Il signore degli anelli

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...

More than twenty years before Peter Jackson's visionary adaptation of The Lord Of The Rings, there was this 1978 animated effort from director Ralph Bakshi. An ambitious and reasonably faithful version of the story, this has sadly been rather over-shadowed by the Jackson trilogy. Indeed, many reviewers here on the IMDb (mainly those who saw the newer version first) seem to be fiercely unkind to this version.... but if one applies a little common sense, and takes into consideration the time when it was made and the technical possibilities that existed at that time, then they will realise that this is a pretty good film. Indeed, it was shortly after seeing this animated movie back in the early '80s that I sought out Tolkien's book and immediately became a lifelong fan of these richly detailed Middle Earth adventures. So, in some respects, I owe this film a degree of acknowledgement as the film which shaped my literary tastes forever.

Sauron, the Dark Lord of Middle Earth, forges an all-powerful ring that gives him incredible power. Following a great battle during which Sauron is defeated, the ring falls into possession of a king named Isildur…. but instead of destroying it he foolishly chooses to keep it. For centuries the ring passes from hand to hand, eventually coming into the possession of a hobbit named Frodo Baggins who lives in a peace-loving community known as The Shire. Frodo learns from a wizard named Gandalf that his ring is in fact The One Ring, the very same that was forged by Sauron all those centuries ago, and that its master is once again searching for it in order to restore his dark power over the entire land. Frodo embarks on a perilous journey to protect the ring with three other hobbit companions, but every step of the way they are hunted by Sauron's ring-wraiths, the Black Riders. There follow many adventures, during which a company of nine adventurers is formed to guide the ring to the only place where it can be "unmade" – Mount Doom, in the land of Mordor. The film concludes with Frodo and his best friend Sam on the borders of Mordor, closing ever nearer to their horrifying destination. Meanwhile Gandalf and the other members of the company fight off a huge army of orcs at the legendary fortress of Helm's Deep.

This version covers just over half of the original book. A second instalment was planned to bring the story to an end, but was sadly never completed. While the ending feels abrupt, it does at least end at a sensible point in the story. One has to feel a little frustration and regret that no sequel exists in which we might follow these animated heroes to their eventual goal. The animation is passable, with a nice variety of locales and characters presented in interesting detail. The music by Leonard Rosenman is suitably stirring and fits in appropriately with the epic narrative. The voice-overs are decent, too, especially John Hurt as Aragorn and Peter Woodthorpe as Gollum. On the other hand, Michael Scholes - who provides the voice for Sam - is rather campy and goofy, which is not well suited to the character. The Lord Of The Rings is a commendable attempt to visualise the staggering book on which it is based.

I won't dwell on the purists' outrage over Bakshi's liberties with story or characters. For the most part, they are correct. I'm certainly not coming to the filmmaker's defense, but in the context of the material's density, animation technology of 1978, et al., this guy really took a swing at bringing this thing to the silver screen.

Sadly, the film wasn't that good. Much of the animation was disjointed, and most of the backgrounds were crudely drawn and failed to create the correct atmosphere that one gets from reading the book. I will say, though, that I have always liked the rotoscoping, in particular that of the orcs. There is something exceedingly frightening about the way they are displayed, something today's CGI characterizations seems to miss. Bakshi used this technique in his other works as well, particularly in Wizards, which is a better, if different, film than his version of LotR. But mixing purely-drawn characters (hobbits) with those that are rotoscoped (orcs) just didn't look right here.

I must agree with some others who assert that some of the frame direction and scene selection is oddly similar to Peter Jackson's version of late. And if Jackson was influenced by at least SOME of the look of Bakshi's film, then what's the harm?

If you want to be dazzled, this version of LotR probably won't rouse you. There's many more misses than hits. But it isn't as bad as many would have you believe. If it weren't a Tolkien adaptation, I think it would be received much better.

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.

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.