O Pequeno Príncipe

Certainly much thoughtfulness, sincerity and hard work was poured into this little film.

However, many great literary masterpieces cannot be captured on film. `The Little Prince' is one such treasure. Sadly, grown-ups often cannot see the truth. The most important of all truths is the very last one the Little Prince learned at the end of his sojourn: `It is only with the heart one can see clearly; what is essential is invisible to the eye.'

Read the book. See it with your hearts.

Stanley Donen's cinematic adaptation of Antoine De Saint-Exupery's The Little Prince is a delightful musical that will appeal to children and adults alike. The film is adequately paced at 88 minutes and will hold the attention of its young audience. The cinematography of Christopher Challis does justice to Saint-Exupery's original art work in the novelette. The stark beauty of the desert and the crisp brilliance of the night sky provide a beautiful backdrop to the sweet interaction between The Pilot and The Little Prince played by Richard Kiley and the adorable and competent Steven Warner. The film remains faithful to much of the original story except for a 1970s upgrade of the inhabitants of the Prince's neighboring planets. The drunkard, the lamplighter and the vain man of the novel are replaced by more contemporary representations of frivolously driven grown-ups. There is more than just a hint of Cold War era futility and fear flavoring these characters. In the novel, The King ridiculously rules over no one on a small empty planet. In the film, he has been replaced by a boarder patrolling royal figure demanding "Where are your papers. Where is your passport?" Another planet is home to a general commanding an army without soldiers who proudly lectures on the virtues of military discipline. In a world 30 years into the Cold War and exhausted from a decade of Vietnam, these were much more appropriate symbols of pointless and aimless grown-up affairs. In viewing these planetary visits, Challis' work is technically impressive. A majority of the scenes are shot through a circular, fish eye lens adding a claustrophobic feel to the action played out on these tiny worlds. Bob Fosse's choreography is impressive. I wish the same could be said of his performance in the film as The Snake. I wondered how he would work some of his trademark accessories into the portrayal in a subtle and intelligent manner. Instead, he looks ridiculous in chapeau, black gloves and spats dancing well worn steps from "Cabaret" among the rocks and sagebrush. I'm certain young viewers will enjoy the movie regardless but Fosse is an actor with average delivery skills who truly shines by creating in the dance studio or directing behind the camera. Several years later, he wisely turned portrayal of the thinly veiled biographical character Joe Gideon in "All That Jazz" over to actor Roy Scheider and the result was 9 Oscar nominations and 4 awards. Gene Wilder is excellent as The Fox. His gentle voice and appearance is wonderfully suited to roles in children's film and he taps into the same spirit he brought to Willie Wonka in "Willie Wonka and the Chocolate Factory". No child would fear taming this gentle creature.

In all, the film is cinematically beautiful, wonderfully told, sweet, sad and endearing. Like the novel, it should be enjoyed by film-goers of all ages.

Le Petit Prince has been, and may still be, required reading for French students. It is difficult to make a satisfactory film of such a literary icon; it is dangerous to try to make it a musical, as well. I think this film is highly under-rated, and perhaps mostly by people who are not very familiar with its original source. While much of the film could be considered "hokey", I believe that the "dance" sequence of the pilot and the Prince in the spring is sheer delight (as their finding the source of water must have been). Fosse's Snake and Wilder's Fox are phenomenal: it doesn't take long for one to actually believe that they are animals rather than people portraying animals. This is a must-see for all, especially for those with children (they seem to "get it" faster than many adults.

I had seen this Lerner & Loewe adaptation back when it was first released in 1974 (as a pre-adolescent elementary schooler ). I think it was either a Thanksgiving or Christmas release. The only thing from this film I recalled from that initial theatrical viewing was a song-and-dance sequence involving a therianthropic transfiguration of a snake into a man. That dance sequence by a certain man was all I recalled from this film. Years later when learning about the performing arts industry in general (both stage and screen), I realized it was Broadway icon Bob Fosse(!)...The greatest Broadway dancer & choreographer of all time...Surpassing Jack Cole and Jerome Robbins as a choreographer and even surpassing Fred Astaire & Gene Kelly as a dancer. Fosse was the only dancer who went toe-to-toe with and matched Tommy Rall (arguably the greatest modern stage dancer ever): The 'Alley Dance' from the 1955 film My Sister Eileen between Fosse and Rall is the evidence. But the thing that is absolutely mind-blowing about The Little Prince (1974) is how Bob Fosse's dance sequence in the musical number Snake In The Grass virtually defined Michael Jackson's post- 1982 performing career(!) Michael Jackson's signature dance moves for the most successful period of his performing life (1982-1997) were a direct plagiarism of Bob Fosse's Snake In The Grass sequence. This sequence has all of Michael Jackson's hallmark dance moves. And it is all genuine FOSSE(!). That this film contains the blueprint of Michael Jackson's performing career as an adult is why it is invaluable and A MUST SEE(!)

I'm always amazed at reading reviews-- especially those where the viewers either loved or hated the film, with no one in between. Antoine de Saint-Exupery's tale of lost youth and unresolved childhood desires is the basis of this film, which one reviewer here calls "...an overlooked gem." I certainly share this view. The film is a delight but should not be compared too closely with the book. However, the basic message of the book, i.e., the innocence of youth embraces the significant values of human life and is all too soon lost, comes through nicely. The character of Kiley, as the pilot, Wilder, as the fox, and Fosse, as a delightful snake, are very suggestive of their counterparts in the story.

How successful this is as a musical, I would guess, is still up for grabs. I couldn't recall much of the music later, which is usually a good indication whether a show has legs. But, the tunes are pleasant and children seem to enjoy the fantasy of it all.

This is a splendid little film. Don't overlook it.