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1977’s The Hobbit Showed Us the Future of Pop Culture

1977’s The Hobbit Showed Us the Future of Pop Culture

As you’ve in all probability heard, Amazon has introduced that it’s producing a present set in Center-earth, the world created by J.R.R. Tolkien in his landmark novels The Hobbit and The Lord of the Rings. With the new collection reportedly headed into manufacturing in 2019, I assumed it was time to revisit the numerous TV and large display takes on Tolkien’s work which have appeared—with various high quality and outcomes—over the final forty years.

First up, Rankin/Bass’s animated model of The Hobbit, first launched as a TV film on NBC in November, 1977.

As I watched The Hobbit, for the first time since elementary faculty, I attempted to think about what it will have been wish to see the movie when it first aired on tv forty-one years in the past. I image a toddler sitting on a lime inexperienced sofa in a wood-paneled basement, sporting a Darth Vader t-shirt she acquired after she fell in love with Star Wars (aka A New Hope, then nonetheless merely often known as “Star Wars”) when it was launched in theaters a couple of months earlier.

Our hypothetical baby would do not know that she was glimpsing, like a imaginative and prescient in Galadriel’s mirror, the future of popular culture. Forty years later, now maybe with youngsters the similar age she was when she watched The Hobbit, our heroine would discover that Star Wars nonetheless reigns at the field workplace, the hottest present on TV options dragons, and all over the place we glance, humble heroes are set towards darkish lords: Kylo Ren, Thanos, Grindelwald, the Night time King, and even The Hobbit’s personal Necromancer.

However in 1977, all of that’s but to return. The animated Hobbit is merely the first step out the door. The film is definitely conscious of its bigger context. It opens with a skyward-dive towards a map of Center-earth complete, virtually like the opening credit of Recreation of Thrones, and ends with an ominous shot of the One Ring. However regardless of the gestures in the direction of The Lord of the Rings, the movie largely appears content material to be an adaptation of Tolkien’s youngsters’s journey. It even consists of the songs. All of the songs.

The movie opens with the type of “someone reading a storybook” conceit widespread to many Disney cartoons. We then dive right down to Bag-Finish, which is lovingly animated, however appears to exist by itself—we see nothing of the relaxation of Hobbiton or the Shire. Bilbo Baggins walks outdoors to smoke and abruptly, the wandering wizard Gandalf seems actually out of skinny air. He accosts poor Bilbo, looming over the little hobbit, kind of shrieking at him, and summoning lightning and thunder. It’s a wierd greeting, and a marked departure from the banter the hobbit and wizard change in the ebook.

However the overriding concern of the Rankin/Bass movie, probably on account of being a TV film for youngsters, is to chop to the chase (metaphorically; Peter Jackson’s Hobbit films minimize to the chase actually). Gandalf doesn’t have time to shoot the shit. He wants assist, and he wants it NOW. The Dwarves, wanting like discarded sketches for Disney’s dwarfs in Snow White, all of the sudden pop up behind numerous rocks and timber and Gandalf provides them a fast introduction. We then reduce to dinner in Bag-Finish as the Dwarves sing “That’s What Bilbo Baggins Hates!”, although Bilbo doesn’t appear all that postpone by their presence in his home, nor their dealing with of his superb china. This Bilbo is much less frumpy and fusty than both his e-book counterpart or Martin Freeman’s portrayal in the live-action films. He appears extra naturally curious than something—much less a middle-aged man steeped in consolation however quietly eager for one thing extra, as in the e-book, and extra a toddler prepared to go together with no matter the adults round him are doing.

That night time Bilbo goals of being the King of Erebor (an odd, however good, contact that once more underlines Bilbo’s naivety and curiosity) and awakens to seek out the Dwarves and Gandalf already saddled up and able to go. No operating to the Inexperienced Dragon for this Bilbo: Time is a-wasting! The social gathering must cross the Misty Mountains, Mirkwood, and a number of business breaks earlier than bedtime.

The get together is captured by Fraggle Rock-ish trolls, saved by Gandalf, after which stops for dinner in Rivendell. Rankin/Bass’s Elrond sports activities a halo of floating stars, a high-collared cape, and a grey goatee. He seems to be vaguely like a vampire in a Looney Toons brief who’s simply hit his head. However this Elrond continues to be my favourite of all cinematic depictions of the Half-elven grasp (regardless of my inside nerd raging that Círdan the Shipwright is the solely bearded elf). Ralph Bakshi’s Elrond seems like a bored health club instructor, and Hugo Weaving’s portrayal in the Jackson films is just too grim and dour. Rankin/Bass’s Elrond correctly appears like a timeless elf of nice knowledge. The star-halo particularly is gorgeous and becoming, given the Elves’ love of the stars (and the undeniable fact that Elrond’s identify actually means “Star-Dome”). We don’t see some other Elves at Rivendell, so it’s inconceivable to say in the event that they appear to be Elrond or share some resemblance to the very, very totally different Wooden-elves we meet later in the movie.

