Tearing myself away from the Lithuanian baby racing (banged a tenner on a sprog that threw a tantrum on the final stretch) I turn my gaze upon more from Stanley Donen. LATE PERIOD Stanley Donen.

I thought this would be interesting, having recently “enjoyed” his musical parody MOVIE MOVIE, which was a very mixed bag. I remember seeing stills from THE LITTLE PRINCE in old movie mags when I was at school, and discussing it with someone (a Gene Wilder fan, I think) who had seen it and hated it. So I was fascinated (those stills were intriguing!) and also rather wary.

I. Loved. It.

Based on the story by Antoine de Saint Exupéry, adapted into musical form by Leopold and Loeb. No wait, not them, the other two — Lerner and Lowe. Much better choice. Still it’s a weird book that I couldn’t get on with as a child, but which I’d probably love now. One of those “children’s books” that’s probably wasted on kids. It’s very peculiar and so is the film.

The Rose

it’s also made in quite a bold style that possibly seemed dated when the movie came out (1974) — Donen uses stylised sets not just for the fantastical otherworldly bits, but also for the desert at night, even though the daylight stuff is mostly shot on real locations (Tunisia). But this isn’t like Billy Wilder using rear projection for car journeys in BUDDY BUDDY (1981), Donen’s choices make sense for the film he’s making. Looking ahead to modern cinema we could even say he was ahead of his time.

In fact, when the central characters pass a giant fish skeleton in the Tunisian sands, and a soft-edged wipe takes us on to the next scene, it’s easy to see George Lucas MUST have seen this before embarking on STAR WARS. Everybody assumes those are sand worm bones in A NEW HOPE, but that would suggest Lucas had read Dune. I’m not even convinced he’s read Joseph Campbell.


Plot: An aviator crashes in the Sahara where, as he desperately tries to repair his plane, he encounters an extraterrestrial child who tells him his strange story… it’s like THE FLIGHT OF THE PHOENIX, only with more dancing.

There is quite a bit more to it than that, but describing it would get us into the pernicious realm of spoilery, and I quite liked not knowing what was going to happen in this case. I must say I would NOT have predicted the ending. Crikey.


Incidentals: travelling through space, our little cosmo-lad encounters several eccentric characters, played by eccentric actors of various type: Joss Ackland from England, Graham Crowden from Scotland, Victor Spinetti from Wales and Clive Revill from New Zealand. Not major stars, but with impressive track records of cult cinema trailing in their wakes. Each embodies some aspect of adult human folly.

Two of them appear on giant spherical sets, and two appear filmed with a fish-eye lens that folds them into a spherical image. This must be one of the most brazenly stylised devices ever deployed in a mainstream entertainment. It’s pretty alienating and freaky, but so’s everything else. What I actually loved in this film are all the things than probably made it completely unacceptable to my schoolfriend.

Clive of India

Once on Earth, the little guy (a rubber-faced child with albino eyebrows and a fright wig, also a curious flattened delivery) encounters a snake, who offers to return him whence he came by killing him (all in song form) and a fox who wants to be tamed. The snake is Bob Fosse and the fox is Gene Wilder, and they don’t use animal costumes or special effects, just a few jump cuts to equate each with the animal they’re playing. It works marvellously well, but might be a stretch for little kids. Kids would always rather have a talking animal than a great actor or dancer.

(The tacky part of the film is actually the flock of birds that transport our miniature hero through the stars — they’re poorly drawn and animated and clash with the rest of the film. I assume that animation was used only because real doves couldn’t be tied to a child and unleashed. We’re not talking Hitchcock and “Tippi” Hedren here. Maybe, in keeping with the more theatrical approach to the talking animals, the birds should have been invisible, with sound effects only, or something? I actually think they would have sucked even if they’d been better designed and animated.)

The Birds

Fosse is amazing here. Fiona found it disconcerting to see Bob Fosse dance moves actually being danced by Bob Fosse. He’s styled kind of like Brazilian horror icon Coffin Joe, and some of his moves and dress sense call to mind Michael Jackson, which is alarming. Both Fosse and Wilder’s scenes involve SEDUCING A CHILD, which obviously complicates our responses to the scenes, but I enjoy a healthy dose of malaise and discomfort in my entertainment so that didn’t spoil things for me.


Gene Wilder is doing his saccharine thing as showcased at the end of WILLY WONKA (he’s wonderfully sinister in the rest of that film) and it’s slightly problematic for me. I prefer Wilder when he’s funny. But he features in one of the film’s most lovely and weird shots:

Gene Wilder, Party Liason

It’s almost like a William Hurt hallucination from ALTERED STATES, as is most of the film. In Ken Russell’s psychedelic sci-fi extravaganza, stoners would famously lurk in the lobby during the talking bits, until a hallucination came on, then they’d rush into the cinema to experience it. In this movie they’d never have to leave their seats.

