I saw The King and the Bird ~25 years ago in the Soviet Union, professionally translated and dubbed. The movie, ironically, fits very well the Soviet ideology (the poor get explored by the rich, the rich living in sky-scraper-like palaces etc). Apparently the movie is not available in the US with English subtitles. The movie fascinated me as a ~7 year old, but also disturbed me quite profoundly. After I watched it again in 2010 I have realized that I remember ~50% of the movie quite literally 25 years later. Some scenes still don't make sense to me, just like the didn't back in the early 80s, e.g. the king from the painting getting rid of the real king 15 min into the movie and taking over the rest of the show. Some parts of the story and some scenes in the animation itself could have more attention to detail, they stand out. E.g. the lion scene is showing very abstract lions; and later I learned that the scene was added ~30 years later.
29 Reviews
Incredible movie
niki-ravasi19 January 2014
I heard about this movie because it was listed on The thief and the cobbler's wikipedia page as another movie which took a long time to make. The story behind this movie is very interesting and I find it very touching the Paul Grimault managed to complete his vision (unlike Richard Williams). The soundtrack was incredible and fit the scenes perfectly, but the sound effects are a bit lacking (but just in a few scenes). The only complaint I have with this movie is the animation. The scenes were animated decades apart, and this is a problem because the styles do not go together well, because the older animation is leagues better than the new one. That being said I can ignore this problem because even in the new animation the backgrounds are very beautiful. The dialog is also very creative, feeling more like poetry than actual dialog (this should not surprise anyone because it was all written by Jaques Prèvert) I recommend this movie to everyone
A one of a kind French cartoon.
emasterslake5 August 2007
I wasn't partly familiar with it's existence till recently. But it's worth discovering over off the internet.
The King and the Mockingbird is a little hard to understand without knowing any French. I don't know any so I just watched it and see what I can make out of the story by the actions and scenes. Takes place in a serial kingdom utopia. Where lived a king who was passionate with his image and power over people. Also in the kingdom lived a Mockingbird who watches over his kids and is a real nuisance to the King. As well as a young couple who magically came to life from the King's art gallery.
The rest of the story is bazaar and fantastic at the same time. The movie is very hard to find in R1 DVDs. Not as well known as "Triplets of Belleville" another great French movie. But there's yet to be a Special Edition that would include English translation for all English speaking countries to enjoy this masterpiece. Since the French do have their small share of animation producing.
The animation is old quality, because it began production as far back as the 40s. The likeness is a combination of Max Flechier/early Disney animation. And was created by a French animator, who was known as the Disney of France. I haven't seen any of his other ones. But this one here is his most well known work over in Europe.
So if you ever come across this title be sure to see it if you like foreign animation.
The King and the Mockingbird is a little hard to understand without knowing any French. I don't know any so I just watched it and see what I can make out of the story by the actions and scenes. Takes place in a serial kingdom utopia. Where lived a king who was passionate with his image and power over people. Also in the kingdom lived a Mockingbird who watches over his kids and is a real nuisance to the King. As well as a young couple who magically came to life from the King's art gallery.
The rest of the story is bazaar and fantastic at the same time. The movie is very hard to find in R1 DVDs. Not as well known as "Triplets of Belleville" another great French movie. But there's yet to be a Special Edition that would include English translation for all English speaking countries to enjoy this masterpiece. Since the French do have their small share of animation producing.
The animation is old quality, because it began production as far back as the 40s. The likeness is a combination of Max Flechier/early Disney animation. And was created by a French animator, who was known as the Disney of France. I haven't seen any of his other ones. But this one here is his most well known work over in Europe.
So if you ever come across this title be sure to see it if you like foreign animation.
