Le voleur et le cordonnier

If you've seen the ORIGINAL VERSION, this is not true. Disney DID NOT originally help the creator of this movie. I don't know the entire movie, but if you go to www.thiefandthecobblar.com it includes a short biography of the man who originally began this project. I watched the original movie when I was VERY VERY little. You can NO LONGER PURCHASE IT ((if you can...PLEASE PLEASE PLEASE TELL ME...)) Although some minor video stores still carry it. The original, if found, was BEAUTIFUL and I must say, absolutely hilarious. No matter who watched it with me, it was always loved. Just this evening I watched the version I'm certain that you speak of. The dubbed version, I believe bought by Disney, is total CRAP. It hurt me to watch it. I don't even want to know what happened when they renamed it Arabian Knight. All I know is if you can find the original, it's an incredible animated masterpiece.

The Thief and the Cobbler, created by the animator responsible for Roger Rabbit and the Pink Panther, was a beautiful film. That is, if it ever were completed properly. The film is probably the big inspiration for Disney's Aladdin, which was just as great. The animation is so brilliant, not even the likes of Disney or Don Bluth could top it. It's a film you'd have to feel bad for, since it took up to 26 years to make and seemed to fail and get butchered.

It's about a cute mute (at least he should've been) named Tack, a cobbler, who might compare to Jo-Jo in the Blue Sky version of Horton Hears a Who. The other main character is the swamp-coloured, cheeky, silent thief (at least he should've been silent). He is crazy for gold stuff as Scrat from Ice Age is crazy for acorns and he stinks so much that his flies follow him everywhere he goes. Tack falls in love with the pretty Princess Yum-Yum, daughter of the lazy King Nod (the inspiration for the Sultan), which gets the blue vizier Zig-zag angry. Zig-zag is the inspiration for the Genie and Jafar who can say anything in rhymes and is voiced by Vincent Price. The most important thing the characters need to take care of though the Thief is just too greedy to know about is the set of three golden balls above the tallest minaret. If the balls were taken away, the dark, half-blind army of One-Eyes will attack.

I've seen the three main versions; the Recobbled cut, the Allied Filmmakers version and the Miramax version. First, I am going to talk about the Recobbled cut. This cut is made by a big fan named Garrett Gilchrist of a fan company named Orange Cow Productions. He compiled footage and original sound tracks he collected from all versions of the film and people who worked on the film, no matter if it's unfinished, low quality or animated poorly by Fred Calvert. He also included classical music to make it a little more epic. It could possibly the best fan edit ever made.

10/10 for the Recobbled cut.

The Allied Filmmakers/Majestic Films version, The Princess and the Cobbler, was released only in Australia and South Africa. It was taken away from Richard after Warner Bros. rejected it and completed quite badly by television animator Fred Calvert and the Completion Bond Company. Fred added extra animation that looked as if Don Bluth animated it (some of the extra animation was produced at his studio), dialogue for Tack and crappy songs that made it quite a rip-off of Aladdin. Fred also changed the plot by mixing up scenes a little. The Thief was still silent, only making a few gasping, grunting or chuckling noises, and Zig-zag kept his great Vincent voice.

3/10 for The Princess and the Cobbler.

Miramax picked up Fred's edit, called it "Arabian Knight" and ruined it. They turned what could've been a masterpiece into a masterpiece of crap. They cut some scenes out because they thought they were too disturbing or long, added more repetition, gave Tack the inappropriate voice of Matthew Broderick and gave everyone who couldn't talk some annoying thought talk that distracted from the great animation. The thief, voiced by Jonathan Winters, spoke about everything he could see and thought that he was in the real world of the present day by speaking present day references ("Nobody lives like this except college kids.") and pop culture references ("I'm going to Disneyland!"), and he wouldn't shut the hell up. Nor would anyone else. The edit overflowed with dialogue, with tons of grunting voices and more usage of "What?" from King Nod. And that's right; Phido and the other animals could actually thought-talk as well. What, did Jim Davis suddenly take over the production? This isn't a Garfield TV special. What were they thinking? Did they care about the original's creator? It probably inspired the butchery the Weinstein Company did to the film version of The Magic Roundabout when they added cuts, random flatulence jokes, pop culture references and moose dialogue.

0/10 for Arabian Knight.

