Theoden Philip Stone that his people are in danger Aragorn Gimli and Legolas then travel to the Helm s Deep Frodo and Sam discover Gollum stalking them in an attempt to reclaim the Ring and capture him but spare his life in return for guidance to Mount Doom Gollum eventually begins plotting against them and wonders if she might help At Helm s Deep Theoden s forces resist the Orcs sent by Saruman until Gandalf arrives with the absent Riders of Rohan destroying the Orc army Cast EditChristopher Guard as Frodo William Squire as Gandalf Michael Scholes as Sam John Hurt as Aragorn Simon Chandler as Merry 8 Dominic Guard as Pippin Norman Bird as Bilbo Michael Graham Cox as Boromir Anthony Daniels as Legolas David Buck as Gimli Peter Woodthorpe as Gollum Fraser Kerr as Saruman Philip Stone as Theoden Michael Deacon as Wormtongue Andre Morell as Elrond Alan Tilvern as Innkeeper Annette Crosbie as Galadriel John Westbrook as Treebeard 2 This primary cast was supported by a large cast of animation doubles who were not credited on screen the matter went to guild arbitration 9 Production EditDevelopment Edit Director Ralph Bakshi was introduced to The Lord of the Rings by J R R Tolkien during the mid 1950s while working as an animator for Terrytoons In 1957 the young animator started trying to convince people that the story could be told in animation 10 In 1969 the rights were passed to United Artists where an elegant Peter Shaffer script was abandoned Film producer Denis O Dell was interested in producing a film for the Beatles and approached directors David Lean busy with Ryan s Daughter Stanley Kubrick who deemed it unfilmable and Michaelangelo Antonioni John Boorman was commissioned to write a script in late 1969 but it was deemed too expensive in 1970 2 Bakshi approached United Artists when he learned from a 1974 issue of Variety that Boorman s script was abandoned Learning that Boorman intended to produce all three parts of The Lord of the Rings as a single film Bakshi commented I thought that was madness certainly a lack of character on Boorman s part Why would you want to tamper with anything Tolkien did 11 Bakshi began making a yearly trek to United Artists Bakshi had since achieved box office success producing adult oriented animated films such as Fritz the Cat but his recent film Coonskin tanked and he later clarified that he thought The Lord of the Rings could make some money so as to save his studio 12 In 1975 Bakshi convinced United Artists executive Mike Medavoy to produce The Lord of the Rings as two or three animated films 13 and a prequel to The Hobbit 14 Medavoy offered him Boorman s script which Bakshi refused saying that Boorman didn t understand it 15 and that his script would have made for a cheap film like a Roger Corman film 16 Medavoy accepted Bakshi s proposal to do the books as close as we can using Tolkien s exact dialogue and scenes 11 Although he was later keen to regroup with Boorman for his script and his surrogate project Excalibur Bakshi claimed Medavoy didn t want to produce his film at the time but allowed him to shop it around if he could get another studio to pay for the expenses on Boorman s script 16 Bakshi attempted unsuccessfully to persuade Peter Bogdanovich to take on the project but managed to gain the support of the then President of Metro Goldwyn Mayer Dan Melnick 16 11 Bakshi and Melnick made a deal with Mike Medavoy at United Artists to buy the Boorman script Bakshi said later that The Boorman script cost 3 million so Boorman was happy by the pool screaming and laughing and drinking cause he got 3 million for his script to be thrown out 11 Boorman however was unhappy with the project going to animation after Tolkien once wrote to him pleased that he was doing it in live action He never saw Bakshi s film and after it was released tried to remake his live action version with Medavoy 17 Work began on scripts and storyboards When Melnick was fired from MGM in 1976 Bakshi s studio had spent between 200 000 and 600 000 The new executive Dick Shepherd hadn t read the books and according to Bakshi did not want to make the movie 16 Shepherd obliviously asked whether The Lord of the Rings was about a wedding 16 Bakshi then contacted Saul Zaentz who had helped finance Fritz the Cat asking him to produce The Lord of the Rings Zaentz agreed 11 Before production started Bakshi met with Tolkien s daughter Priscilla to discuss how the film would be made She showed him the room where her father did his writing and drawing Bakshi says My promise to Tolkien s daughter was to be pure to the book I wasn t going to say Hey throw out Gollum and change these two characters My job was to say This is what the genius said 18 Bakshi was approached by Mick Jagger 16 who wanted to play Frodo but at the time the roles were already cast and recorded David Carradine 