followed Wizards (1977) with the grandfather of all fantasy narratives: The Lord Of The Rings (1978). With the success of his previous work, Bakshi was given an astronomical budget (in 1978) of four million dollars (the box office take exceeded 30 million). Predictably, J.R.R. Tolkien’s elf fan boys were mighty upset with the news that the man behind that obscene Fritz the Cat would be directing. Per the norm, the fans were wrong when they protested that Bakshi would make a travesty of Tolkien. Actually, Bakshi’s adaptation is largely faithful to the first two books. made his (uncredited) Hollywood debut here as one of the animators. This was also the first animated film that was extensively rotoscoped. A few purists cried foul, but generally, critics and audiences disagreed. Bakshi originally conceived of using a Led Zepplin score for LotR, and one can only wonder how that might have affected the final work. Unfortunately, he could not negotiate rights to the rock band’s music and used Leonard Rosenman instead (a decidedly mediocre film composer).
At the time of its release, LotR was the longest feature-length animated film, with the exception of Fantasia (1940), which originally was a stateside flop. Bakshi and producer Saul Zaentz indeed took a considerable risk, which paid off, at least at the box office. The film was unfortunate to be made during a studio shakeup at United Artists, which resulted in a change of producers midstream and budget cuts, ultimately resulting in an unfinished work (originally, the plan was for a trilogy). The tension shows on screen, and too much is packed into the two-and-a-half hour running time. Minor flaws aside, it’s a beautifully mounted, innovative, ambitious production.
Like Wagner’s Ring Cycle, perhaps a perfect LotR only exists on the printed page.‘s admirable but too-zealous triptych is plagued with about thirty battle scenes too many and a lot of sickening doe-eyed close-ups of hobbits in the final entry (Jackson did pay homage to Bakshi in several admittedly “lifted” scenes).
Although a few Tolkien fans cried blasphemy because of cuts made in the narrative, Bakshi’s LotR established him as the most innovative big name in animation.
American Pop (1981) was already suggested here. Although rightly praised, it’s prospects for making the List were dismissed, which is an assessment I wholly disagree with. Surreal, psychedelic, and phantasmagorical, Pop startles in its innovativeness. This well-written Western saga covers a family of musicians from the turn of the century until the 1980s. It is a collage of a cultural fantasia, mixing animation, footage from newsreels and documentary films, painting, and still photography. Bakshi’s legacy is in pushing the boundaries of what constitutes both animation and film. Bakshi is a juggernaut here, and American Pop is the Continue reading DIRECTOR RETROSPECTIVE: RALPH BAKSHI, PART TWO: 1977-PRESENT