Excellent animation should be better known
FilmFlaneur12 July 2002
Warning: Spoilers
Animator and actor Paul Grimault, who appeared in Vigo's 'L'Atalante' (1934), suggested to Jacques Prevert just after the last war that they tackle an adaption of the Hans Christian Andersen story The Shepherdess and The Chimneysweep. The result was a remarkably little-known (at least amongst English and American film lovers) animated feature, La Bergère et Le Ramoneur,(1952) reissued as Le Roi et L'oiseau (1979). It has also been called by the considerably more crass title 'The Curious Adventures of Mr. Wonderbird', or even the bald 'Mr Wonderbird To The Rescue', for its rare surfacings on video. The title tangle reflects the film's obscurity in the English speaking world, as well as the difficulty in categorising a work which is at once a children's film, a polemic fantasy and a uniquely French cultural piece.
Prevert, better known as the collaborator with Marcel Carne on such films as Les Enfants du paradis (1945), brought a distinctive brand of poetry and wit to the project which, in its first incarnation took six years to complete. Money problems and disagreements with the producers caused it to be issued, but with Prevert's name removed, in 1952. It was only after twenty years that Grimault was able to see the project completed to his full satisfaction, whereupon it promptly won the prestigious Louis Delluc prize.
The action takes place in the imaginary kingdom of Takicardia, ruled by the unpopular King -whimsically named `Charles V and three makes eight and eight makes 16'. The action is narrated in retrospect by the cheerful, omnipresent Mr Bird, who supports and guides the hero and heroine. King Charles (a curious mixture of Mayerling's Crown Prince Rudolf, Ben Turpin and Mussolini) is a squint eyed, conspicuously vain, autocrat who `hated everyone, and everyone hated him right back'. He is fond of shooting and capturing birds, living apparently without queen or immediate family in a labyrinthine palace.
After an abortive, shooting interlude, (Mr Bird has already shown us the grave of his wife 'killed in an unfortunate hunting accident') and a witty scene during which he confronts a nervous painter, Charles retires to his 'private and secret apartments' on his palace's 96th floor. Here he contemplates his latest portrait, and those of a chimney sweep and shepherdess already hanging there. He is in love with the image of the girl, viewing that of her painted companion with disdain. That night, while the King sleeps, all of the portraits come alive and, to avoid an impromptu marriage with the royal, the sweep and shepherdess make off. Meanwhile the King's own portrait has become animated, discovering its own love for the sweet girl. He disposes of the real king down a convenient trap door, assumes the throne and pursues the elopers with all the apparatus of the state.
The pursuit, and eventual capture of the two, is what occupies the rest of the film. Grimault sets the action amidst the passageways, steps, waterways, roofs and basements of the grand palace. Its baroque setting, with its distinctive use of perspective, recalls the paintings of Giorgio de Chirico. The design of the palace, and its roof top scenes, probably influenced the great Japanese animator Hayao Miyazaki's realisation of Cagliostro's castle in his 1979 anime of the same name. For Charles' castle is a wonderful invention, characterised by floating and elevating thrones, bowler hatted policemen, huge galleries, canals, and an exotic skyline of spires, balustrades and minarets. It is also a place of danger. Trap doors open at the touch of a button, eliminating those who displease the king - another element taken over by Miyazaki, incidentally. The king also uses a robot, the machinery of repression made concrete, to pursue his love. Its lumbering yet delicate presence reminds the viewer of the metal gardeners in Miyazaki's Laputa: Castle in the Sky (1986) as well as the more recent American release Iron Giant (1999).
Prevert's script juxtaposes different values, or 'arts', and asks us to draw our own conclusions. Do we prefer the vanity and artificiality of portraiture, self-indulgent architectural follies, and grandiose self-admiration? Or the simple charm of a bird call, a blind street beggar's hurdy gurdy, the simplicity of true love? Prevert has his answer ready: he clearly values spontaneity and truth over artificiality and obsequiousness. Wojciech Kilar's superb score complements this with a lovely, plaintive piano main theme, as well as a range of parodic marches used for 'royal use'. (One especially relishes the automated band in the metal giant's chest.) Prevert's script is also concerned with the atmosphere of oppression, and the struggle for liberation. In the aftermath of the Second World War, life under The Occupation was still fresh. King Charles' secret police (who at one point develop the disconcerting ability to fly like black bats) are bumbling, but undeniably still intimidating. Takicardia may be an incompetent state, but one whose determined overthrow will reduce everything to rubble.
