Recommended Reading: Foolishness and Faith in 1978's The Lord of the Rings

by Sarah Welch-Larson

In Ralph Bakshi’s animated adaptation, the hobbits are kindred spirits with the members of the early church.

The Lord of the Rings, director Ralph Bakshi’s 1978 animated adaptation of J.R.R. Tolkien’s fantasy series, attempts to tell the story from the point of view of the hobbits.

Bakshi’s film has been generally forgotten in favor of Peter Jackson’s more successful live-action movie trilogy. It’s true, this version is unpolished and imperfect. The story is incomplete, leaving out the end of Tolkien’s saga. To fans of the books, this version feels like an unfulfilled promise. But its unfinished status belies its unique creative vision. Nowhere is that vision more apparent than in the movie’s presentation of the hobbits as innocents undergoing a mission that they are not equipped for and cannot hope to complete on their own. Impossible though it might seem, they must complete their mission anyway. In this, they are kindred spirits with the early church; like those first believers, these hobbits seem foolish for both their hope and their faithfulness.

Hobbits were the first beings to appear in Tolkien’s stories; of all the different beings that populate Middle-earth, they were likely his favorites. They’re the creatures most like him: homebodies and gardeners, lovers of good food and beer and things that grow. They don’t seek out adventure, but have it thrust upon them. Tolkien describes them frequently as “cheerful” and “foolish” and “silly.” They are literally lowly people, half the height of men and living in holes in the ground. By contrast, the villains of the story are often referred to as “crafty” or “cunning,” making calculations about how best to dominate the world. Hobbits don’t want power or glory. They are content to live in a quiet forgotten corner of Middle-earth, a strange, small, peaceful people in an increasingly dangerous world. This is remarkably similar to the early Christians, who were instructed by Paul to “live peaceful and quiet lives in all godliness and holiness.”

Bakshi’s version of the story demonstrates just how fond he is of hobbits as well. Where Tolkien describes them as “foolish,” Bakshi shows them to be so. The characters’ actions are expressive almost to a fault, each yawn and smile and step exaggerated to make the hobbits appear like innocents. When Frodo (voiced by Christopher Guard) agrees to take the One Ring out of the Shire, he does so almost nonchalantly, shoving his hands into his pockets and kicking a rock down the path ahead of him. Sam (Michael Scholes) dances in place when he realizes he is going to see elves, then bursts into tears—a childlike action. He and his friends do not understand the full consequences of their choice to do the right thing; they just know that they are about to go on a big adventure. They move through a wild world that does not value them, but the movie does. And it works hard to make sure the viewer does too.

Frodo is a reluctant adventurer who accepts his charge to take the One Ring to Mordor without fully understanding the dangers he will face on his journey. He is a nobody, an echo of the early church members, who were neither powerful nor influential. The animation styles emphasize Frodo’s place in the world: delicate watercolors for his home in the Shire; heavier oil effects for the kingdoms of the elves; and pen-and-ink drawings for the dangers of the wilds, with trees and rocks dripping with dark lines, as well as menace. The hobbits look weak in comparison.

Read the full article: https://thinkchristian.net/foolishness-and-faith-in-1978s-the-lord-of-the-rings