The Lord of the Rings (1978 film)

• 1. Animated Adaptation Genesis

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  Ralph Bakshi first encountered J.R.R. Tolkien's writing in the mid-1950s while working as an animator for Terrytoons. He began trying to convince people that the story could be told in animation by 1957. United Artists eventually passed the rights to them in 1969, but early attempts failed. John Boorman was commissioned to write a script in late 1969, yet it was deemed too expensive in 1970. Bakshi approached United Artists after learning from a 1974 issue of Variety that Boorman's script had been abandoned. He believed making all three parts as a single film was madness and lacked character. Bakshi made yearly treks to United Artists to pitch his own version. His recent film Coonskin had tanked, so he thought The Lord of the Rings could make money to save his studio. In 1975, Bakshi convinced United Artists executive Mike Medavoy to produce two or three animated films plus a prequel to The Hobbit. Medavoy offered him Boorman's script, which Bakshi refused because he felt Boorman did not understand the source material. Bakshi proposed using Tolkien's exact dialogue and scenes to stay true to the books. Dan Melnick, then President of Metro-Goldwyn-Mayer, supported the project until he was fired in 1976. By then, Bakshi's studio had spent between $200,000 and $600,000. New executive Dick Shepherd asked if The Lord of the Rings was about a wedding. Bakshi contacted Saul Zaentz, who agreed to produce the film. Before production started, Bakshi met with Tolkien's daughter Priscilla to discuss how the film would be made.

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• 2. Rotoscoping Technique Analysis

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  The film utilized live-action footage that was traced onto animation cels to create its unique visual style. This technique saved production costs while giving characters a more realistic look than traditional cel animation. Animation historian Jerry Beck noted that up to that point, animated films had not depicted extensive battle scenes with hundreds of characters. Bakshi could trace highly complex scenes from live-action footage without incurring the exorbitant costs of producing a full live-action film. He rejected the Disney approach which he thought too cartoony. His method created a feeling of realism involving up to a thousand characters in a single scene. Bakshi went to England to recruit a voice cast from the BBC Drama Repertory Company. For the live-action portion, the cast and crew traveled to Spain where rotoscope models acted out their parts in costume. Additional photography took place in Death Valley. Bakshi directed horse scenes from inside his caravan because he was terrified of the animals used. During a large shoot, union bosses called for a lunch break. Bakshi secretly shot footage of actors in Orc costumes moving toward the craft service table and used it in the final cut. The actions of Bilbo Baggins were performed by Billy Barty, while Sharon Baird served as the performance model for Frodo Baggins. Other performers included John A. Neris as Gandalf and Walt Robles as Aragorn. Each frame of the live footage was printed out and placed behind an animation cel. Details were copied and painted onto the cel. Some sequences were solarized to produce a more three-dimensional look.

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• 3. Fellowship Journey Summary

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  Early in the Second Age of Middle-earth, Elven smiths forged nine Rings of Power for mortal Men. The Dark Lord Sauron made the One Ring to control them and attempted to conquer Middle-earth. Prince Isildur took the Ring after defeating Sauron but was eventually killed by Orcs. The Ring lay at the bottom of the river Anduin for over 2,500 years. Sauron captured the Nine Rings and transformed their owners into the Ringwraiths. Déagol discovered the One Ring, and his kinsman Sméagol killed him to take possession. The Ring twisted Sméagol's body and mind until he became Gollum. Hundreds of years later, the Ring found Bilbo Baggins in Gollum's cave. Decades later, during Bilbo's birthday celebration, the Wizard Gandalf told him to leave the Ring for his nephew Frodo. Seventeen years passed before Gandalf met Frodo to explain the danger. Frodo left his home accompanied by Pippin, Merry, and Sam. They escaped from the Ringwraiths and came to Bree. Aragorn led them to Rivendell where Frodo was stabbed atop Weathertop mountain. At Rivendell, Frodo was healed by Elrond. He met Gandalf again after the wizard escaped Saruman. Frodo volunteered to go to Mordor with eight companions including Boromir, Legolas, and Gimli. Their attempt to cross the Misty Mountains failed due to heavy snow. They were forced into Moria where they were attacked by Orcs. Gandalf fell into an abyss while battling a Balrog. The remaining Fellowship continued through Lothlórien where they met Galadriel. Boromir tried to take the Ring from Frodo but was killed by Orcs defending Merry and Pippin. Merry and Pippin were captured by Orcs who intended to take them to Isengard. They escaped and fled into Fangorn Forest where they met Treebeard. Aragorn, Gimli, and Legolas tracked them into the forest. They reunited with Gandalf who had been reborn after destroying the Balrog.