15 also approached Bakshi offering to play Aragorn and even suggested that Bakshi do it in live action while Bakshi s contract allowed this he said it couldn t be done and that he d always seen it as animation 13 He said it was impossible to make it in live action without it being tacky 15 Screenwriting Edit Bakshi began developing the script himself Learning of the project Chris Conkling got an interview with Bakshi but was initially hired to do research to say what the costumes should look like or what the characters would be doing at any given time 19 Together they first decided how to break the films down When they started they contemplated a three film structure but we didn t know how that middle film would work 20 without a beginning and an end Conkling even started writing a treatment for one long three and a half hour feature of the entire work but eventually settled on scripts for two 150 minute films the first of which was titled The Lord of the Rings Part One The Fellowship 21 The second draft 20 of the screenplay written by Conkling 2 told the bulk of the story in flashback from Merry Brandybuck s point of view so as to lead into the sequel 22 21 This version included Tom Bombadil who rescues the Hobbits from the Barrow Downs 21 as well as Farmer Maggot the Old Forest Glorfindel Arwen and several songs 20 21 Bakshi felt it was a much too drastic departure from Tolkien 22 Conkling began writing a draft that was more straightforward and true to the source 22 Still displeased Bakshi and Zaentz called in fantasy author Peter S Beagle for a rewrite 2 22 Beagle s first draft eliminated the framing device and told the story beginning with Bilbo s Farewell Party climaxing with the Battle of Helm s Deep and ending with the cliffhanger of Gollum leading Frodo and Sam to Shelob The revised draft includes a brief prologue to reveal the history of the Ring 22 Fans threatened Bakshi that he d better get it right 19 and according to the artist Mike Ploog Bakshi constantly revised the story to include certain beasts at the behest of such fans 23 Differences from the book Edit Of the adaptation process Bakshi stated that some elements of the story had to be left out but nothing in the story was really altered 10 The film greatly condenses Frodo s journey from Bag End to Bree Stop overs at Farmer Maggot s house Frodo s supposed home in Buckland and the house of the mysterious Tom Bombadil deep in the Old Forest are omitted Maggot and his family Bombadil and his wife Goldberry and the encounter with the Barrow wight are thus all omitted along with Fatty Bolger a hobbit who accompanied Frodo at the beginning According to Bakshi the character of Tom Bombadil was dropped because he didn t move the story along 10 Directing Edit nbsp Bakshi in January 2009Bakshi said that one of the problems with the production was that the film was an epic because epics tend to drag The biggest challenge was to be true to the book 10 When asked what he was trying to accomplish with the film Bakshi stated The goal was to bring as much quality as possible to the work I wanted real illustration as opposed to cartoons 10 Bakshi said that descriptions of the characters were not included because they are seen in the film He stated that the key thing was not how a hobbit looks since everyone has their own idea of such things but that the energy of Tolkien survives 10 In his view what mattered was whether the quality of animation was enough to make the movie work 10 Bakshi was aware of the work of illustrators like the Brothers Hildebrandt without accepting that their style had driven his approach 24 he stated that the film presented a clash of many styles as in his other films 10 Animation Edit Publicity for the film announced that Bakshi had created the first movie painting by utilizing an entirely new technique in filmmaking 10 Much of the film used live action footage which was then rotoscoped to produce an animated look 10 This saved production costs and gave the animated characters a more realistic look In animation historian Jerry Beck s The Animated Movie Guide reviewer Marea Boylan writes that up to that point animated films had not depicted extensive battle scenes with hundreds of characters By using the rotoscope Bakshi could trace highly complex scenes from live action footage and transform them into animation thereby taking advantage of the complexity live action film could capture without incurring the exorbitant costs of producing a live action film 2 Bakshi rejected the Disney approach which he thought cartoony arguing that his approach while not traditional for rotoscoping created a feeling of realism involving up to a thousand characters in a scene 10 Bakshi went to England to recruit a voice cast from the BBC Drama Repertory Company including Christopher Guard William Squire Michael