LORD OF THE RINGS

US, 1978, 133 minutes, Colour.
Voices: Christopher Guard (Frodo), William Squire (Gandalf), Michael Scholes (Samwise), John Hurt (Aragorn, Strider), Simon Chandler (Merry), Dominic Guard (Pippin), Norman Bird (Bilbo), Michael Graham Cox (Boromor), Anthony Daniels (Legolas), David Buck (Gimli), Peter Woodthorpe (Smeagol, "Gollum”), Fraser Kerr (Saruman), Philip Stone (Theoden), Michael Deacon (Wormtongue), Andre Morell (Elrond), Alan Tilvern (Innkeeper), Annette Crosbie (Galadriel), John Westbrook (Treebeard).
Directed by Ralph Bakshi.

The Lord of the Rings has its audiences in some kind of awe of the novel, the vision and literary skill of the author and the overwhelming popularity of the novel for so long. Perhaps this awe is also overwhelming, for the film requires a constant concentration to follow plot and characters and discern the nature of their quest and motives as well as place it in the context of the fairy tale tradition. Since the film ends halfway through the novel with need for, and promise of a sequel, this does not make comprehension any easier. It seems director Ralph Bakshi relies on familiarity with Tolkein's work, so there are not too many obvious explanations - this can have the effect of making the viewer wonder about the proportioned length of particular episodes and their overall place in the quest.

Artistically, the film has some extraordinarily powerful and beautiful pieces. The red and black shadow animation of the Prologue is excellent. Bakshi achieved fame and notoriety with such R certificate animation as Fritz the Cat as well as the imaginative, quieter science fiction, Wizards. His not being confined to the visuals and language of the 'cartoon' world (where he began his career) gives him a stronger freedom to portray a violent world more strikingly and the faerie world more vividly. His device of shooting a live action version as the basis for all drawings is effective except when this is too noticeable in human sequences retained under lightly sketched surfaces. The British voices are generally a great asset for the dramatics. 'Yes .. but ..' to the impact of The Lord of The Rings.

1. The reputation of J. R. Tolkein and his Middle Earth world? The status of the novel? The qualities of imagination and fantasy? The fable? The world of the Hobbits, as the sane measure in a mad world? Conflict of good and evil?

2. The aim of the film? Its scope: taking only half the story? The needing of completion? The audiences being left eager and having a sense of the need for completion? The epic treatment? Animation? Animation as a method to visual Tolkein? The possibility of adaptation of such a novel to the screen? The possibilities for success of a version of the novel?

3. Ralph Bakshi's qualifications to make Lord of the Rings: the styles of his technique and his previous films? The sense of realism in his animation, social attitudes, violence and sexuality? The parallel with Disney characterisations and yet transforming them? The strength of his delineation of character? His choice of British voices to vocalise the characters? The importance of his technique of live action set-ups and animation over some of these sequences? The editing in of pure animation with the drawn over live action? The use of landscapes? Imaginative landscapes? The richness of colour? especially the opening, the symbolic battles, the variety of colours for the various landscapes and places? A blend of realism and surrealism? The musical score and its contribution, themes? The songs and their atmosphere? The length of the film and audience attention? The overall impact of a version of Tolkein?

4. How much did the audience need to know the book? The language, the names, the mythology? Did the screenplay offer sufficient explanation and background?

5. The characteristics of Tolkein's world: English legend, the world of faerie, of legend, of saga? The scope of legend and saga ? realism, the supernatural? Cosmic clash of good and evil? Man and a variety of creature variations on man? Nature, activity and powers above the natural? The focus on the Hobbits and the world of the Shire: ordinary heroes, strengths and weaknesses, adventures? The theme of adventure and quest? Endurance? Wizards and ogres and changing loyalties? The visualising of the forces of evil and greed? Battles and knights and the traditional presentation of conflict? The presence of the feminine ? limited? The love story element missing?

6. The impact of the prologue and its explanation of the history of the rings? The silhouettes and the use of the black and red? The shapes? The tone and power? The impact of good and evil and the atmosphere for the rest of the film? The explanations of time? The various possessors of the ring? The introduction to Smeagle and his whining evil? Bilbo and his possession of the ring and its coming to the Hobbits?

7. Life in the Shire: the nature of the Hobbits - shape, manner of speaking, size, feet? Tolkein's hoping to show them as the ordinary citizens of the world? Bilbo and his leaving the Shire? Frodo and his place in the Shire - respect? Samwise and his loyalty to Frodo and coming with him? merry and Pippin? The presence of Gandalf? The Wizard and his power? His being welcomed in the Shire? The importance of Bilbo's not having the ring? His use of it? Bequeathing it to Frodo? Gandalf explaining the situation and offering the choices? The explanation of the ring and its power ? the need to be rid of it, return it to its origins?

8. The importance of the Orcs and the Dark Riders? The nine wraiths? Their sinister presence? Their power? The capturing of Merry and Pippin? The battles? The encounter with Treebeard? The riding symbols of evil?

9. The characterisation of Gandalf - his power, warning? The significance of his visit to Saruman and his discovery of Saruman's betrayal and loyalty to the Dark Lord of Mordor, Sauron? The confrontation of the two? Gandalf and his appearances, rescuing Frodo? The build-up to the battle and the cosmic struggle (and its visual style)? Gandalf's fall and his seeming death? The importance of his reappearance as vigorous leader? The song of the children? What did Gandalf represent in terms of humanity, power, leadership, inspiration, wisdom? The significance of the Wizard?

10. The character of Frodo - the ordinary Hobbit, his human qualities, friendliness, earnestness? His coping with the various adventures? His use of common sense? The temptations to use the ring and his using it to disappear? His capacity for friendship, loyalty? Reliance on Gandalf, on Galadriel? The importance of the friendship with Boromir and his disappointment at his greed? Gimli the dwarf, Legolas the elf? The suffering and endurance? The loyalty of Samwise and his contribution of humour? The capture of Gollum? Using Gollum to lead them on their quest?

11. The detail of Frodo's visit - his leaving the Shire, eluding pursuit by hiding, the staying at the inn with the rollicking guests, the singing, his disguise as Mr. Underhill? The encounter with Aragorn? Strider? Strider's presence, his protection and leadership? His decisiveness, heroism and control?

12. How well did the film show each of the members of the group, their various personalities, their coping?

13. The drama with Boromir and his plea, the reasons for his wanting the ring, the temptation, the evil effects of the temptation, his death?

14. The character of Galadriel - her help. the temptation? The feminine presence in the quest?

15. The caricature of Gollum - his previous owning of the ring, his whining insinuation, pleading? The repellent evil? Frodo's power over him and using him, as guide?

16. Rohan as king, his ministering? His place in the battle?

17. The importance of the battles in the film? the way that they were designed, live action, the animation over them?

18. The nature of the quest? the ordinary and extraordinary, danger, support, temptation? The cosmic aspects and the way that these were visualised in decor and landscapes? The apocalyptic battles of good and evil?

19. The basic themes of the Lord of the Rings, human existence, coping with the world in which we live, the possibility of good, evil? Nobility, fall? The use of fairy tale and symbol to communicate this to a 20th century audience?