In the basement of the palace, where the two lovers eventually are cornered, are starving lions and a blind musician. `Does the world really exist and the sun really shine?' he asks plaintively before adding `They saw a bird - there must be hope'. In an extraordinary scene, the beasts waltz to the hurdy-gurdy man's instrument, being dissuaded from eating the chimneysweep by the power of music, before the bird's propagandistic speech raises their ire and they assist in the royal downfall. Theirs is a literal underworld. One whose muted despair and foreboding recalls Prevert's scripts for Quai des brumes (1938) or the doomed waiting of Le Jour se lève (1939), redeemed here by the power of art.
In an interview (Jeune Cinéma, n° 128) Grimault stressed the importance of the film as not just being for children but, in its way, as unique a work as the animations of the Americans, a radical and long lasting achievement. Viewing it today it is hard not to disagree with him, and one hopes it will appear on DVD to delight a new audience.
Prevert, better known as the collaborator with Marcel Carne on such films as Les Enfants du paradis (1945), brought a distinctive brand of poetry and wit to the project which, in its first incarnation took six years to complete. Money problems and disagreements with the producers caused it to be issued, but with Prevert's name removed, in 1952. It was only after twenty years that Grimault was able to see the project completed to his full satisfaction, whereupon it promptly won the prestigious Louis Delluc prize.
The action takes place in the imaginary kingdom of Takicardia, ruled by the unpopular King -whimsically named `Charles V and three makes eight and eight makes 16'. The action is narrated in retrospect by the cheerful, omnipresent Mr Bird, who supports and guides the hero and heroine. King Charles (a curious mixture of Mayerling's Crown Prince Rudolf, Ben Turpin and Mussolini) is a squint eyed, conspicuously vain, autocrat who `hated everyone, and everyone hated him right back'. He is fond of shooting and capturing birds, living apparently without queen or immediate family in a labyrinthine palace.
After an abortive, shooting interlude, (Mr Bird has already shown us the grave of his wife 'killed in an unfortunate hunting accident') and a witty scene during which he confronts a nervous painter, Charles retires to his 'private and secret apartments' on his palace's 96th floor. Here he contemplates his latest portrait, and those of a chimney sweep and shepherdess already hanging there. He is in love with the image of the girl, viewing that of her painted companion with disdain. That night, while the King sleeps, all of the portraits come alive and, to avoid an impromptu marriage with the royal, the sweep and shepherdess make off. Meanwhile the King's own portrait has become animated, discovering its own love for the sweet girl. He disposes of the real king down a convenient trap door, assumes the throne and pursues the elopers with all the apparatus of the state.
The pursuit, and eventual capture of the two, is what occupies the rest of the film. Grimault sets the action amidst the passageways, steps, waterways, roofs and basements of the grand palace. Its baroque setting, with its distinctive use of perspective, recalls the paintings of Giorgio de Chirico. The design of the palace, and its roof top scenes, probably influenced the great Japanese animator Hayao Miyazaki's realisation of Cagliostro's castle in his 1979 anime of the same name. For Charles' castle is a wonderful invention, characterised by floating and elevating thrones, bowler hatted policemen, huge galleries, canals, and an exotic skyline of spires, balustrades and minarets. It is also a place of danger. Trap doors open at the touch of a button, eliminating those who displease the king - another element taken over by Miyazaki, incidentally. The king also uses a robot, the machinery of repression made concrete, to pursue his love. Its lumbering yet delicate presence reminds the viewer of the metal gardeners in Miyazaki's Laputa: Castle in the Sky (1986) as well as the more recent American release Iron Giant (1999).