My biggest problem with the film was leading man Richard Kiley, a baritone voice with legs. At first I misread the credits and thought it said Richard KIEL, the hulking Jaws from THE SPY WHO LOVED ME, which would have been a miraculously brave choice. The kid would have barely come up to his calf. Kiley sings with that rather strenuous, fakey passionate commitment that I associate with the more generic kind of Broadway entertainment, and he kind of acts that way too. But in a strange way he balanced out with the non-acting, non-singing kid. By the end I liked them both. I mean, I liked the kid from the start because he’s a shaggy foetus in a frock coat, and you don’t see enough of those, but by the end I also RESPECTED him. He can pop round for a biscuit anytime.

Kiley and Warner

The songs and music sometimes tend to the sugary as well, but I Never Met a Rose was lovely and Fosse’s number was spectacular (and looooong — Fosse fans will not feel cheated) and any film where you get Joss Ackland singing will score highly on the old Weirdometer. He can kind of carry a tune, but more importantly, he can bulge his eyes like an ill frog.

Having cringed slightly at the stylistic vagueness of MOVIE MOVIE, I was thrilled at most of Donen’s visuals here. He seems confident, imaginative, on close to peak form. There are some very odd camera moves — when the Prince first appears it’s in a little crane shot, descending to earth so the kid sort of grows, which can only be explained in fairly abstruse psychological terms, but works, in some way. A lot of the moves are beautifully counter-intuitive. I get the impression Donen is enjoying himself, which didn’t so much seem the case in MOVIE MOVIE.

Cinematography, favouring the wide-angle lens, is by Christopher Challis, who did beautiful work on THE PRIVATE LIFE OF SHERLOCK HOLMES and shot most of the later Powell & Pressburger flicks — films that aren’t as good as the ones Jack Cardiff filmed, mostly, but which are every bit as beautiful. And it’s worth getting his book.

The Planet

I was lucky enough to see Challis introduce P&P’s OH… ROSALINDA! here in Edinburgh. After he’d trashed the film, which everyone involved in considered a total failure, he observed that this was a restored print. “I’m not quite sure what that means, but when I look in the shaving mirror in the morning I do sometimes wish there was a restoration scheme for aging photographers.”

11 Responses to “Starchild”

  1. mrcanacorn Says:

    I still haven’t watched The Little Prince, but I have watched the Fosse clip numerous times on YouTube and it always leaves me slack jawed. Simply amazing…notice how he almost did the “moonwalk” about 10 years BEFORE Michael Jackson shocked the world in 1983.

    What a great shot of the giant fish bones…I immediately thought of Star Wars…even without seeing “the wipe”….wow.

  2. Michael Jackson is a total fraud. I’ll bet he tried copying Fosse style for the scenes with the Little Prince as part of his child molestation technique.

    VERY strange. Barely over an hour ( like Cloverfield)

    Speaking of Joss Ackland, are you familiar with the Pet Shop Boys film It Couldn’t Happen Here? He’s in that . And the score is by Neil, Chris and (wait for it) Ennio Morricone.

  3. I haven’t seen the Pet Shop Boys film but I may have to. I knew Barbara Windsor was in it, and had seen Joss Ackland in one of their promos.

    Sometimes when a film is 85 minutes it can be a sign that the thing was cut down because it didn’t work, and as damage limitation they just hacked out the most egregious stuff. But sometimes you have a perfect miniature that chooses to deliver itself with a degree of economy and simplicity. This deeply strange film somehow does that.

    The book has several more cameo roles, but it makes sense that the film pares the space characters down to three.

  4. Anything with Barbara Windsor is Mandatory Viewing.

    I’ve got a real jones to see Joan Littlewood’s Sparrows Can’t Sing again. I saw it when it was released in ‘632 (or was it 3?) and just adored it. It has one of my all time favorite opening sequences: Barbra Windsor leaning out of a window (as only she can) to water the flowers in the windowbox while singing the title song full out with gusto.

  5. That’s the only bit of the film I’ve seen, as a kid. I remember boggling at the strangeness of it all, since I only knew her from Carry-on-land.

    I have a strong suspicion that one will get a DVD airing very soon. As a friend said, the whole concept of rarity is starting to look obsolete. I look at the first films he copied for me, still on my shelves, and they include an ancient off-air of I Vitelloni — at the time, that was the only way we could get to see it. That’s mind-boggling now, and yet I think it was less than ten years ago.

    And there are obscure British films like The Frightened City and The Girl in the Headlines getting releases, so why not Littlewood’s historically significant oddball piece?

  6. Getting back to Fosse, don’t forget Donen directed him in the lovely Give a Girl a Break (cited by Rivette as the inspiration for his Haut/Bas/Fragile) He’s also teriffic in My Sister Eileen and Kiss Me Kate — in which you can see the birth of the full Fosse style in the “From This Moment On” number where he’s partnered by the great Carol Haney.

  7. Have never seen GAGAB or MSE. Apart from its considerable virtues as a cult movie, I’m glad to have The Little Prince so I can use the Fosse scene next time I lecture on him. I’ve had all his features for a while, so it’s nice to add something and prevent the lecture getting stale.

  8. I vaguely recall seeing this as a child and feeling like I was being tortured. The stills you display are fascinating, however–very trippy, as they say.

  9. That’s just it. Showing this to a child would just about qualify as abuse. Might as well hit them with Satyricon and have done with it.

  10. Reblogged this on 宵の逍遥はさかしまに and commented:
    The Little Prince

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

%d bloggers like this: