"It's so easy not to tryThe Rankin-Bass adaptation of the third The Lord of the Rings book is a follow-up both to their adaptation of The Hobbit and the Ralph Bakshi adaptation of the first three Books (or one-and-a-half volumes).
Let the world go drifting by
If you never say hello
You won't have to say goodbye."
Let the world go drifting by
If you never say hello
You won't have to say goodbye."
The Return of the King: provides examples of:
- Adaptational Nice Guy: While the Mouth of Sauron is still definitely one of the villains, he doesn't taunt Aragorn over Frodo's supposed capture/death here.
- Adaptation Distillation: Made for TV after the failure of Ralph Bakshi's The Lord of the Rings by a completely different studio. It attempts to adapt the work, with no reference to the previous two titles, which results in a very disjointed effort. But individual scenes like Éowyn's confrontation with the Witch-King are adapted almost word for word from the book.
- At the end of the piece, Gandalf asserts that the Hobbits will grow taller with each generation and merge with the race of Men. This is not a Tolkien-derived idea, but purely from the scriptwriter.
- Always Chaotic Evil: Averted. The cartoon goes where even the books didn't and actually humanizes the orcs to a degree. The song, "Where There's A Whip, There's A Way" basically says that they fight because they're being made to, not because they want to. This suggests that only the higher-ranking orc officers are truly malicious and evil, whereas the rank and file are brutalized slaves.
- The original books do make the same point, that smaller breeds of orcs are driven to war by force as slave soldiers. However, this doesn't mean that they aren't evil, just that they are cowardly and sneaky by nature, and prefer ambushes over open battle.
- During a Dream Sequence where the destruction of the ring is portrayed as an easy job, Frodo imagines himself and Sam encountering a troop of Orcs while smoking. Both parties wave amicably and go their separate ways, implying that Frodo believes there's some good in them and it's only Sauron's influence that makes them the way they are (this is rather in line with Tolkien's worldview, where nobody's unremittingly, irredeemably evil).
- Animated Adaptation
- Animesque: Virtually all the animators and one of the two character designers were Japanese, so this may actually be more half-Anime than pseudo-Anime Animesque.
- Behind the Black: Hilariously, no one notices the Minstrel of Gondor until Gandalf introduces him. Apparently he was just standing there silently during the entire party waiting for a cue.
- Big Damn Heroes: Couple of instances, most notable being when the Rohan army arrives, naturally, at the single most dramatically appropriate moment to save the day. Aragorn's arrival is actually more badass in this version, since it looks like he routes the evil army just by showing up.
- Big "NO!": By Merry when he Back Stabs the Witch-King; just after It smashes Eowyn's shield to flinders.
- By Sam when he rejects the Ring's influence, and again when it claims Frodo.
- Nearly every other character says "Nay" rather than "No".
- Broad Strokes: The dialogue is surprisingly accurate, though.
- Camp: (cue disco beat) Where there's a whip * WHIPCRACK* there's a way. Where there's a whip * WHIPCRACK* there's a way.
- Continuity Lockout: You had better know the basic story and major characters, or this makes no damn sense.
- Covers Always Lie: The DVD cover◊ only seems to vaguely represent the film's contents, if it indeed represents them at all. It features two generic chubby hobbits, neither of which look quite like Samwise or Merry, let alone Frodo or Pippin. They are riding on a horse, despite the fact that there is no scene featuring hobbits riding horses (only significantly smaller ponies). Also prominently featured are two dwarves who do not appear in the film at all, and do not clearly resemble any of the dwarves who appeared in The Hobbit either, although one of them does resemble Grumpy. In the background are two vaguely-portrayed palace-like structures — one light and one dark — that clearly do not resemble Minas Tirith, Cirith Ungol, Barad-dûr or the Black Gate which appear in the film. All in all, the cover looks like it was drawn by someone who really hasn't seen the film or read the books at all but merely slapped something random together with short people, dwarves, knights, castles and a dragon.
- Demoted to Extra: Legolas and Gimli do appear very briefly in a few scenes one being in Aragon's flashback, a few shots during the battle scenes, and can be seen during the parade, neither of them have any lines. For that matter, Aragorn has less than a dozen spoken lines either, and he's the title character.
- Faramir also appears right at the end with no explanation.
- The Dragon: The Witch-King.
- Evil Laugh: The Mouth of Sauron delivers one when he returns to Mordor.
- Evolutionary Retcon: Aside from the Stock Footage of Thranduil from The Hobbit, the appearance of the Elves has been revised to have them looking much more like humans (as one can tell from Legolas' few appearances).
- The Final Temptation: Sam is tempted to claim the ring, lead an army to claim the Dark Tower for his own, and turn Mordor into a vast garden paradise.note "Hail, Samwise The Strong! The sun shines for thee alone!"
- Frodo's confrontation in the Cracks of Doom is drawn out, stretching and deforming the timeline quite a bit, since he apparently claims the ring and wanders around Mount Doom for quite awhile while the story proceeds. Oddly, it's portrayed as a disaster if Sam should put on the ring in sight of Mount Doom (as in the book) but Frodo can do so and all that happens is the quest gets derailed with Sam wandering around the inside of the volcano looking for him!
