Il signore degli anelli

I really liked this movie, and it is true, too many people compare it to the Peter Jackson films. Even more impressive was that they fitted two books into one film, many people consider that a mistake and that things were missed out, when actually considering the books aren't very easy to adapt, I thought this film wasn't too bad an attempt. The animation was very impressive, a little dated by our standards, but bear in mind people it was made in the 70s and that it is lower budget than that of Disney or Pixar. The music was very well done especially the orks' march to Isanguaard, very haunting indeed. Though speaking of the orks, a very young audience will find them very frightening, and will be deterred by the sight of blood. The film is also overlong and a bit slow, but anyone who's seen the Peter Jackson films will argue that they have the same problem. The voice talents are exceptional, standouts being Christopher Guard as the idealistic Frodo, William Squire as the wise Gandalf(very good but Ian McKellan was better but only marginally) and John Hurt's brave Strider/Aragorn. Some of the scenes in this film are very hard to depict, like the scenes with the Black Riders(the scene in the inn was genuinely creepy), and I must say, that in general, the execution of those scenes were well-above average. In conclusion, despite the flaws, this film is nowhere near as bad as people say it is. My dad and my brother are both die-hard LOTR fans, and they say that this film was very well done. 7/10 Bethany Cox.

I'm fond of this film and it vexes me that so many "reviewers" rank it below the Peter Jackson trilogy. A filmed novel is always interpretive; in particular an animated film relies on the artist's vision and should be judged on its own terms. Speaking as a purist, this is a finer homage to Tolkien than the updated version. While this film has its flaws it stays truer to the source, especially so far as the characters are concerned.

In the Jackson version Tolkien's Frodo is barely recognizable: from the first scenes he is portrayed as a weakling, constantly wavering, manipulated by forces around him and never standing on his own two feet (this is physically and metaphorically true.) You wonder why fate chose this limp biscuit to carry the one ring to the Cracks of Doom. Jackson unforgivably rewrites Tolkien and robs Frodo of his finest moment when he allows Arwen to rescue him from the Ringwraiths...Bakshi's version respects the original, presenting a Frodo who demands the wraiths "Go back and trouble me no more!" Bakshi sustains Frodo's character as Tolkien conceived it. We see his decline as the weight of his burden increases. Frodo is so pivotal to Lord of the Rings you wonder why Jackson took such liberties (he does so with numerous characters)since character development propels the plot to its inevitable conclusion. Bakshi's film better explores the companionship between Legolas and Gimli in a few judicious scenes that are completely lacking in Jackson's version. Similarly we see Boromir horsing with Pippin and Merry, furthering the idea of fellowship. For my liking the camaraderie is more developed in the animated version than the live action.

Tolkien's poetry is an important ingredient in the novels and Bakshi makes tribute to this in one of my favorite scenes: when Frodo sings the "Merry Old Inn" song, minutes before stumbling into Strider. The cheery tune is chillingly juxtaposed with the darker theme music when seconds later, invisible to his friends but visible to the wraiths, Frodo is dangerously exposed. This is one of the most atmospheric portions of the film and chills me whenever I see it.

The well documented budget/time restrictions limit this film's final impact but had it been completed it may have resonated with more viewers. As it is, it's worth a look. Even its detractors admit that Peter Jackson derived much of his inspiration from this prototype.

I happened upon this movie as an 8-10 year old on a cold, dark November afternoon. I was outside playing all day, freezing, and when I came in around 4pm, I had a cup of hot cocoa and sat down in front of the TV with a blanket. I was surprised to be watching a cartoon that wasn't all happy and silly--and was in fact dark, and moralistic. It captured my imagination. I'm sure it misses the text, and is abbreviated in all the wrong places for the Tolkien purist. But it still captures the spirit of the story, the choice to carry a burden for the good of others, the consequences of selfish, rash decisions, etc. The quality of animation leaves room for complaint. But the one place where this movie clearly rises above the new films is the voice characterizations. John Hurt is great in this. If you don't like how the character is drawn, look away, and just listen to him. His voice is extraordinary. I've seen it again many, many times and it always brings me back to that time, as a kid, thirsty for some magical adventure. It's for this reason I say 'lucky', the film is nostalgic for me so I overlook its shortcomings. But between John Hurt, and Tolkien's fantasy, it still reached me, and still does.

As an animated film from 1978, this is pretty good--generally well above the standard of the days when Disney hadn't done anything good in years (and Tolkien cared little for Disney anyway). It gets major points for innovative and careful camera work, applying cinematic techniques with relative success. The much-maligned rotoscoping actually works pretty well, especially with the Ringwraiths, and the opening narration. However, it is so drastically overused--possibly as a money-saving technique--that it detracts from the overall effect. The same technique that makes wraiths spooky and otherworldly doesn't fare so well in the Prancing Pony.

As for the adaptation of the story, it's actually quite good. We lose little bits here and there, minor details such as the Old Forest and Tom Bombadil, the Gaffer and the Sackville-Bagginses. We compress a few characters, such as revising Legolas as one of Elrond's household and an old friend of Aragorn's, but that's a rather wise decision for film. In books you have room to include the references to the larger world of the Elves and Middle-Earth's vast history. In film, you trade that for visuals and sound that convey the same elements in a different way. Nothing critical is truly lost here, and although I have minor quibbles about some of the changes, I'm generally pretty happy with it.

If only the dratted writers had managed to remember Saruman's name--he's frequently referred to as Aruman, a decision probably made to make him more distinct from similarly-named Sauron; it took me a second viewing before I was certain I hadn't misheard it. It's also annoying that Boromir is a bloody stage viking, and irritable from the start. However, Gandalf is excellent, and most of the rest of the voicework is excellent. If only John Hurt weren't too old to play Aragorn; I love his voice.

Of course, with the film ending at the midpoint of the story, there's a vast disappointment built in. What makes it far, far worse is the altogether miserable job done by the Rankin & Bass crew on the sequel. That they were permitted to do Return of the King after butchering The Hobbit remains a huge mystery; they seem more interested in bad songs than in proper storytelling. For all its faults, this film's heart is solidly in place and it tries very hard to accomplish a nearly impossible task. I can only hope that the upcoming series of films keeps as true to its vision...

This film is a low budget experiment that is very much a product of its time and full of shoddy production values, yet it is also very endearing as a personal experiment. There is an odd mix of art styles including rotoscoping against psychedelic backgrounds. Sometimes this works, creating an otherworldly atmosphere. Sometimes this style is just confusing, inconsistent and messy. Everything is quite a mixed bag, actually. Some of the character designs are dumpy but others are quite heroic. Some of the voice acting is laughable but some of it is emotional and booming. Some of the music is cheesy but some of it is genuinely riveting. The story itself is extremely condensed to its basics but it works well, up until the end when it suddenly cuts off.