The Dark Herald explains how the 1977 Rankin/Bass version of The Hobbit came to be:
There is no getting across to kids of later generations what a TV Special meant to us. You had no control over it whatsoever. None. You either watched it at the exact time the network scheduled it for or you didn’t watch it at all that year. You could possibly catch a missed episode of a regular show during reruns in the summer but not a Special. Miss it and it was gone, no place to rent it, and streaming it was decades away. When you heard that Special fanfare from the TV you dropped everything and ran!
A few guitar strings were plucked, one by one, and then John Huston’s unmistakable cadence read the first words Tolkien published about the world that would become Middle-earth. There was a respect there for what J.R.R. Tolkien began with that sentence.
The “Many ages ago” that followed was intended to draw children into myth and it worked magnificently. Tolkien nerds used to regard it as heresy because Tolkien didn’t write it but then they had no idea what horrors the future held.
Even at the time it was hardly the worst version of The Hobbit. That would be the Hobbit (1966) a 12 minute “rights retainer” featuring Princess Mika and Slaag the Dragon whom Bilbo kills at the end. There had been radio and play adaptations before 1977, mostly British naturally. The rights to Hobbit had been sold separately by Tolkien then parceled out again and again after that.
By 1977 The Hobbit’s rights were such a trainwreck that Arthur Rankin was able to snatch up the TV rights for pennies with the following opening credit “Based on the Original Version of J.R.R. Tolkien’s The Hobbit.” The rights for that being distinct from the 1951 revision, which is what the TV special was actually based on. In the 1937 edition, Elves were called, Gnomes” (from the Greek gnosis for “knowledge.” And Bilbo won the ring from Gollum fair and square, they even parted on friendly terms. Those and some other changes were enough to make it legally distinct.
And the Rankin/Bass version was certainly distinct in its own right. It looks like something made by Studio Ghibli – Because it was made by Studio Ghibli.
Okay, fine. It was made by Topcraft although, when that studio failed the remains became Studio Ghibli, and you can absolutely see the design DNA in The Hobbit.
You can also see Tolkien’s come to that, his own Thrór’s Map was used directly in the TV show and was part of the influence of the design aesthetic. J.R.R Tolkien approved of Arthur Rackham artwork and it was clearly another strong influence. The Hobbit (1977) was a Japanese take on the Western fairytale as grotesque. You can see its influence in Nausicaä. Rankin/Bass helped keep the lights on at Topcraft until Nausicaä came out. The Japanese approach isn’t interested in cleaning the fairy tale up, it leans into the distortions. Faces stretch, bodies warp, and the line between the comic and the unsettling disappears. What reads as “off” to a Western eye is often deliberate: characters are designed to move, to emote, to perform, even if that means abandoning symmetry or beauty. It turned what was supposed to be a children’s story into something just a little grimdark – perfect for its Generation X audience.
It was an art design for Tolkien when no one agreed what that looked like and there weren’t any brand managers ruining it. There was also some leftover hippy influence clinging to it, like your older sister’s boyfriend’s van that still smelled “funny.” College age-Boomers had first experienced Tolkien – differently.
It’s such a pity that after doing a very good job of bringing THE LORD OF THE RINGS to life, Peter Jackson wasn’t able to avoid screwing up THE HOBBIT even though he had a perfectly good template from which to work on the basis of the 1977 version.
And perhaps his biggest mistake wasn’t expanding it to three films, but not licensing the original music.