Prevert's script juxtaposes different values, or 'arts', and asks us to draw our own conclusions. Do we prefer the vanity and artificiality of portraiture, self-indulgent architectural follies, and grandiose self-admiration? Or the simple charm of a bird call, a blind street beggar's hurdy gurdy, the simplicity of true love? Prevert has his answer ready: he clearly values spontaneity and truth over artificiality and obsequiousness. Wojciech Kilar's superb score complements this with a lovely, plaintive piano main theme, as well as a range of parodic marches used for 'royal use'. (One especially relishes the automated band in the metal giant's chest.) Prevert's script is also concerned with the atmosphere of oppression, and the struggle for liberation. In the aftermath of the Second World War, life under The Occupation was still fresh. King Charles' secret police (who at one point develop the disconcerting ability to fly like black bats) are bumbling, but undeniably still intimidating. Takicardia may be an incompetent state, but one whose determined overthrow will reduce everything to rubble.
In the basement of the palace, where the two lovers eventually are cornered, are starving lions and a blind musician. `Does the world really exist and the sun really shine?' he asks plaintively before adding `They saw a bird - there must be hope'. In an extraordinary scene, the beasts waltz to the hurdy-gurdy man's instrument, being dissuaded from eating the chimneysweep by the power of music, before the bird's propagandistic speech raises their ire and they assist in the royal downfall. Theirs is a literal underworld. One whose muted despair and foreboding recalls Prevert's scripts for Quai des brumes (1938) or the doomed waiting of Le Jour se lève (1939), redeemed here by the power of art.
In an interview (Jeune Cinéma, n° 128) Grimault stressed the importance of the film as not just being for children but, in its way, as unique a work as the animations of the Americans, a radical and long lasting achievement. Viewing it today it is hard not to disagree with him, and one hopes it will appear on DVD to delight a new audience.
Probably the best animation film of all time
dbdumonteil6 February 2002
I saw this film when I was a child and it mesmerized me. I saw it recently and my fascination for this film hasn't declined. This film is a marvel. Among its particularities that are quite numerous, let's quote: the beauty of the landscapes , the harmony of the colors, the perfection of music and especially the irony of the dialogues which is not surprising as they were written by Jacques Prévert. Moreover, in this film (which was awarded by the "Louis Delluc" price in 1979 and it deserved it), Paul Grimault's goal is to show us his hatred of the tyranny and his defence in favour of the poor and the weak. The film shows a great contrast concerning this thema: the king and his court lives in modernity, in the light and in gigantic palace whereas the population lives in darkness, in obscurity and in poverty. As a conclusion sentence: a wonderful animation film which is much better than any Disney films
Truly unforgettable
ckrebs-17 December 2005
I saw this movie only once in a cinema, as a child, shortly after it was released. I still remembered scenes and bits of it more than 20 years later! I recall feeling particularly moved by the poor people kept captive underground, which evidences that children's stories must not necessarily be devoid of suffering and injustice. On the contrary: this kind of plot may feed children's sense of indignation and thus ultimately contribute to a better world.
This film is one of those rare pieces of art that are a true explosion of fantasy that will capture a child's imagination completely, combined with an underlying message that will also fascinate adults.
I bought the superbly produced "Édition Collector 2 DVD" set (Zone 2) through Amazon France about a year ago and it has become one of the favorite movies of my 5-year-old son, too, although neither of us speaks a word of French...
This film is one of those rare pieces of art that are a true explosion of fantasy that will capture a child's imagination completely, combined with an underlying message that will also fascinate adults.
I bought the superbly produced "Édition Collector 2 DVD" set (Zone 2) through Amazon France about a year ago and it has become one of the favorite movies of my 5-year-old son, too, although neither of us speaks a word of French...