- "BEHOLD! THE GARDENS OF MY DELIGHT!!" Aww... Dark Lord Samwise is so cute.
- For Doom the Bell Tolls: The Cracks of Doom
- Foreshadowing: "Begone and trouble me no more! You ever touch me again, you shall be cast yourself into the fire of Doom!" The Ring is speaking to Gollum through Frodo. Later, when Gollum does get his hands back on the Ring, both he and it plummet into the lava.
- Gratuitous Disco Sequence: Orcs groove out to the funky bass riffs of "Where There's a Whip There's a Way". Lampshaded: "I can't! I can't continue!" — "I'd rather be singin' a good old hobbit song myself..."
- How We Got Here: To Bilbo's birthday party? And how did Frodo lose a finger?Minstrel: Why does he have nine fingers?Minstrel: Where is the ring of doom?
- Humble Goal: Sam wants to get the quest done so he can go home and marry his girlfriend. This is also how he beats the Ring: it can only get to him through his Call to Agriculture, since he's quite content otherwise. His "I Want" Song points this outI don't want it all, just part of wonderfulWhat do I need, when you get right down to it?Just a garden and seed, and the love to pursue it."
- Large Ham: Roddy McDowall as Sam. Good grief, Roddy McDowall as Sam.I could CLAIM YOU, RING! I WOULD BE SAMWISE THE STRONG!
- Made-for-TV Movie: It's frustratingly obvious where the commercials are supposed to go.
- Man Hug
- Notable Original Music:
- A very warbly How We Got Here song, "Frodo of the Nine Fingers", sets up the film as a Whole Episode Flashback sung by the "Minstrel of Gondor".
- A bittersweet Lyrical Dissonance ballad, "It's So Easy Not to Try", whose music is actually a rearranged version of "Roads" from The Hobbit animation that came before. The Return of the King animation gives it some additional new lyrics, ups its Tear Jerker effect, and makes the song the film's main and closing theme. It's the only song that features in both animated films, but becomes more notable in the latter.
- An "I Want" Song, "Less Can Be More".
- As the title implies, he doesn't want all that much. He actually wants this and not the One Ring.
- A Villain Song, "Towers of the Teeth".
- The aforementioned Marching Song, "Where There's a Whip, There's a Way".
- "The Wearer of the Ring, the Bearer of the Ring", a haunting tune summarizing the perils the Ring-bearers carry as the Ring continually whispers promises of power into their minds to corrupt them.
- Our Orcs Are Different: Than the Goblins in The Hobbit, a case of Art Shift.
- A few of the old-style goblins are mixed in, suggesting this is simply a more diverse force.
- Paper-Thin Disguise: Sam and Frodo are half the size of orcs, have radically different skin tones, hair tones, and facial structures, lack horns, fangs, and cat-like eyes, and have their hairy hobbit feet plainly visible, but if they're wearing orc armor it's convincing enough for the slavedriver.
- Of course, it's possible that considering how varied the real orcs are in this version, he might have just thought they were scrawny.
- Punch-Clock Villain: The orcs, according to the "whip-song".
- Scenery Porn: The backgrounds and establishing shots are gorgeous and highly detailed, fitting the storybook nature of the plot. Mordor never looked so terrifyingly beautiful.
- Second-Hand Storytelling: All action taken from The Return of the King is described as a series of Flashbacks.
- Silence, You Fool!: Aragorn, when he and his army arrive at the gates of Gondor.
- Stock Sound Effects: The Witch-King's ride oddly makes random cries of various monsters from Ultraman.
- Talking to Himself: Orson Bean as both Frodo and Bilbo, also the scene where the orc commander argues with the captain of the Rangers both voiced by Don Messick.
- Vocal Dissonance: The Witch-King shows up using the Black Tongue, and appearing as a silent and very frightening figure for the most part. Then he appears to Gandalf, and sounds like mix of Starscream and Skeletor, and intimidation is quickly forgotten.
- What Have I Done?: Frodo in Cirith Ungol after the Ring influences him into treating Sam harshly.Oh, Sam, what have I said? What have I done? Forgive me!
- What Measure Is a Non-Human?: Sam turns an instance of anti-orc discrimination to his own purposes.
- Whip It Good/A Taste of the Lash: see above.
- Whole Episode Flashback: Or whole TV Movie Flashback, in this case. The entire story of "The Return of the King" is told through a bard, after the fighting and questing is already done.
- Wingding Eyes: Frodo's animesque eyes (even larger than Elijah Wood's) go from Chibi to scary when he wields the Power of The Ring, causing him to appear tall and brightly lit, Saiyan-style, and the pupils of his eyes become flames! This is a slight exaggeration from the book, where Frodo does indeed appear to grow into a powerful figure (like Galadriel and Gandalf in the live action films) when asserting control over Gollum.
- The X of Y: Twice over, just like the book; The Lord of the Rings, and The Return of the King.