So the only version of this film to watch is the Recobbled cut. Don't waste your time with the other versions. A true-to-the-story restoration of the film was put on hold when Roy E. Disney left The Walt Disney Company so that the company could be totally butchered, but Garrett Gilchrist hears that the Disney restoration has been continued, so there's hope yet!

It's too bad the studio thought it necessary to add mediocre songs (I dislike the American rule that all animated films must be musicals) and an annoying voice-over to a mute character, this is really one of the most visually interesting American animated films I've seen. As others have pointed out, the look of the film owes a debt to MC Escher. The film often has a more abstract than realistic look, which I find interesting. In places, it makes me think a little of French animation I've seen.

I found the Jonathan Winters voice-over for the thief to be rather annoying and distracting, as the thief was intended to be a silent Wile E. Coyote-type character, and I think he would've been funnier if he had remained silent. The songs are pretty forgettable too. If you can get past this studio tampering, you'll find a very interesting and unusual animated film. The film is also noteworthy for being a widescreen cartoon, which you don't see made very often these days. Of course, this means a good deal of the picture is lost on video. I know there's probably not the biggest demand for it, but I'd be interested in a DVD release of this film so it could be seen as it was intended.

I've had the opportunity to view a copy of the workprint Richard Williams cobbled together (consisting of finished footage, storyboards, and pencil tests), and it gives a good idea as to what the movie would have been like if Williams had managed to finish it.

Is it better than the Miramax version? Most definitely. Miramax vandalized the movie by adding those voice-overs for the Thief and the Cobbler characters - a ludicrous idea, since these characters were designed to be SILENT. Seeing these quiet characters not moving their mouths - but hearing wise-cracking dialogue, and dialogue that doesn't fit the character's personalities - is infuriating and very distracting. Though Miramax didn't do all the butchery, since the movie was significantly cut by other hands, and with poor linking animation added. (Not to mention some HORRIBLE song numbers.)

The workprint beats the Miramax version by far - but it's not perfect. True, seeing all that uncut animation - AMAZING animation - makes it a must see. It's breathtaking at times. But if the movie had been finished, I'm sure critics and audiences - when not gushing about the animation - would have criticized the story and characters. There's barely a story here, and it takes forever to get going. And once it gets going, there are plenty of times when the story stops for a pseudo intermission. Apparently, Williams was so charmed by all the vignettes that he thought up (mostly to do with the Thief bumbling around and making an ass of himself), he didn't want to leave any of them out. Seen by themselves, the vignettes are funny and a wonder to the eye. But seeing one after the other...well, it gets tiring after a while.

As well, with all the effort put in making visual splendor and animated gags, it seems not much was put into fleshing out the characters more than they are now. (Though they all have a charm that carries them further than you'd expect.)

Though I do have some sympathy for Williams for the heartbreak he suffered after being fired from the project (after working on it for more than 20 years!), he must accept his share of the blame for his firing and the eventual butchery of his project, seeing that he constantly went over time and budget, and refused to stop "improvising" as well as avoiding scripts and storyboards.

Anyway, seek the workprint and avoid the Miramax version!

Here at last is the long-awaited theatrical release of Richard Williams' "The Thief and the Cobbler." Begun in the late 1960s but not brought close to completion until after Williams created "Who Framed Roger Rabbit?" in 1988, it was conceived as an exercise in expression through animation, with an amazing roster of animation legends new and old [Art Babbit, Grim Natwick, many of Disney's and ILM's new masters] passing in and out of the project over many decades, all widescreen and 60s-groovy, baby. But now it comes to us at last, and it's really not all that good. The reason? Miramax, a subsidiary of Disney and perhaps fearing the very obvious parallels to their own "Thief" remake, "Aladdin," has cut the film to shreds. Not only have they added three truly awful songs, deleted one character [the witch, now just an eye], and removed much of the original's best shots, but the rather nice original soundtrack has been replaced with a crass, narration-heavy butchery that adds constant voice to Williams' great silent characters. Those who know anything about the original will consider this a hack job. But see it anyway, if only for the still-groovy animation and to see where "Aladdin" came from. Now why wasn't Disney sued for this? A great work, by one of the great masters, and please Miramax, your version sucks, so let's see the original sometime soon, ok?