Elrond reveals the moon letters on Thorin’s map, and a fast fade to black to promote shag carpeting later, Bilbo and Firm are excessive in the Misty Mountains and looking for shelter from a storm. They relaxation in a cave, the place Bilbo has a fast homesick flashback to the dinner at Bag-Finish, after which their ponies disappear and the social gathering is captured by goblins.

I think about our hypothetical 1977 baby viewer in all probability had various nightmares fueled by what follows. Rankin/Bass’s goblins are toad-like creatures, with gaping mouths full of tooth, plus huge horns and sharp claws. They’re rather more fantastical than the Orcs as Tolkien describes them—and as Jackson portrayed them in his films—however they match the storybook tone of the novel and the movie, and in addition helpfully sidestep the racist features of the Orcs which might be present in The Lord of the Rings. These goblins are pure monster by means of and thru.

However the goblins seem like hobbits in comparison with the slimy, frog-like horror that’s the animated Gollum. Rankin/Bass’s Gollum doesn’t appear to be he might ever have been a hobbit. He really seems like the historic subterranean creature Tolkien initially meant him to be when he first wrote The Hobbit. And he’s terrifying: He has sharp claws, a disturbingly bushy again, inexperienced pores and skin, and large, blind-looking eyes. He additionally appears like he may snap and devour Bilbo at any second.

(Funnily sufficient, I jotted down “reminds me of a Ghibli character” in my notes throughout the Gollum scene. And it seems I wasn’t removed from the fact—the 1977 Hobbit was animated by a Japanese studio referred to as TopCraft, which was reworked into Studio Ghibli a couple of years later. I wish to assume a bit of Gollum made it into Spirited Away’s No-Face 20 years later).

The Gollum scene is genuinely tense and scary, although Bilbo once more appears to take it in stride, as he additionally does the discovery of a magic ring that lets him disappear and escape Gollum’s clutches. The ring makes a really ‘70s-TV “vrawp!” sound when Bilbo places it on and vanishes, and I wish to think about Sauron constructed that function in for funsies: Ash nazg durbatulûk, ash nazg gimbatul, Ash nazg thrakatulûk agh burzum-ishi krimpatul. Vrawp!

Bilbo reunites with Gandalf and the Dwarves, after which the firm is rescued from wolf-riding goblins by the Eagles. The solely main omission from the novel happens right here, as Beorn is nowhere to be discovered. Which is a disgrace, as a result of Beorn is a grumpy literal bear of a person who loves ponies, and he ought to function in each Tolkien adaptation. Beorn seems solely briefly in The Hobbit: The Desolation of Smaug, and my solely particular hope for the Amazon collection is that Beorn performs a considerable position, as a result of Beorn is superior.

However alas, Bilbo and Co. don’t meet a single were-bear, and instantly trek into Mirkwood, sans Gandalf, the place they’re attacked by big spiders. The spiders are splendidly horrible, with mouths of sharp tooth and lips (I can’t cease fascinated by spider lips) and large fluffy antenna like moths have. Additionally, every time one dies the digital camera turns into a spinning spider-POV of a number of eyes. It’s odd, however the movie goes to nice lengths to keep away from displaying anybody truly being slashed or stabbed with a sword—even spiders.

Bilbo rescues the Dwarves however they’re quickly captured by the Wooden-elves, and right here comes the film’s biggest departure from the textual content—not in story, however in design. The Wooden-elves look nothing like the elves in each different adaptation of Tolkien. Hell, they don’t even look remotely like Elrond from earlier in the similar film (presumably, Elrond took after his human grandfather). They seem like Troll dolls which were omitted in the rain too lengthy, and a bit like Yzma fromThe Emperor’s New Groove. They’ve grey pores and skin, pug faces, and blond hair. It’s frankly weird, nevertheless it did make me need a model of Jackson’s films the place Orlando Bloom performs Legolas in heavy make-up to appear to be a live-action model of Rankin/Bass’s Wooden-elves.

The Elves might look bizarre, however the plot is the similar. After escaping the Wooden-elves’ corridor by barrel, Bilbo and the Dwarves arrive at the Mannish settlement of Lake-town. There they meet the warrior Bard, who sports activities a particularly 1970s mustache and a killer pair of legs. I’ll seek advice from him as Bard Reynolds (RIP, Bandit) any further.

There’s an exquisite shot of the Lonely Mountain looming in the background over Lake-town, a reminder of how shut—for good and for ailing—it’s. The truth is, the background work all through the film are beautiful and appear to consciously adapt the look of Tolkien’s personal drawings and work of Center-earth, underscoring the storybook really feel of the film.

Towards the recommendation of Bard Reynolds, Bilbo and the Dwarves head to the Lonely Mountain, the place they open the secret door and Bilbo lastly will get round to that burgling he was employed for. Besides, of course, there’s one little drawback: the dragon.