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• 4. Voice Cast and Performance Models

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  Bakshi recruited his voice cast from the BBC Drama Repertory Company in England. Christopher Guard played Frodo while William Squire voiced Gandalf. Michael Scholes performed as Sam and John Hurt portrayed Aragorn. Simon Chandler provided the voice for Merry and Dominic Guard played Pippin. Norman Bird voiced Bilbo Baggins and Michael Graham Cox spoke for Boromir. Anthony Daniels lent his voice to Legolas and David Buck became Gimli. Peter Woodthorpe was Gollum and Fraser Kerr played Saruman. Philip Stone voiced King Théoden. A large cast of animation doubles supported this primary group without receiving screen credits. This matter went to guild arbitration. The whole cast recorded lines in the same studio but had to leave a two-second gap between dialogue. This made their delivery rather stilted. For the live-action portion, actors acted out their parts in costume in Spain or empty soundstages. Sharon Baird served as the performance model for Frodo Baggins. Billy Barty performed the actions of Bilbo Baggins. John A. Neris acted as Gandalf's physical model while Walt Robles played Aragorn. Felix Silla performed as Gollum and Jeri Lea Ray modeled Galadriel. Aesop Aquarian served as Gimli's motion reference. Many of the actors who contributed voices also acted out their parts for rotoscoped scenes.

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• 5. Critical Reception and Fan Hostility

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  The Lord of the Rings grossed $30.5 million at the North American box office despite a budget varying from $4 to $8 million. It grossed over $3.2 million in the United Kingdom. Reports suggest the film reached as high as $12 million in production costs. Despite financial success, fan reaction was hostile. Jerry Beck wrote that fans intensely disliked the cheap-looking effects and missing ending. Viewers felt misled by the title into expecting coverage of the entire book. The film received mixed reviews from critics but generally considered it a flawed yet inspired interpretation. Frank Barrow of The Hollywood Reporter called it daring and unusual in concept. Joseph Gelmis of Newsday noted its visual experience was unlike other animated features. Roger Ebert described Bakshi's effort as a mixed blessing that fell short of the original story's charm. Vincent Canby of The New York Times found the film both numbing and impressive. David Denby of New York magazine felt the movie would not make sense without prior reading of the book. He concluded the lurid violence left him exhausted and sickened. Michael Barrier described the film as demonstrating Bakshi's lack of artistic self-discipline. Barry Langford noted glaring weaknesses in the rotoscoping animation quality. The prologue used silhouetted dumb show through red filters revealing clumsy mime. The small budget led to underwhelming battle scenes in the Mines of Moria. The characterisation left much to be desired according to some critics. The film was nominated for a Hugo Award for Best Dramatic Presentation and a Saturn Award for Best Fantasy Film.

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• 6. Influence on Peter Jackson Trilogy

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  Peter Jackson cited Bakshi's film as an influence despite stylistic differences between the two productions. Jackson said their film is stylistically very different and the design differs significantly. Reading about attempts to make live-action films by Boorman and the Beatles contacting directors like Kubrick, Jackson agreed animation was the most sensible choice at the time. He remembered Bakshi's film as a brave and ambitious attempt. Jackson recalled quaint sequences in Hobbiton and a creepy encounter with the Black Rider on the road. He found about half way through the storytelling became disjointed and confusing. His screenwriter 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. Ahead of release, Bakshi claimed he did not understand Jackson's project but wished it to be good. He felt bad about not being contacted by Zaentz who was involved in the live-action project. Bakshi claimed Warner Brothers approached him to make part two but refused because they did not involve him. After the live-action films were released, Bakshi stated he would never have made his own if he had known what happened during production. He concluded the reason he made the film was to save it for Tolkien because he loved the Rings very much. Jackson acknowledged Bakshi's film as early as 1998 when he told a worried fan he hoped to outdo Bakshi. In audio commentary, Jackson mentioned the black Riders galloping out of Bree was an image he remembered clearly from the Ralph Bakshi film.

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• 7. Canceled Sequel Development

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  The film was originally intended to be distributed as The Lord of the Rings Part I. A trilogy was planned initially but revised to two films due to limited budget. Arthur Krim resigned from United Artists and was replaced by Andy Albeck. When Bakshi completed the film, United Artists executives told him they planned to release it without indicating a sequel would follow. They believed audiences would not pay to see half of a film. Bakshi strongly opposed this decision and agreed with shocked viewers who complained the film was unfinished. Although UA found the film financially successful, it failed to overwhelm audiences. Bakshi began working on a sequel and even shot some B-roll footage. The Film Book of J.R.R. Tolkien's the Lord of the Rings published by Ballantine Books on the 12th of October 1978 still referred to the sequel in its inside cover jacket. Zaentz tried to stop Rankin/Bass's The Return of the King TV special from airing so as not to clash with Bakshi's sequel. Bakshi found the two years spent on Rings immensely stressful and fan reaction scathing. He took comfort talking to Priscilla Tolkien who said she loved it. He got into an argument with Zaentz and refused to do Part Two. Reports vary regarding whether the argument involved dropping the Part One subtitle or Bakshi's fee for the sequel. In interviews leading up to the year 2000, he still toyed with making the sequel. Zaentz confided to John Boorman that making the film was the worst experience of his life. He remarked that an animated film could not handle the complexity needed for emotion and scope. During development of live-action films, Bakshi was approached by Warner Bros. but refused because he was angry about not being notified.

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