Paramount Pictures
Not part of a collection.
The Little Prince
The entertainment that loves a lot, and lives a lot, and gives and gives and gives a lot.
After a pilot is forced to make an emergency landing in the Sahara Desert, he befriends a young prince from outer space; the friendship conjures up stories of journeys through the solar system for the stranded aviator.
- Original title
- The Little Prince
- Language
- EN
- Country
- GB,US
- Budget
- $6,000,000
- Revenue
- $1,000,000
Vinicius Monteiro
Jun 3, 2026 · via TMDB
Adapting an untouchable classic is always a risk, but when the 70s dust settles, what's left is a piece of work that defies our expectations. Between legendary performances that shaped pop culture and highly questionable musical choices, the 1974 version of The Little Prince is a quirky cinematic experience that begs to be rediscovered. I invite you to hop on this asteroid and revisit one of the most curious and underrated adaptations in cinema. For hardcore fans of the original book, this adaptation's biggest strength is how it captures the story's lyricism and innocence. Personally, I feel the script really managed to translate Saint-Exupéry's prose while respecting the core of his dialogue. The dynamic between the Pilot (Richard Kiley) and the young Prince (Steven Warner) is bursting with genuine emotion. Kiley brings the perfect amount of exhaustion and disillusionment of a world-weary adult, while Warner embodies the Prince's endless curiosity and occasional childish stubbornness. The movie does an amazing job getting the book's main message across: the real danger of letting our inner child die as time goes by, and how crucial it is to value what is essentially invisible to the eye. Diving into the visuals is like taking a trip back in time. There’s an undeniable charm to the slightly psychedelic 70s aesthetic, which actually fits perfectly with the story's fairytale vibe. It brings me so much joy to see those old-school camera tricks in action. The director's choice to use wide-angle lenses and mirrors to distort the set creates the perfect illusion of tiny spherical planets. Plus, the fact that everything was made with practical sets and creative, almost theatrical costumes brings a raw, hands-on creativity to the screen. In an era dominated by flawless but often soulless CGI, the handmade texture of this film visually honors the author's original watercolor illustrations. One super important point that deserves a shoutout is the portrayal of the Rose, the Prince's great love and biggest source of heartbreak. The decision to humanize the flower by casting Broadway star Donna McKechnie was a really bold aesthetic choice. What could have been totally bizarre turns out to be a fascinating visual translation. McKechnie brings the exact right mix of vanity, dramatic flair, and, above all, vulnerability disguised as pride. Through her choreography and expressions, the movie brilliantly brings the complexity of romantic relationships to life, making it easy to see exactly why the Prince had to leave to finally understand the true value of who he left behind. One of the pillars of Saint-Exupéry's work is its fierce critique of the empty logic of "grown-ups." The movie incorporates this into the Prince's visits to other asteroids, where he meets characters like the King and the Businessman. While I think the supporting cast delivers perfectly executed theatrical caricatures, this is exactly where the movie proves a lot of its mixed reviews right. This episodic structure turns the book's short reflections into pretty long sequences and musical numbers, which end up breaking the flow of the main story happening in the desert. It's a double-edged sword: the satire looks cool, but it's exhausting for the story, making the second act feel a bit choppy and fragmented. You can't review this movie without taking a moment to talk about its cameos, which are hands down the creative peaks of the film and really help bring the story back to life. Legendary Bob Fosse's performance as the Snake transcends the movie itself. Dressed in black out in the middle of the desert, Fosse delivers slick, threatening, and hypnotic choreography. His meticulous dance moves didn't just steal the show; they set trends—the clear roots of the moves later immortalized by Michael Jackson are undeniably right there. Right after that, we get Gene Wilder delivering an unforgettable Fox. Wilder brings his classic vibe that mixes sweetness, eccentricity, and deep melancholy. The famous scene where the Fox asks to be "tamed" is maybe the most moving part of the whole film. Wilder delivers it with so much vulnerability that it instantly helps us absorb all the heavy philosophical meaning behind their meeting. Contrary to what a lot of parents and current industry producers tend to think, I strongly believe kids are perfectly capable of handling darker themes as long as they're treated with sensitivity. One of the things I admire most about this movie is how it refuses to sanitize the ending. Its take on saying goodbye, leaving the physical body behind, and grief is kept sharply poetic. I think it's crucial not to bubble-wrap young minds all the time. For me, using allegory and fantasy to spark tough conversations about how short life is and how emotional bonds last forever isn't a scary flaw—it's actually one of the production's bravest triumphs. Looking at it more critically from a distance, you kinda have to call it a mid-tier movie because of an obvious structural clash. Adapting such a quiet, introspective book into a grand Hollywood musical is almost an impossible task, and the cracks definitely show. I hugely respect the production's ambition, but there's a constant disconnect in the pacing. Stanley Donen's vibrant direction often clashes with the contemplative nature of the source material. The result is a movie that suffers from an episodic, dragged-out pace. It’s stuck in a painful middle ground: it’s too bizarre and philosophical to be a simple, mainstream blockbuster, but too boxed in by studio conventions to be a purely free, indie work of art. At its core, it’s a perfectly imperfect movie. If the tonal clash leaves the movie stuck in the middle, it’s the soundtrack where it unfortunately falls apart. I have to agree with the harsher critics and audiences on this one: the music seriously hurts the storytelling. It’s frustrating to see the lyrical genius of Alan Jay Lerner and Frederick Loewe result in songs that are so forgettable and out of place. Not only are the songs far from catchy, but they also pop up at the worst possible times. I feel like instead of amplifying the emotion, the songs just interrupt the flow of the movie. They try to translate deep philosophical dialogue into forced cabaret-style rhymes, which totally kills the viewer's immersion in the characters' introspective journey. Weighing its inventive aesthetics, memorable performances, uneven pacing, and musical missteps, what you're left with is a truly unique cinematic experience. I strongly believe it’s worth watching—and showing to the next generation—this forgotten, imperfect piece of 70s cinema. The essence of The Little Prince regarding trust, love, loss, and friendship is so huge and timeless that it survives any outdated format or questionable directing choice. I encourage you to hit play with an open mind, gather the family, and just let yourself soak in the message. There’s a solid chance that by the time the credits roll, you’ll be able to look past its technical flaws and recapture a bit of that magic—invisible to the eye—that only truly great stories know how to awaken.
User reviews courtesy of TMDB.
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Amazon Video
Apple TV Store
Google Play Movies
YouTube
Fandango At Home
Richard Kiley
The Pilot
Bob Fosse
The Snake
Gene Wilder
The Fox
Donna McKechnie
The Rose
Joss Ackland
The King
Clive Revill
The Business Man
Victor Spinetti
The Historian
Graham Crowden
The General
Maurice Binder
Main Title Designer
Bob Fosse
Choreographer
Stanley Donen
Director
Frederick Loewe
Music
Frederick Loewe
Songs
Alan Jay Lerner
Lyricist
Antoine de Saint-Exupéry
Novel
Alan Jay Lerner
Screenplay
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Nov 7, 1974
Jul 6, 1989
Paramount Pictures #8017 [VHS] 88 minutes