Smaug might be the most well-known, or notorious, occasion of character-design on this film. He has a distinctly feline look, with whiskers, cat-eyes, and a lush mane. He jogged my memory, once more, of Ghibli animation, particularly the canine-esque dragon type of Haku in Spirited Away. It’s nothing like our typical concept of what Western dragons seem like, nevertheless it additionally works rather well. In any case, Smaug is an clever, lethal, grasping predator who likes laying round all day. He’s a really cat-like dragon, is what I’m saying.

What’s extra, Tolkien clearly didn’t look after cats, as they’re all the time related to evil in his legendarium. There are the spy-cats of the Black Númenorean Queen Berúthiel, and the incontrovertible fact that the earliest incarnation/prototype of Sauron was an enormous cat (an outline that survives in the Eye of Sauron explicitly being described as wanting like a cat’s eye). Making Smaug right into a cat-dragon is sensible. Not solely does it match the character’s character and Tolkien’s world, nevertheless it instantly conveys the specific menace of Smaug: Bilbo (who has a barely hamster-like look himself) is a mouse strolling right into a tiger’s cave.

Bilbo barely escapes, even together with his magic ring, although he’s fortunately accompanied by a thrush who spies Smaug’s weak spot—a lacking stomach scale. When Smaug swoops right down to burn Lake-town, the thrush informs Bard Reynolds, who sticks in arrow in Smaug’s stomach. Smaug dies, however his demise throes lay waste to most of Lake-town.

Again at the Lonely Mountain, Thorin has lastly come into his kingdom, however like most new governments, he quickly finds he has so much of debt. Bard Reynolds and the males of Lake-town need cash to rebuild their city, they usually’re backed by the bizarre grey Elves of Mirkwood. Thorin needs to battle again, and will get mad at Bilbo not for stealing the Arkenstone (which, like Beorn, doesn’t make it into the film) however as a result of Bilbo doesn’t need to struggle.

Fortunately, Gandalf manages to pop up out of skinny air once more, simply in time to level out to this potential Battle of Three Armies that a fourth military is on its means: the goblins are coming. The Dwarves, Elves, and Males be a part of collectively, although Bilbo takes off his armor and decides to take a seat this one out. Maybe he knew that the manufacturing didn’t have the finances to animate an enormous battle and that the entire factor would simply seem like a bunch of dots bouncing round, anyway.

All is almost misplaced till the Eagles present up. The ebook by no means fairly describes how the Eagles battle—Bilbo will get knocked out proper after they arrive—however the animated film depicts it: the Eagles simply decide up goblins and wolves and drop them out of the sky. It’s truly disturbing, as you see dozens of Eagles simply casually choosing up goblins and wargs and throwing them to their deaths. It jogged my memory of the helicopter bombardment in Apocalypse Now, and I’m wondering how a lot the disillusionment with the Vietnam Struggle (and Tolkien’s personal expertise in World Conflict I) performed a task in how this battle was depicted.

We additionally get a view of the battlefield in the aftermath, and it’s suffering from the lifeless our bodies of males, Elves, Dwarves, goblins, and wolves. There’s no glory right here, no proud triumph. It couldn’t be farther from the action-spectacular of Peter Jackson’s Battle of the 5 Armies, or the climax of Return of the King when Aragorn bids the “Men of the West” to battle towards the armies of the East. Right here, there’s simply aid and grim reckoning for the survivors.

Bilbo is reconciled with a dying Thorin, then heads house with a small portion of his treasure. Provided that his Hobbit-hole at Bag-Finish appears to exist in pure isolation, it’s not shocking that it hasn’t been seized and auctioned off by the Sackville-Bagginses as in the novel.

As an alternative, we finish with Bilbo studying a e-book—a Pink E-book—that seems to be his personal guide, There and Again Once more. The narrator guarantees that that is simply “the beginning” and the digital camera closes on a shot of the One Ring in a glass case on Bilbo’s mantle.

And certainly, the subsequent yr would see the launch of an animated The Lord of the Rings, however by Ralph Bakshi, not Rankin/Bass. It wouldn’t be till 1980 that Rankin/Bass would return to TV with a Tolkien cartoon, Return of the King, which is probably the oddest duck in the entire Tolkien movie catalogue, being a sort-of sequel to each their very own The Hobbit and Bakshi’s Rings.

Regardless of being a TV film, Rankin/Bass’s The Hobbit has held its personal in popular culture. It’s a staple of elementary faculty Literature Arts film days, and it’s doubtless been producing Gollum-themed nightmares in youngsters for 4 strong many years (and nonetheless going robust!). And given the muddle that’s the 2012-2014 Hobbit trilogy, Rankin/Bass’s take seems higher and higher daily. Its idiosyncratic character designs are really distinctive, even when the Wooden-elves seem like Orcs. Additionally, the songs are fairly catchy…

Oh, tra-la-la-lally

Right here down in the valley, ha! ha!

Subsequent up, Ralph Bakshi’s animated The Lord of the Rings.

Austin Gilkeson previously served as The Toast‘s Tolkien Correspondent, and his writing has additionally appeared at Catapult and Forged of Wonders. He lives outdoors Chicago together with his spouse and son.