Les Aventures de Tom Pouce

A timeless fantasy featuring the adventures of the world's smallest and best boy. There's some fun songs, decent acting and terrific special effects (for the time and era). This should delight most kids and is pleasant enough for most adults to enjoy as well. As the bumbling villains Ivan and Tony, Terry-Thomas and Peter Sellers steal much of the show.

I remember seeing this the first time when I was attending public school in Queens in the early 1960s. It was shown as a treat to the students at an extended G.O. assembly. I had not seen it when it came out in 1958 (I was only four) but I recall seeing Disney's PETER PAN about that time, so I cannot understand missing this film.

It was a fun film. The trick animation (which won an Oscar) was particularly good in the sequence when the toys came to life. It was probably influential with similar scenes in BABES IN TOYLAND in 1960. However, BABES IN TOYLAND had the benefit of the Disney studio, not to mention a wonderful Victor Herbert score. The score of tom thumb was not very memorable, except for the song that I quoted above, which had some of the silliest lyrics I can recall.

The film was actually more interesting than I would have known as a child. Besides George Pal's style in the film and the trick animation, it was one of the last musical films that had a major role for Jessie Matthews as tom's mother. In the U.S. Ms Matthews is not too well recalled, but she was the leading female musical comedy star in England in the 1930s. Her husband here is Sir Bernard Miles, who is better remembered as the villain in Hitchcock's remake of THE MAN WHO KNEW TOO MUCH. The star was Russ Tamblyn, finally in a starring role - a step beyond his performances in THE LAST HUNT and SEVEN BRIDES FOR SEVEN BROTHERS, and heading for his best performance in WEST SIDE STORY. The second lead, Alan Young, had already made ANDROCLES AND THE LION and AARON SLICK FROM PUNKIN CREEK, and (as he was here working with George Pal) would have his dramatically best role (or roles) in Pal's future masterwork THE TIME MACHINE. Young would also soon gain television immortality as "Wilbur Post" the friend of the talking horse MR. ED.

This film was one of the pairings of Terry-Thomas and Peter Sellers in a comedy. As Tony and Ivan they are the greedy thieves who use tom to rob the town treasury, only to turn on each other in a fight that enables tom to trip them up. Terry-Thomas has a sharpened nose in his makeup, which is accentuated by his sharp crowned hat. Sellers in particular had interesting make-up in this film, fattened up to look particularly threatening in a greasy sort of way, and wearing a small derby hat. He has the best line in the film. When tom (still unaware of what crooks he is with) is inside the town treasury Tony/Terry-Thomas tells him to pass over a bag of gold. Which one, asks tom. "THE BIGGEST ONE!", shouts Ivan/Peter.

If you have children and want to entertain them and yourself with a film, TOM THUMB is acceptable entertainment. Producer/director George Pal creates a quaint, vivid fairy tale world with bright colors, picturesque scenery and Tyrolean costumes. The stop motion animated singing and talking toys who befriend the titular tiny boy (Russ Tamblyn), are beautifully realized and smoothly co-exist with the live action Tamblyn. The songs are pleasant and hummable. Particularly memorable is "The Yawning Song," drowsily warbled by the voice of Stan Freberg as a sleepy toy. Russ Tamblyn is appealing in the title role and Terry-Thomas and Peter Sellers as, respectively, the conniving Ivan and his eager confederate Tony practically steal the film with their comic shenanigans. Sellers is particularly impressive, giving the standard dim-witted accomplice part a creepily animalistic shading.

But although TOM THUMB is enjoyable, it doesn't rank with such outstanding family films like THE WIZARD OF OZ and Walt Disney's PINOCCHIO. What mainly prevents TOM THUMB from achieving greatness is Ladislas Fodor's slight scenario. In the best family films, the protagonists have important goals. For instance in THE WIZARD OF OZ Dorothy has to find a way back from Oz and in PINOCCHIO the titular puppet must learn to distinguish between right and wrong in order to become a real boy. In contrast, Tom Thumb's mission- to prove his parents (Bernard Miles, Jessie Matthews) did not steal the town's treasury by exposing the real thieves, Ivan and Tony-seems inconsequential. Compared to the scheme of, say, the Wicked Witch of the West to obtain Dorothy's ruby slippers in order to obtain supremacy in Oz, Ivan and Tony's plan is very pedestrian. The fate of the parents if they're not cleared- a public whipping- is certainly bad but much milder than say the fate of Pinocchio, Geppetto, and their pets if they can't escape from Monstro the whale- eternal imprisonment.

