Antoine de Saint-Exupéry

  • Night Flight (1933)

    Night Flight (1933)

    (On Cable TV, November 2020) The most interesting things about Night Flight are all about the movie than in the movie itself. Taken at face value, it’s a decent-enough adventure film about the heroic age of aviation in South America, featuring efforts by a company led by an American to establish trade routes through the treacherous Andes, especially when life-saving medication is involved. The technical quality of the film is rough by contemporary standards, reflecting Pre-Code era films’ limited ability to portray complex adventure stories. It’s interesting, and the cast (John Barrymore, Clark Gable, Lionel Barrymore, Myrna Loy and Helen Hayes) is amazing enough… but it’s hard to watch it without pining for Only Angel Have Wings, a very similar 1939 film with much better direction, script and production values. It’s when you start digging into the film’s production history that the most fascinating aspects of the film appear: Based on an Antoine de Saint-Exupéry novel, the author did not like the film and, through contractual shenanigans, had MGM take the film out of circulation in 1942… until 2011, when Warner Bros struck a deal with Saint-Exupéry’s estate to have the film shown again. That’s kind of amazing in itself—that a somewhat popular film starring well-known actors could disappear for nearly seventy years and become available once more to twenty-first century cinephiles, while their parents and grandparents would not have been able to see the film. The movie itself may not warrant that much devotion, but as an illustration of how contemporary film buffs have it much better than any previous generation of movie fans, it’s almost unparalleled.

  • Le Petit Prince [The Little Prince] (2015)

    Le Petit Prince [The Little Prince] (2015)

    (On Cable TV, December 2016) I’m quite amazed at how they managed to make a feature-length film out of Antoine de Saint-Exupéry’s Le Petit Prince. The source material is short, surreal, enigmatic and intensely poetic—it’s been said that if you don’t understand it, you’re too old. The film manages to fit an entire framing story around the source material, and the surprise is that it works relatively well despite taking place on a far more prosaic level than the original. Here, a young girl destined to a rigidly planned life discovers the wonders of imagination and whimsy—the original material showing up as stories, flashbacks, and culminating in a third act that works as a sequel to the book. It’s complex material handled by a surprisingly deft touch—the book-inspired sequences are made out of beautiful stop-motion animation, while the framing device (which ends up being bigger than the original material) is in more conventional CGI. The two different styles of storytelling work together to build a film that uses the original as a springboard to discuss equally-ambitious themes, and if the conclusion is made accessible enough for everyone, the core of the story does keep its elusive quality. The material may be a touch too abstract for younger children, but the flip side is that the film can be enjoyed by adults as well. Quite a surprise—I would have bet on a butchered adaptation, but what we get is quite decent.