Jared, Oriana and Ned talk about Ned’s choice of topic: the Rankin-Bass
adaptation of The Return of the King. When Rankin-Bass’s 1977 adaptation of
The Hobbit was shown on American network TV, the animation studio was already
well into planning a further effort adapting The Lord of the Rings in some
form as a sequel; the positive attention and ratings success of their Hobbit
doubtless made them think they were on the right track. But when Arthur Rankin
Jr. confessed in a 2003 interview that their version of The Return of the King
was “not a very good film,” that was an understatement to say the least. While
their Hobbit had flaws but was still a reasonably entertaining, focused
translation of the story into a particular medium heightened by striking
background work from their partners at the Japanese animation studio Topcraft,
the Rankin-Bass Return of the King, which aired in 1980 and which continued to
showcase work by Topcraft, was otherwise at best a muddled mess and at worst
just a flat out disaster, with scattered positive elements not offsetting the
series of baffling adaptation decisions that look even weirder following the
success of Peter Jackson’s version of the book. What makes the pacing of the
film so incredibly bizarre and frustrating, and how did the decision to tell
which parts of the story in greater detail compromise the wider scope as a
whole? How does the vocal casting and the respective performances end up
underselling the flow of the story as a whole? Are there any good parts to the
whole at all, and do they actually provide any upside to the end result? And
why, why, WHY in the world are there so many bad songs throughout – even if
there’s disagreement over whether “Where There’s a Whip” slaps or not?
Show Notes.
doodle – and
it really is all that is deserved.
Come join us in Portland for our live episode recording if you can!
April 22, 2023 is the date, we’ll be at
Passages Bookshop, and we’ll be there
with our fellow podcasts It’s Just a Show and
News of more Rings of Power casting. Good luck, everyone.
Ciarán Hinds really is all
that. But as mentioned in a post-recording edit, Ned made a mistake and
muddled two There Will Be Blood scenes – the confrontation scene he talks
about is absolutely stunning for
sure, but the one where for the
first couple of minutes Hinds just very carefully watches, smokes and takes it
all in is the one nearer the beginning where Paul Sunday first sits down with
post on the newly discovered letters by
The Rankin-Bass Return of the
King! It
Our earlier episode on the Rankin-Bass
Hobbit. A lot of information on
Rankin-Bass in general which also applies to this production is linked there,
so we won’t repeat it all here. (And since we do mention Bakshi’s film a
couple of times, here’s our episode on
Oh I think we all know about the Star Wars Holiday Special. But the
forthcoming documentary could be interesting.
The John Culhane New York Times piece from
1977 where Rankin’s quote about their plans for The Return of the
The 1980 LA Times piece by Charles Solomon mentioned is available to read via
Newspapers.com though only via a free trial; its first part can be found
here along with the awesome
If you really actually want to watch the Rankin-Bass Return of the King,
don’t say we didn’t want you.
Rick Goldschimdt’s interview with
Rankin; the quote about Return
of the King is towards the end of the clip.
redaction of the movie from 1980.
Want a view of that Seattle Kraken tentacle?
orcs not being depicted
in a racist fashion, Jared likes the design of Minas
Tirith. We’ll take what we
House
does look like it should be snow covered in the Swiss Alps or something.
Ah the minstrel. Yes. Yes
Where there’s a whip! (But
yeah, some love or at least nuance for the orcs, we love to see it, as we
argued in our own episode about
Castle, if you ever
Sauron, though, that’s pretty interesting. And definitely not Mike
Our Silver Call duology episode.
Still a very strange piece of work.
Rohirrim!
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