A Masterpiece
Rectangular_businessman20 July 2010
Warning: Spoilers
"The King and the Mockingbird" is simply one of the most beautiful animated films ever made. I can clearly see how the works of Hayao Miyazaki (One of my favorite Japanese animators) were influenced by this, specially in the music, characters and mechanic designs. The animation is flawless, despite being made in 1980, it had the quality of the Golden Age of animation, reminding me a lot the shorts of Max Fleischer and the classic animated films from Walt Disney. I loved everything about this film.
The whimsical story, the superb animation, the beautiful music, the charming characters...All was perfect. Too bad that there aren't very much animations like this anymore. If you love the Disney classics and the works done by Max Fleischer and Hayao Miyazaki, you shouldn't miss this one.
I would give this eleven stars if I could.
The whimsical story, the superb animation, the beautiful music, the charming characters...All was perfect. Too bad that there aren't very much animations like this anymore. If you love the Disney classics and the works done by Max Fleischer and Hayao Miyazaki, you shouldn't miss this one.
I would give this eleven stars if I could.
Bird Brains
writers_reign29 October 2005
Warning: Spoilers
It's both surprising and disappointing to find only a handful of raves for this outstanding film which is certainly the equal of anything Disney turned out in its Snow White, Bambi, etc heyday and may, as some posters insist, even surpass Disney. As a lifelong admirer of Jacques Prevert the dialogue was the principal attraction for me but I stayed to marvel at the animation, the colour, the music, the whole nine yards in fact. Prevert's touch is everywhere from the name of the King to the Popular Front/October Group philosophies, the stark contrast in lifestyles between the King and more or less everyone else in his kingdom. The Bird has overtones of Charley Carioca ironically a Disney creation and those seeking the referential can cite the robot which could be a cross between King Kong and Edward Scissorhands whilst I'm sure academics and others of that ilk could cite a dozen more examples but far better to just enjoy an outstanding piece of animation.
Very good for its time
jose-cruz533 February 2013
The little 80 minutes film is a very good animated film. It, however, is not a masterpiece in any way shape or form. There are several problems: in terms of plot it is too simplistic as it is a film made for small children and thus can easily bore most adults. I gave it 7/10 mostly because this film inspirited Miyazaki and Takahata to make true masterpieces out of this art form.
The quality of the animation, while good for the 1950's, is not remotely comparable to more recent films, such as Princess Mononoke, which have much more realistic physics. Visually this film is quite mediocre as well: the backgrounds lack the details from modern animated features (such as the already mentioned Princess Mononoke). The soundtrack is decent, however. For me it is hard to understand that someone which has watched and understood most Ghibli films would think that this is a masterpiece.
Also, finally, there is no such thing as "liking" animation, as there isn't such thing as "liking" live action. Animation is not a genre. Period. It encompasses a huge variety of genres and thus someone who doesn't like this could like Princess Mononoke, for instance, which is a completely different film. Their only similarity is the fact that they are animated and that they have talking animals.
The quality of the animation, while good for the 1950's, is not remotely comparable to more recent films, such as Princess Mononoke, which have much more realistic physics. Visually this film is quite mediocre as well: the backgrounds lack the details from modern animated features (such as the already mentioned Princess Mononoke). The soundtrack is decent, however. For me it is hard to understand that someone which has watched and understood most Ghibli films would think that this is a masterpiece.
Also, finally, there is no such thing as "liking" animation, as there isn't such thing as "liking" live action. Animation is not a genre. Period. It encompasses a huge variety of genres and thus someone who doesn't like this could like Princess Mononoke, for instance, which is a completely different film. Their only similarity is the fact that they are animated and that they have talking animals.
Not the average animated film
earthborn4416 March 2006
I remember watching this in school when i was a kid, later i had a tremendous struggle trying to find it again, finally got it in my hands & have watched it like 10 times since! Animation made by computer opens new grounds for sure, but most of it (if not all until today) has no soul at all, no replaying value either. Check this & don't mind the language, is so well gestured by the characters you'll understand most of & it has an excellent score as well. I can see cubist & futurist artistic movements influenced this movie too. Nothing comes close, even the best anime movie from japan!