Scholes Anthony Daniels and John Hurt Daniels remembers that The whole cast were in the same studio but we all had to leave a two second gap between the lines which made for rather stilted dialogue 25 For the live action portion of the production Bakshi and his cast and crew went to Spain where the rotoscope models acted out their parts in costume in the open or in empty soundstages Additional photography took place in Death Valley Bakshi was so terrified of the horses used in the shoot that he directed those scenes from inside the caravan 23 Bakshi had a difficult working relationship with producer Saul Zaentz When Zaentz would bring potential investors to Bakshi s studio he would always show them the same sequence of Frodo falling off of his horse at the Ford which was his stunt double actually falling over 23 During the middle of a large shoot union bosses called for a lunch break and Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table and used the footage in the film 26 Many of the actors who contributed voices to this production also acted out their parts for rotoscoped scenes The actions of Bilbo Baggins and Samwise Gamgee were performed by Billy Barty while Sharon Baird served as the performance model for Frodo Baggins 2 Other performers used on the rotoscoping session included John A Neris as Gandalf Walt Robles as Aragorn Felix Silla as Gollum Jeri Lea Ray as Galadriel and Aesop Aquarian as Gimli Although some cel animation was produced and shot for the film 27 28 very little of it appears in the final film Most of the film s crowd and battle scenes use a different technique in which live action footage is solarized per an interview with the film s cinematographer Timothy Galfas in the documentary Forging Through the Darkness the Ralph Bakshi Vision for The Lord of the Rings to produce a more three dimensional look In a few shots the two techniques are combined 19 Bakshi claimed he didn t start thinking about shooting the film totally in live action until I saw it really start to work so well I learned lots of things about the process like rippling One scene some figures were standing on a hill and a big gust of wind came up and the shadows moved back and forth on the clothes and it was unbelievable in animation I don t think I could get the feeling of cold on the screen without showing snow or an icicle on some guy s nose The characters have weight and they move correctly 10 After the Spanish film development lab discovered that telephone lines helicopters and cars could be seen in the footage Bakshi had shot they tried to incinerate the footage telling Bakshi s first assistant director that if that kind of sloppy cinematography got out no one from Hollywood would ever come back to Spain to shoot again 26 Following the live action shoot each frame of the live footage was printed out and placed behind an animation cel The details of each frame were copied and painted onto the cel Both the live action and animated sequences were storyboarded 29 Of the production Bakshi is quoted as saying Making two pictures the live action reference and the actual animated feature in two years is crazy Most directors when they finish editing they are finished we were just starting I got more than I expected The crew is young The crew loves it If the crew loves it it s usually a great sign They aren t older animators trying to snow me for jobs next year 10 Although he continued to use rotoscoping in American Pop Hey Good Lookin and Fire and Ice Bakshi later regretted his use of the technique stating that he felt that it was a mistake to trace the source footage rather than using it as a guide 30 By the time Bakshi was done animating he had only four weeks left to cut the film 16 from a nearly 150 minute 31 rough cut Restoring a piece of animation where Gandalf fights the Balrog replaced in the finished film by a photomontage Eddie Bakshi remarked that little of the film was left on the cutting room floor Bakshi asked three additional months to edit the film but was declined 16 After test screenings it was decided to re cut the end of the picture so that Gollum would resolve leading Frodo and Sam to Shelob before cutting back to Helm s Deep so as to not end the film on a cliffhanger 20 22 Working on the film were Tim Burton Disney animator Dale Baer and Mike Ploog who worked also on other Bakshi animations such as Wizards 32 Music Edit Main article The Lord of the Rings soundtrack The film score was composed by Leonard Rosenman 2 Bakshi wanted to include music by Led Zeppelin but producer Saul Zaentz insisted upon an orchestral score because he would not be able to release the band s music on his Fantasy Records label Rosenman wanted a large score involving a 100 piece orchestra 100 piece mixed choir and 100 piece boy choir 33 but ended up with a smaller ensemble Bakshi