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The Lord of the Rings (1978) poster 1

Official film poster

J.R.R. Tolkien's The Lord of the Rings is a 1978 animated fantasy film directed by Ralph Bakshi. It is an adaptation of the first half of J. R. R. Tolkien's The Lord of the Rings. Set in Middle-earth, the film follows a group of hobbits, elves, men, dwarves and wizards who form a Fellowship. They embark on a quest to destroy the One Ring made by the Dark Lord Sauron, and ensure his destruction. The film features the voices of William Squire, John Hurt, Michael Graham Cox and Anthony Daniels. The screenplay was written by Peter S. Beagle, based on an earlier draft by Chris Conkling.

Director Ralph Bakshi encountered Tolkien's writing early in his career, and had made several attempts to produce The Lord of the Rings as an animated film before being given funding by producer Saul Zaentz and distributor United Artists. 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. Although the film was a financial success, it received a mixed reaction from critics, and the original distributors refused to fund a sequel to cover the remainder of the story. However, the film sparked new interest in Tolkien's writing, inspiring the production of several further adaptations of the story.


Early in the Second Age of Middle-earth, elven smiths forged nineteen Rings of Power for mortal men, the Dwarf-Lords, and the Elf-Kings. At the same time, the Dark Lord Sauron made the One Ring to rule them all. As the Last Alliance of Elves and Men fell, the Ring fell into the hands of Prince Isildur from across the sea, and after Isildur was killed by orcs, the Ring lay at the bottom of the river Anduin. Over time, Sauron captured the nine Rings made for men and turned their owners into the Ringwraiths, terrible beings who roamed the world searching for the One Ring. The Ring was found by two friends, one of whom, Sméagol, was so enticed by the Ring's power that he killed his friend Déagol to get it. The Ring warped him into a twisted, gurgling wretch known only as Gollum. His "precious" Ring was later accidentally discovered and taken by the hobbit Bilbo Baggins.

Years later, during Bilbo's birthday celebrations in the Shire, the wizard Gandalf tells him to leave the Ring for Frodo Baggins. Bilbo agrees, and leaves the Shire. Seventeen years pass, during which Gandalf learns that the Shire is in danger: evil forces have discovered that the Ring is in the possession of a Baggins. Gandalf meets with Frodo to explain the Ring's history and the danger it poses to all of Middle-earth. Frodo leaves his home, taking the Ring with him.

He is accompanied by three hobbit friends, Pippin, Merry, and Sam. After a narrow escape from the Ringwraiths pursuing them, the hobbits eventually come to Bree, where they meet Aragorn (who is first introduced to them as Strider), a friend of Gandalf's, who leads them the rest of the way to Rivendell. Frodo is stabbed atop Weathertop mountain by the chief of the Ringwraiths with a knife imbued with evil magic. Part of the knife stays inside him, and he gets sicker as the journey progresses. The Ringwraiths catch up with them shortly after they meet the elf Legolas, and at a standoff at the ford of Rivendell, the Ringwraiths are swept away by the enchanted river. At Rivendell, Frodo is healed by its lord, Elrond. He meets Gandalf again, held captive by his fellow wizard Saruman, who plans to join with Sauron but also wants the Ring for himself. Bilbo, Gandalf, and the others argue about what should be done with the One Ring, and Frodo volunteers to go to Mordor, where the Ring can be destroyed. Frodo sets off from Rivendell with eight companions: Gandalf; Aragorn; Boromir, son of the Steward of Gondor; Legolas; Gimli the dwarf; and Frodo's original three hobbit companions.

File:Bakshi Orcs.jpg

Their attempt to cross the Misty Mountains is foiled by heavy snow, and they are forced to take a path under the mountains via Moria. Moria was an ancient dwarf kingdom, but is now full of orcs and other evil creatures, and Gandalf falls into an abyss after battling a balrog. The remaining eight members of the Fellowship continue through the elf-haven Lothlórien, but Boromir tries to take the Ring from Frodo. Frodo decides to leave the others behind and continue his quest alone, although faithful Sam insists on accompanying him.

Boromir is killed by orcs while trying to defend Merry and Pippin. They are captured by the orcs, who intend to take them to Isengard through the land of Rohan. The hobbits escape and flee into Fangorn forest, where they meet Treebeard, a huge tree-like creature. Aragorn, Gimli, and Legolas track Merry and Pippin; they find small footprints and follow them into Fangorn Forest. There, they find Gandalf, whom they believed had died in the mines of Moria. The four ride to Rohan's capital, Edoras, where Gandalf persuades King Théoden that his people are in danger. Aragorn, Gimli and Legolas then travel to the defensive fortification Helm's Deep.