Then there is the romantic subplot between a local musician Woody (Alan Young) and the immortal Fairy Queen (June Thorburn). Woody wants to kiss the Fairy Queen so she can become a mortal as well as his wife, but the Fairy Queen warns him he should prove himself responsible before he can marry her. Pal handles the scenario in such a fluffy manner, however, that there is little conflict or feeling in this subplot. And while the animated segments are delightful, they hardly contribute to the plot.

But considering the glut of dreadful films trying to pass off as family entertainment, one should be grateful that TOM THUMB succeeds in its modest goal of entertaining viewers. Although the film is not extraordinary, it does emanate a storybook charm without succumbing to cloyingness. And Terry-Thomas and Peter Sellers are a memorable pair- a kind of malevolent Laurel and Hardy.

Woodcutter Honest Jonathan is granted three wishes by the forest queen as gratitude for not chopping down a mighty oak tree. Returning home he excitedly tries to tell his wife about the wishes, but an argument ensues and during the course of which, the three wishes are foolishly wasted. Realising the folly of their waste, they both sadly ponder on the absence of a son in their life, no matter what size he be. Jonathan muses that perhaps the queen would grant them one more wish, even a small one...

Based on the Brothers Grimm story, "tom thumb" may just be the most undervalued musical made in the 1950s. "tom thumb" has everything a family musical should have, a fantastical fairytale full of colour, vibrant song and dance sequences, and a warmth to cheer the bluest of hearts. With the athletic and ebullient Russ Tamblyn taking the lead as Tom, and villains portrayed with such gleeful caddishness by Peter Sellers and Terry-Thomas, the film was always going to start from a good footing. Add in Tom Howard's Academy Award winning effects, Gamley & Jones' whimsical score and the zippy direction from Ray Harryhausen mentor, George Pal, well what's the excuse for not letting this film into yours, and your children's life?

The story unfolds in a blaze of glorious art design and pupetoon effects. As Tamblyn roams around his little world, the makers blend over-sized sets with animation and real life choreography. Yeah its a little creaky now, but this is still magic, a hark back to a time when it was hard work to craft such a fusion of incredible delights. There's a main sequence as Tom brings the toys to life (you see a toy without a child is as bad as a child without a toy), a truly wondrous segment of film that deserves classic status. Fit to sit alongside the moment Gene Kelly danced with Mickey Mouse in Anchors Aweigh, this sees Tamblyn trip the light fantastic around, and with, numerous articles and childhood toys beloved by so many in the past. Then there is the talented shoes, a mortality romantic sub-plot, and yes! the good against evil thematic so rich and potent with many a fairytale that has been spun. It's all good, really it is.

Am I biased because it was a childhood favourite? You can bet your last Cent, Penny or Euro that I am indeed! But I know this one truth, that I have shown this to various age groups over the years, and not once has this film finished and not been met with smiles and even happy tears on occasions. Because ultimately it delivers the joy to the children, and to the children in us all. And that be the truth your honour.

Doo be doo be doo 9/10

When I was a kid, this was among my favourite movies. The story of an old couple who are finally granted a wish to have a son, only to find he is just as tall as a thumb, is heartwarming and funny. And the naive character of the boy, the clumsy and funny villains, the comic relief characters, all together make this an enchanting tale for kids.

But for me, the highlight of the entire movie was the yawning man. There were lots of funny setpieces (dancing shoes, a romantic sub plot, ...) to extend the length of the movie, which would otherwise have lasted only half an hour or so, but this one stands out in my mind even today: The animated puppet that sings a yawning song, which makes Tom fall asleep. The song was so good, I have never forgotten it, and better yet: It worked. It was incredibly hard for my entire family not to yawn - not because of boredom, but because there are few things as infective as yawning...

So while Harry Potter may be the kiddie-movie of the moment, full of expensive special effects and a world famous franchise, it is hard to beat this old classic with the one thing that Harry Potter lacks: A soul.

Few other kid's movies managed that. Watch "Jack and the Beanstalk" (with Gene Kelly), or a few of the old Czech fairy tale movies (Salt prince, Cinderella with Hazelnuts), and you won't be disappointed. They all had what most ultra-slick kid's movies lack....