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...

Godard once said a way to criticize a movie is to just make one, and probably the strongest kind that could be made about Ralph Bakshi's take on Tolkien's magnum opus the Lord of the Rings, has actually been made by Peter Jackson. The recent trilogy, to me, aren't even total masterpieces, but they are given enough room with each book to breath in all the post-modern techniques crossed with classical storytelling to make them very good, sweeping entertainments.

But as one who has not read the books, I end up now looking upon the two versions, live-action (albeit partly animated in its big visual effects way) and animated (albeit partly done with actual live action as the framework) in relation to just the basic story, not even complete faithfulness to the books. And with Bakshi's version, it's almost not fair in a way, as what we do see is really not the complete vision, not what Jackson really had (probably final cut). Robbed of Return of the King's big climactic rush of the story, and with the other two parts becoming rushed, I ended up liking it more for what it did within its limitations, though as such those same limitations make it disappointing.

What's interesting too, after seeing the Jackson films first- which I also slightly regret being that I might've reacted to this differently when I was younger and prior to five years ago- is that the basic elements of the story never get messed up with. Everything that is really needed to tell the Fellowship of the Ring story is actually pretty much intact, and if anything what was probably even more gigantic and epic in Tolkien's book is given some clarity in this section. The actors playing the parts of the hobbits and the other heroes, are more or less adequate for the parts, with a few parts standing out (John Hurt as Aragorn and William Squire as Gandalf).

The lack of extra characterization does end up making things seem a little face-value for those who've not even seen the other films or read the books and can't put them into context. But there is some level of interest always with the characters, and here there's a more old-fashioned sensibility amid the large aura of it being more. This is not a garden variety Disney adaptation- warts and all, this is a Bakshi film, with his underground animation roots colliding with the mythical world of Middle Earth.

And what Bakshi and his animation team bring to the film is one that ends up giving what is on screen, in all its abbreviated form, its hit or miss appeal. Along with being not totally complete as a film, or as stories, the form of the film is an experiment, to see if something can be entirely rotoscoped. The results end up bringing what seems now to be retro, but at the time of course was something that was a rough, crazy inspiration on the part of the filmmakers. Might it have been better with more traditional drawn animation? In some parts, yeah; it does become a little noticeable, as was also the case in Bakshi's American Pop, that the main characters move in such ways that are a little shaky, like some kind of comic-book form done in a different way. Still, there's much I admired in what was done.

The orcs, for example, I found to be really amazing in they're surreal surroundings. They're maybe the best part of the combination of the animation on top of the live-action, especially during parts where there isn't battle footage (that's really the real hit-or-miss section, as there isn't continuity from the good and bad rotoscoping), and the chiaroscuro comes through with big shapes on top of horseback. It's creepy in a good way. And the backgrounds, while also very rough and sometimes too sketchy, are beautiful with the mixtures and blasts of colors together. It's almost something for art-film buffs as much as for the ring-nuts.

So, how would I recommend this animated take on the Lord of the Rings? I don't know, to tell the truth. It's certainly a good notch above the other Tolkien animated film I've seen, the Hobbit (and I've yet to see the animated ROTK), and there is some real artistry going on. There's also some stilted dialog, an all-too-rushed Two Towers segment with the most intriguing character Gollum being reduced to maybe two scenes in all. And seeing something as fragmented like this ends up only reinforcing the completeness of the more recent films.

If you're a fan of the books contemplating checking this out, I would say it's worth a chance, even if it's one of those chances where you watch for forty minutes and then decide whether to stop it or not. As for it fitting into Bakshi's other films I've seen it's an impressive ambitious and spotty achievement, where as with Lynch's Dune it's bound to draw a dark, mordor-like line in the sand between those who hate it passionately and those who don't. I don't.

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.

As a kid I was quite astonished with the dark and gloomy tone of this film, especially in comparison to Rankin/Bass's take on the same material around the same period. Also at the time I didn't really care for the animation, which I found to be rather cold and creepy (having no idea it was rotoscoped or even what rotoscoping was). However as the years have gone by and the Jackson adaptations come and gone, I feel more and more drawn to this rare piece of absolutism as I would a painting by Vincent Van Gogh or Salvadore Dali.

Bakshi always had a flair for adult-oriented animation, and finally with this he found a subject befitting of his style. Lord of the Rings is some overall dark, intriguing material in comparison with The Hobbit and really was deserving of something imaginative and stylistic as only Bakshi's team could deliver. Most everything comes together quite well here with the bizarre rotoscoped animation, the characterizations, the voice performances, and Leonard Rosenman's supercharged score (one of his career best, up there and quite similar to his work on THE CAR and RACE WITH THE DEVIL). It's rather unfortunate that funding ran out and the project had to be hurriedly wrapped, quite a similar heartbreaking story as to what happened with his previous year's WIZARDS.

The film is clearly unfinished in many regards. The most heinous act it commits is to end right in the middle of a major action scene with absolutely no resolution to speak of! Even ignoring its abbreviation of the books, one has to admit that narratively this film is a complete disaster. I can't imagine the marketing for this movie honestly claiming it to only be the first half of the book trilogy brought to screen. Needless to say I'd be surprised if angry audiences didn't get up and boo at the screen en masse back in 1978 witnessing perhaps the biggest cheat or, dare I say even, "rip off" in cinematic history.

Similarly this film has a very rough feel to it in terms of animation and pacing and is entirely inconsistent. Things begin fairly polished and kid-friendly but get darker, drearier, more violent (with some surprisingly graphic gore), and sloppier as the film goes on. By the end we get the vast majority of the film not even properly animated and more or less just treated film material with undercranked smoke and clouds filling in the for the background plates. It's quite similar to the bizarre psychedelic cost saving measures Bakshi made when he took over the second season of the animated 60's "Spiderman" cartoons. This whole Joseph Conradian experience of a descent into hell is pretty overwhelming, oppressive, and possibly even emotionally scarring for young viewers, but it's something I've strangely come to love about this film over time.

Yes, dare I say it, I just love this movie. You can't deny that it has its share of magical moments like Frodo's escape from the Wraiths, Gandalf opening the doors to Moria, and the showdown with the Balrog. Much like David Lynch's DUNE it created a vivid, creative, and whole-hearted realization of a world out of the severe butchery its source material. There's a small, artistic, and very personal loving feel given to this movie which I found lacking in Jackson's trilogy. Bakshi and his overworked team of animators may not have created the best film ever, but they did a lot with the little they had. I just wish they'd been able to see it through.