Frodo and Sam, meanwhile, discover Gollum stalking them, and capture him. Frodo pities him, and lets him live in return for guidance to Mount Doom. Gollum promises to lead them to a secret entrance to Mordor. At Helm's Deep, Théoden's forces struggle to resist an onslaught of orcs sent by Saruman. Gandalf arrives the next morning with the Riders of Rohan just in time, destroying the orc army.



Director Ralph Bakshi was introduced to The Lord of the Rings 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.[1] At the time, the film rights to the story were held by Walt Disney,[2] but in 1968, the rights were passed to United Artists, where filmmakers Stanley Kubrick and John Boorman each tried to adapt the story.[2]

In the mid-1970s, Bakshi, who had since achieved box office success producing adult-oriented animated films such as Fritz the Cat, learned of UA and Boorman's attempts to adapt the story. He was told that Boorman had planned to produce all three parts of The Lord of the Rings as a single film, and 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?"[3] When Boorman's proposed adaptation fell apart, Bakshi approached the studio and proposed that he direct a three-part animated film adaptation of the book:


The Metro-Goldwyn-Mayer office was located in the same building, and Bakshi spoke to then-president Dan Melnick. "I thought he would understand what The Rings meant, because UA did not."[3] Bakshi and Melnick made a deal with Mike Medavoy at United Artists to buy the Boorman script. "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."[3] However, after Melnick was fired from MGM, the deal fell through.[3] Bakshi then contacted Saul Zaentz (who had helped finance Fritz the Cat) to ask him to produce The Lord of the Rings, and Zaentz agreed. Before the production started, the original three-part adaptation was negotiated down to two parts at United Artists, and 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.'"[4]


Ralph Bakshi states 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."[1] 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."[1] Bakshi states that descriptions were removed because they are seen in the film:


Bakshi's major artistic influences on the film were classical illustrators such as Howard Pyle and N. C. Wyeth; he stated that no contemporary illustrators were an influence on the style of the film.


Screenwriting and developmentEdit

An early draft of the screenplay was written by Chris Conkling,[2] who told the bulk of the story in flashback, from Merry Brandybuck's point of view.[5] After Bakshi and Zaentz saw Conkling's first draft, fantasy author Peter S. Beagle was called in for a rewrite.[2][5] According to the website of publisher Conlan Press, Beagle wrote multiple drafts of the script for only $5,000, on the strength of promises from Saul Zaentz to hire him for other, better-paying projects afterward. Zaentz later reneged on these promises.[6]

The film makes some deviations from the book, but overall follows Tolkien's narrative quite closely. Of the adaptation process, Bakshi stated that elements of the story "had to be left out but nothing in the story was really altered."[1] The film greatly condenses Frodo's journey from Bag End to Bree. Stop-overs at Farmer Maggot's house, Frodo's home in Buckland, and the house of the mysterious Tom Bombadil deep in the Old Forest are omitted. Maggot and his family and Bombadil and his wife Goldberry 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."[1]

Some changes were cosmetic in nature. For example, Saruman the White adopts the title "Saruman of Many Colours" as in Tolkien's novel. In it he initially wore white but modified his robe.[7] However, in the film his robes are neither white nor multicoloured, but are in different shades of red. Legolas wears silver and grey clothes whereas in the book he is "clad in green and brown".[7] Aragorn too wore "rusty green and brown"[8] in the book whereas his garments are in different shades of brown in the film. Boromir wears a horned helmet, which has no precedent in the book.

The scene where the Ringwraiths arrive in the hobbits' room and slash at their beds, only to find that they are not there, is not in the book, only the discovery of the aftermath.[9] Also, Tolkien implies that the attack was carried out by agents of the Ringwraiths in Bree, possibly including one Bill Ferny, not the Ringwraiths themselves (though they were present in the town).