initially called his score majestic 24 but later stated that he hated Rosenman s score which he found to be too cliche 34 In Lord of the Rings Popular Culture in Global Context Ernest Mathijs writes that Rosenman s score is a middle ground between his more sonorous but dissonant earlier scores and his more traditional and less challenging sounding music In the final analysis Rosenman s score has little that marks it out as distinctively about Middle Earth relying on traditions of music including film music more than any specific attempt to paint a musical picture of the different lands and peoples of Tolkien s imagination 35 The film s score was issued as a double LP soundtrack album in 1978 36 The album reached number 33 in the Canadian RPM Magazine album charts on February 24 1979 37 Canceled sequels EditThe film was originally intended to be distributed as The Lord of the Rings Part I 11 18 Initially a trilogy was planned but this was revised to two planned films because of the limited budget 38 Arthur Krim resigned from United Artists and was replaced by Andy Albeck According to Bakshi when he completed the film United Artists executives told him that they were planning to release the film without indicating that a sequel would follow because they felt that audiences would not pay to see half of a film 11 18 Bakshi stated that he strongly opposed this and agreed with the shocked viewers who complained that the film was unfinished 11 In his view Had it said Part One I think everyone would have respected it 18 Although UA found that the film while financially successful failed to overwhelm audiences Bakshi began working on a sequel and even had some B roll footage shot The Film Book of J R R Tolkien s the Lord of the Rings published by Ballantine Books on October 12 1978 still referred to the sequel in the book s inside cover jacket 39 Indeed in interviews Bakshi talked about doing a part two film picking up where this leaves off 24 and even boasted that the second film could pick up on sequences that we missed in the first book 20 Zaentz went so far as to try to stop the Rankin Bass The Return of the King TV special which was already storyboarded before Bakshi s film came out from airing so as to not clash with Bakshi s sequel 40 Bakshi was aware of Rankin Bass s The Hobbit TV special and angrily commented that Lord of the Rings is not going to have any song for the sake of a record album 41 During the lawsuit he commented that They re not going to stop us from doing The Lord of the Rings and they won t stop us from doing The Hobbit Anyone who saw their version of The Hobbit know it has nothing to do with the quality and style of our feature My life isn t going to be altered by what Rankin Bass chooses to do badly 40 Years later he called their film an awful rip off version of The Hobbit 42 Bakshi found the two years spent on Rings immensely stressful and the fan reaction scathing He took comfort in talking to Priscilla Tolkien who said she loved it but got into an argument with Zaentz 20 and refused to do Part Two 16 Reports vary as to whether the argument had to do with the dropping of the Part One subtitle 43 or Bakshi s fee for the sequel 33 Bakshi said he was proud to have made part one 44 and that his work was there for anyone who would make part two 15 In interviews leading up to the year 2000 he still toyed with the idea of making the sequel 45 For his part Zaentz said he kept in touch with Bakshi 20 but confided to John Boorman that making the film was the worst experience of his life which made him protective of the property 17 Indeed he commented that the film wasn t as good as we should have made 20 and later remarked that an animated film couldn t do it It was just too complex for animated to handle it with the emotion that was needed and the size and scope 46 During development of the live action films Bakshi said he was approached by Warner Brothers to make the second part but refused as he was angry of not being notified about the live action film 47 He did use the renewed interest in his film to restore it to DVD and had the final line redubbed to bolster the film s sense of finality After the live action films found success Bakshi stated that he would never have made the film if he had known what would happen during the production He is quoted as saying that the reason he made the film was to save it for Tolkien because I loved the Rings very much 31 He concluded that the film made him realize that he was not interested in adapting another writer s story 31 Reception EditBox office awards and nominations Edit The Lord of the Rings was a financial success 48 Reports of the budget vary from 4 2 to 8 million and as high as 12 million 49 while the film grossed 30 5 million at the North American box office It thus made a profit having kept its costs low 