#255. The Little Prince (1974)

 

 

The footage of Bob Fosse wearing all black and dancing around like a snake has been making the rounds online recently (mostly because of how much it obviously influenced Michael Jackson, who just got a new biopic), and it piqued my interest enough to get me to seek out the source.

 

For the most part, The Little Prince lived up to that curiosity. It might be small and cheap (and slightly lacking in the song department, let's be honest), but it's also warm and cute and charming, which is what matters to me. Between the adorable production design, the endearing effects, the kooky wide-angle cinematography, and the generally playful tone, the whole movie feels like a storybook come to life, and it's just a joy to behold.

 

Now, granted, there's not exactly a ton of plot going on, so the gimmicks wear a little thin after a while, but that's where two incredibly inspired bits of casting provide some rejuvenation in the back half. I've already mentioned Fosse as The Snake, who looks cool as hell, but the true standout for me (and I think everybody) is Gene Wilder as The Fox. Seeing him run through the woods and hide behind trees in an orange suit is one of those precious visuals that I'll cherish forever.

 

Grade: A-

 

P.S. Columbo killer count: 2. Richard Kiley (they truly spared no expense when it came to casting this movie) and Clive Revill.

 

#196. Singin' in the Rain (1952)

 

Prior Viewings: 3-4

 

I usually feel a slight sense of trepidation when it comes to tackling the more popular and acclaimed movies, but not so much here. And I think that's because Singin' in the Rain is so pleasant and likeable and beautiful and entertaining that the positives basically speak for themselves.

 

Like, where to start? The gorgeous Technicolor? The catchy songs? The athletic choreography? The breathtaking pastel sets? The funny dialogue? The sharp industry satire? It's all so marvelously composed and effortlessly executed (despite the fact that these numbers are clearly exhausting) that you can't help but smile through the entire thing.

 

And unlike a lot of musicals from the time (or any time), there's not a single dull moment throughout. The title sequence, "Make 'Em Laugh", and "Good Morning" are all rightfully immortalized, but then you've also got the lovely "You Were Meant for Me", the energetic "Moses Supposes", and the show-stopping "Broadway Melody", as well as a fun showbiz plot and a cute romance in between all the winning numbers. It's about as joyous and perfect as Old Hollywood gets.

 

Case in point: the movie has appeared on pretty much every significant film list there is (including a top ten placement from both the American Film Institute and Sight & Sound), and you almost never hear any objections.

 

Grade: A+

 

#16. Two for the Road (1967)

 

 

It's frustrating reviewing something like Two for the Road because I can absolutely see the positives here. This movie has wit and complexity and intelligence and a fantastic performance from Audrey Hepburn. And yet my praise can only go so far, because I wasn't particularly moved by any of it.

 

My main issue is the central relationship. I just can't find much chemistry or warmth in this couple. And while I can acknowledge that romcoms don't have to be sunshine and rainbows in order to be successful, this one veers a little too far in the other direction for my liking, to the point where you start to wonder what these two even see in one another. When that happens (especially in a way that doesn't feel intentional), it can make for both a dour comedy and a tedious drama. 

 

And then there's the non-linear storytelling. I really want to praise this aspect, as it's both creative and often quite funny, but I think it ultimately does more harm than good. The narrative bounces around so frequently and arbitrarily that any sense of growth or progression is mostly lost. Maybe that's the point (relationships often stagnate, after all), but it only served to exacerbate my apathy.

 

Grade: C+

 

P.S. Another possible explanation for my not being a fan: Albert Finney's voice was like nails on a chalkboard to me. Can't say this was a familiar occurrence; I've never had a problem with the guy before. But I thought he was genuinely insufferable here.