The depiction of the battle of Helm's Deep differs in some details from the book. Notably, the fortress itself is called "Helm's Deep" in the film while in the book it was called the "Hornburg", and "Helm's Deep" is the name of the valley where it is located,[10] or more precisely, the ravine behind the fortress.[11] The explosive-like "blasting-fire", here the "Fire of Isengard," appears as magical projectiles shot from Isengard itself. Éomer is portrayed as a renegade found by Gandalf; together, they save the day at Helm's Deep. In the book, he was present at the battle, and Gandalf arrives with Erkenbrand.[10]


File:LOTR cast.jpg

Publicity for the film announced that Bakshi had created "the first movie painting" by utilizing "an entirely new technique in filmmaking."[1] Much of the film used live-action footage which was then rotoscoped to produce an animated look.[1] This saved production costs and gave the animated characters a more realistic look. Animation historian Jerry Beck wrote in The Animated Movie Guide 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 can capture without incurring the exorbitant costs of producing a live-action film."[2]


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. 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.[12] 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.[13] Although some cel animation was produced and shot for the film,[14][15] 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 posterized to produce a more three-dimensional look. In a few shots the two techniques are combined.

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."[1] 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."[12]

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.[16] Of the production, Bakshi is quoted as saying, Template:Quote

Although he continued to use rotoscoping in American Pop, Hey Good Lookin', and Fire and Ice, Bakshi later regretted his use of rotoscoping, stating that he felt that it was a mistake to trace the source footage rather than using it as a guide.[17] Tim Burton worked as a cel painter on the film. He would become an animator for Disney, and later a film director in his own right.[4][18]


Main article: The Lord of the Rings (soundtrack)

The film's score was composed by Leonard Rosenman. 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. Bakshi later stated that he hated Rosenman's score, which he found to be too cliché.[19] 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."[20] The film's score was issued as a double-LP soundtrack album in 1978. A limited collector edition was created by Fantasy Records as a picture disc double LP featuring four scenes: The Hobbits leaving Hobbiton, The Ringwraiths at Bree, Gandalf and the Balrog, Journey with the Orcs. In 2001, the album was reissued on compact disc, with bonus tracks.[21]



The film was originally intended to be distributed as The Lord of the Rings Part One.[3][4] 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.



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.[22] Bakshi states 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."[18]

Bakshi also stated that he felt that the film "took more out of me than I got back." Template:Quote


The Lord of the Rings was a financial success.[23] The film grossed $30.5 million at the box office[2] (the budget was $4 million).[2] The film was nominated for both the Hugo and Saturn Awards for Best Dramatic Presentation and Best Fantasy Film, respectively. 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.[24]

Critical responseEdit

Critics were generally mixed in their responses to the film, but generally considered it to be a "flawed but inspired interpretation".[2] In The Hollywood Reporter, Frank Barrow 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.[25] Vincent Canby of the New York Times called the film "both numbing and impressive."[26] 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 humor, concluding that "The lurid, meaningless violence of this movie left me exhausted and sickened by the end."[27] Film website Rotten Tomatoes, which compiles reviews from a wide range of critics, gives the film a score of 47%.[28]

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."[29]


The film has been cited as an influence on director Peter Jackson's film trilogy based on The Lord of the Rings. After initially denying having seen Bakshi's film, Jackson admitted to having first encountered The Lord of the Rings via Bakshi's film, stating that while the film was a "brave and ambitious attempt," he wasn't initially inspired to read the books.[30] In another interview, Jackson stated that he "enjoyed [the film] and wanted to know more."[31] Bakshi is quoted as saying "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."[18] Jackson's adaptation borrows from Bakshi's version. 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.

Bakshi is quoted as saying that he had "mixed feeling[s]" about Jackson's adaptations, although he had not seen the films. "In some respects I feel good that Peter Jackson continued and went on, and in some respects I feel bad that Saul Zaentz, the producer, and various people never called me, thanked me, or asked my permission to do the movie. [...] [Nor] has anyone sent me a bottle of wine, on the tremendous success. [...] But I have more feelings on the business side of that than I do on the creative side. 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."[18]


The film was adapted into comic book form with artwork by Spanish artist Luis Bermejo, under license 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.[32][33]

Bakshi's film sparked enough interest in Tolkien's work to provoke not only an animated TV special produced by the Rankin-Bass animation studio based on The Return of the King, but a complete adaptation of The Lord of the Rings on BBC Radio. For this broadcast, Michael Graham Cox and Peter Woodthorpe reprised their roles of Boromir and Gollum, respectively.

Warner Bros. (the rights holder to the post-1974 Rankin-Bass library and most of the Saul Zaentz theatrical backlog) has released The Hobbit, The Lord of the Rings, and The Return of the King on VHS and DVD, both packaged separately and as a boxed-set "trilogy" of films.[34][35] The Lord of the Rings is currently out of print as a separate release.[36] In 2003, the Online Film Critics Society ranked the film as the 90th greatest animated film of all time.[37]

References Edit

External links Edit

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