2 In the United Kingdom the film grossed over 3 2 million 5 Despite this the reaction from fans was hostile Jerry Beck writes that they intensely dislike d the film s cheap looking effects and the missing ending having been misled by the title to expect the film to cover the whole of the book 2 The film was nominated for a Hugo Award for Best Dramatic Presentation 50 It was nominated for a Saturn Awards for Best Fantasy Film 16 Leonard Rosenman s score was nominated for a Golden Globe for Best Original Motion Picture Score and Bakshi won a Golden Gryphon award for the film at the Giffoni Film Festival 16 Critical response Edit Critics gave mixed responses to the film but generally considered it to be a flawed but inspired interpretation 2 On review aggregator Rotten Tomatoes the film holds an approval rating of 50 based on 44 reviews with an average of 5 5 10 The site s critical consensus reads Ralph Bakshi s valiant attempt at rendering Tolkien s magnum opus in rotoscope never lives up to the grandeur of its source material with a compressed running time that flattens the sweeping story and experimental animation that is more bizarre than magical 51 Frank Barrow of The Hollywood Reporter wrote that the film was daring and unusual in concept 2 Joseph Gelmis of Newsday wrote that the film s principal reward is a visual experience unlike anything that other animated features are doing at the moment 2 Roger Ebert called Bakshi s effort a mixed blessing and an entirely respectable occasionally impressive job which still falls far short of the charm and sweep of the original story 52 Vincent Canby of The New York Times called the film both numbing and impressive 53 David Denby of New York magazine felt that the film would not make sense to viewers who had not previously read the book Denby wrote that the film was too dark and lacked humour concluding that The lurid meaningless violence of this movie left me exhausted and sickened by the end 54 Michael Barrier an animation historian described The Lord of The Rings as one of two films that demonstrated that Bakshi was utterly lacking in the artistic self discipline that might have permitted him to outgrow his limitations 55 Barry Langford writing in the J R R Tolkien Encyclopedia noted the film s deficiencies including the glaringly evident 9 weaknesses in the rotoscoping animation The quality of rotoscoping from filmed live action is limited by the quality of the acting which given the lack of rehearsal and time for retakes was not high The prologue was not rotoscoped but shot as silhouetted dumb show through red filters 9 revealing clumsy mime and confused voiceover announcing that Mordor defeated Elves and Men at the Battle of Dagorlad which Langford observes would make the rest of the action incomprehensible The small budget led to underwhelming battle scenes as in the Mines of Moria where the Fellowship is confronted by what looks like a very small force of Orcs The rotoscoping varies from strongly drawn to almost absent leading to a markedly uneven treatment through the film The characterisation in Langford s view similarly leaves much to be desired 9 Influence on Peter Jackson s The Lord of the Rings Edit The film has been cited as an influence on director Peter Jackson s The Lord of the Rings film trilogy although Jackson said that our film is stylistically very different and the design is different 56 Reading about attempts to make the films live action by Boorman and the Beatles contacting Kubrick and Lean to do the same Jackson agreed animation was the most sensible choice at the time Jackson remembers Bakshi s film as a brave and ambitious attempt 57 In another interview Jackson stated that it had some quaint sequences in Hobbiton a creepy encounter with the Black Rider on the road and a few quite good battle scenes but about half way through the storytelling became very disjointed 58 and it became confusing 57 and incoherent 44 He and his screenwriter and producer Fran Walsh remarked that Bakshi s Treebeard looked like a talking carrot Jackson watched the film for the first time since its premiere in 1997 when Harvey Weinstein screened it to begin the story conferences 44 Ahead of the films release Bakshi said he did not understand it but that he does wish it to be a good movie He felt bad that he wasn t contacted by Zaentz who was involved in the project and erroneously said they were screening his film at New Line while working on the live action films 44 Nevertheless he clarified he wished the filmmakers success 45 59 He claims Warner Brothers approached him with a proposal to make part two at the time but he complained that they didn t involve him in the live action film and refused 47 After the films were released Bakshi said that while on the creative side he does feel good that Peter Jackson continued he begrudged Saul Zaentz for not notifying him of the live action films He said that with his own film already made Jackson could study it I m glad Peter Jackson had a movie to look at I never did And certainly there s a lot to learn from watching any movie both its mistakes and when it works So he had a little easier time than I did and a lot better budget 31 Bakshi had never watched the films 42 but saw trailers 15 and while he praised the special effects 60 15 he said that Jackson didn t understand Tolkien 47 and created special effects garbage to sell toys 15 saying his film has more heart and that had he a similar budget would have made a better film 43 Bakshi was told the live action film was derivative of his own 61 and blamed Jackson for not acknowledging this influence Peter Jackson did say that the first film inspired him to go on and do the series but that happened after I was bitching and moaning to a lot of interviewers that he said at the beginning that he never saw the movie I thought that was kind of fucked up 31 Bakshi then said that Jackson mentioned his influence only once as PR bologny 15 Jackson who took a fan photograph with Bakshi in 1993 remains puzzled about Bakshi s indignation 44 In 2015 Bakshi apologized for some of his remarks 15 Bakshi s animator Mike Ploog praised the live action film 23 In fact Jackson did acknowledge Bakshi s film as early as 1998 when he told a worried fan that he hoped to outdo Bakshi 62 as well as mentioning in the behind the scenes features that the black Riders galloping out of Bree was an image I remember very clearly from the Ralph Bakshi film 63 In the audio commentary to The Fellowship of the Ring Jackson says Bakshi s film introduced him to The Lord of the Rings and inspired me to read the book and in a 2001 interview said he enjoyed the film and wanted to know more 64 On the audio commentary for the DVD release of The Lord of the Rings The Fellowship of the Ring Jackson acknowledges one shot a low angle of a hobbit at Bilbo s birthday party shouting Proudfeet as an intentional homage to Bakshi s film which Jackson thought was a brilliant angle 56 Another influence came through one of Jackson s conceptual artists John Howe who unwittingly copied a scene from Bakshi s film in a painting that depicted the four Hobbits hiding under a branch from a Ringwraith 65 The painting was used in the 1987 J R R Tolkien Calendar 66 Jackson turned the painting into a scene in the film 15 67 Legacy EditThe film was adapted into comic book form with artwork by Spanish artist Luis Bermejo under licence from Tolkien Enterprises Three issues were published for the European market starting in 1979 and were not published in the United States or translated into English due to copyright problems 68 69 Warner Bros the rights holder to the post 1973 Rankin Bass library and the pre 1990 Saul Zaentz theatrical library first released the film on DVD and re released on VHS in 2001 through the Warner Bros Family Entertainment label While the VHS version ends with the narrator saying Here ends the first part of the history of the War of the Ring the DVD version has an alternate narration The forces of darkness were driven forever from the face of Middle Earth by the valiant friends of Frodo As their gallant battle ended so too ends the first great tale of The Lord of the Rings Later The Lord of the Rings was released in a deluxe edition on Blu ray and DVD on April 6 2010 70 71 The Lord of the Rings was selected as the 36th greatest animated film by Time Out magazine 72 and ranked as the 90th greatest animated film of all time by the Online Film Critics Society 73 References Edit A Tom Jung Lord of the Rings key art illustration for the one sheet poster Bonham s 2020 Archived from the original on July 12 2021 Retrieved July 12 2021 a b c d e f g h i j k l m n o Beck Jerry 2005 The Lord of the Rings The Animated Movie Guide Chicago Review Press pp 154 156 ISBN 978 1 55652 591 9 Archived from the original on October 2 2015 Retrieved May 18 2020 a b The Lord of the Rings Box Office Mojo Archived from the original on January 31 2012 Retrieved January 27 2012 The Lord of the Rings 1978 BFI Archived from the original on July 9 2021 Retrieved July 2 2021 a b International Sound Track Variety November 21 1979 p 42 Gaslin Glenn November 21 2001 Ralph Bakshi s unfairly maligned Lord of the Rings Slate Archived from the original on January 5 2013 Retrieved December 28 2020 Macek J C III August 2 2012 American Pop Matters Ron Thompson the Illustrated Man Unsung PopMatters Archived from the original on August 24 2013 Retrieved December 28 2020 a href Template Cite news html title Template Cite news cite news a CS1 maint multiple names authors list link Canby Vincent November 15 1978 The Lord of the Rings The New York Times Archived from the original on October 30 2013 Retrieved December 21 2020 a b c d Langford Barry 2007 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Simmons Areya Ralph Bakshi on the recent DVD release of Wizards Fulvuedrive in com Archived from the original on June 29 2012 Retrieved December 21 2020 Sacks Terence J 2000 Opportunities in Animation and Cartooning Careers McGraw Hill p 37 ISBN 0 658 00183 3 The Lord of the Rings 1978 AFI Catalog Archived from the original on March 8 2021 Retrieved December 21 2020 1979 Hugo Awards The Hugo Awards July 26 2007 Archived from the original on May 7 2011 Retrieved December 21 2020 The Lord of the Rings Rotten Tomatoes Fandango Media September 11 2001 Archived from the original on October 19 2021 Retrieved July 23 2022 Ebert Roger January 1 1978 Review of The Lord of the Rings Chicago Sun Times Retrieved November 1 2022 Canby Vincent November 15 1978 Review of The Lord of the Rings The New York Times Archived from the original on June 6 2016 Retrieved January 9 2007 Denby David December 4 1978 Hobbit hobbled and rabbit ran New York 11 49 153 154 ISSN 0028 7369 Barrier Michael 2003 Hollywood Cartoons American Animation in Its Golden Age Oxford University Press p 572 ISBN 978 0 19 516729 0 Archived from the original on October 19 2021 Retrieved February 16 2021 a b Jackson Peter 2001 The Lord of the Rings The Fellowship of the Ring Director s Commentary New Line Cinema a b Peter Jackson as quoted at the Egyptian Theater in Hollywood on February 6 2004 Conlan Press Audio Archived October 9 2006 at the Wayback Machine Retrieved on August 22 2007 Sibley Brian 2006 Peter Jackson A Film Maker s Journey HarperCollins p 6 ISBN 978 0007175581 Pryor Ian 2004 Peter Jackson From Prince of Splatter to Lord of the Rings Thomas Dunne Books p 72 ISBN 978 0312322946 Gilsdorf Ethan 2006 A 2006 Interview with Ralph Bakshi Ethan Gilsdorf Archived from the original on January 19 2017 Retrieved December 21 2020 An Interview with Ralph Bakshi IGN May 26 2004 Archived from the original on March 18 2020 Retrieved December 28 2020 Ain t it cool news 20 Questions with Peter Jackson Herr der ringe film de Archived from the original on March 18 2020 Retrieved December 28 2020 The Fellowship of the Ring Appendices From Book to Script DVD New Line Cinema 2002 Peter Jackson interview Explorations Barnes amp Noble October November 2001 October 2001 John Howe Illustrator The Black Rider John Howe February 24 2012 Archived from the original on December 14 2019 Retrieved December 28 2020 Tolkien J R R Lee Alan Garland Roger Nasmith Ted Howe John 1986 1987 J R R Tolkien Calendar Ballantine Books Catalim Esmeralda da Conceicao Cunha 2009 The Trilogy of The Lord of the Rings From Book to Film PDF University of Aveiro master s thesis p 48 Archived PDF from the original on June 2 2021 Retrieved December 21 2020 Jackson s films also owe a debt to the imagery of Ralph Bakshi and Saul Zaentz s 1978 cartoon film The cartoon images of the hobbits hiding under tree roots the Ringwraiths raid on the prancing pony and the arrowhead pursuit of Frodo in the Flight to the Ford are all translated into live action J R R Tolkien comics J R R Tolkien miscellanea Tolkien Library Archived from the original on May 30 2012 Retrieved December 21 2020 Warren James Ackerman Forrest J DuRay W B June 1979 The Lord of the Rings The Official Authorized Magazine of J R R Tolkien s Classic Fantasy Epic with 120 Full Color Illustrations from the Exciting Motion Picture PDF Warren special edition pp 1 52 Retrieved June 2 2021 The Lord of the Rings Blu ray Original Animated Classic retrieved June 7 2022 Ralph Bakshi s Lord of The Rings BluRay amp DVD Release Slated for April 6 2010 Release Bakshi Productions Archived from the original on January 18 2014 Retrieved August 4 2007 Adams Derek Calhoun Dave Davies Adam Lee Fairclough Paul Huddleston Tom Jenkins David Ward Ossian 2009 Time Out s 50 greatest animated films with added commentary by Terry Gilliam Time Out Archived from the original on October 11 2009 Retrieved November 11 2009 Top 100 Animated Features of All Time Online Film Critics Society Archived from the original on July 22 2011 Retrieved December 10 2010 External links Edit nbsp Wikiquote has quotations related to The Lord of the Rings 1978 film nbsp Film portal nbsp Cartoon portal nbsp Speculative fiction portalMovie Info The Lord of the Rings at IMDb The Lord of the Rings at The Encyclopedia of Fantasy The Lord of the Rings at the TCM Movie Database The Lord of the Rings at The Big Cartoon DataBase The Lord of the Rings at AllMovie The Lord of the Rings at Box Office Mojo The Lord of the Rings at Rotten Tomatoes Retrieved from https en wikipedia org w index php title The Lord of the Rings 1978 film amp oldid 1180296118, wikipedia, wiki, book, books, library,

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