Only movie i ever will put a 10 on, i guess!
Only movie i ever will put a 10 on, i guess!
Holds up
h7942312 September 2022
Back in mid-80s, my parents recorded this of off TV on VHS (yes, I'm old) and because we didn't have many children's movies recorded (and only three channels), me and my sisters ended up watching this quite a few times. I did remember this fondly, but when I was curious as to whether this would hold up when I tried to find it to show to my nieces. Couldn't find it when they were children, but when I finally did get my hands on it, I can now say that it does indeed hold up, although I can't really tell whether I ike it because of those childhood memories or because it's actually good. I would like to believe its the latter.
It is quite weird. The world is quite absurdly centered on the king, who has.a fragile ego and is quite quick-tempered. Everyone else is completely disposable (and he disposes of quite a few of them throughout the movie). It is absurd in other ways as well. It is a police state, but the police generally don't wield anything more dangerous than umbrellas. I do remember wondering how this world even functions or how the king ever managed to gain such power, but we can also see examples of the latter in the real world, so the older me sees that as almost a warning on what might be happening in the world right now.
Here, a.young chimney sweep in a painting falls in love with a shepherd in another painting. Things get complicated when a painting of the king also falls in love with the girl and claims his right as the king on the girl. The young pair escape with the help of the mockingbird.
The production was quite fragmented and at times you can see the seems in the animation, but its not that bad. I don't know if this is also the reason for the.uneven pacing of the story, but the kid in me doesn't really care about that either.
It is quite weird. The world is quite absurdly centered on the king, who has.a fragile ego and is quite quick-tempered. Everyone else is completely disposable (and he disposes of quite a few of them throughout the movie). It is absurd in other ways as well. It is a police state, but the police generally don't wield anything more dangerous than umbrellas. I do remember wondering how this world even functions or how the king ever managed to gain such power, but we can also see examples of the latter in the real world, so the older me sees that as almost a warning on what might be happening in the world right now.
Here, a.young chimney sweep in a painting falls in love with a shepherd in another painting. Things get complicated when a painting of the king also falls in love with the girl and claims his right as the king on the girl. The young pair escape with the help of the mockingbird.
The production was quite fragmented and at times you can see the seems in the animation, but its not that bad. I don't know if this is also the reason for the.uneven pacing of the story, but the kid in me doesn't really care about that either.
One of the most memorable films of my childhood
simon_hoac2 February 2011
I was reminded of this film recently and it instantly became an obsession for me to find the English dubbed copy that I remember as a child. Finally got my hands on a copy and wow this movie is better than anything I ever saw while I was young! Sometimes you go back and watch something you loved as a child and realize how terrible it was but this film sent chills through my body, each scene playing through exactly as I remembered it in perfect detail. Anyone who saw this as a child will know what I'm talking about. The level of nostalgia that comes with this fantastic animation is above anything any other film has ever had for myself. The music is absolutely epic, beautifully written and goes with the movie perfectly. The level of storytelling that this film does is amazing despite the small amount of dialogue. Truly a classic, it is unfortunate that this film is so rare to find, especially in English. If anyone is interested please contact me.
Well animated but utterly tedious
cherold10 December 2019
Yeah yeah, inspired Miyazaki, considered greatest animated French film, blah blah blah. This movie is really a slog.
In fact, after ten minutes I came to IMDB just to get a sense of how people felt about it, and reviews were so enthusiastic that I went through another 20 minutes or so before giving up at last.
The animation is interesting, combining elements of 1930s Warner Bros and 1940s Disney. It also follows the surrealist Fleischer Bros. approach to story, which is to not bother explaining or making sense of anything.
The story is an odd fantasy about a kingdom of talking birds and living artworks, and the plot bumps along here and there before it settles into some sort of story, which is basically an old-school evil, lustful man interfering with true love.
It all moves slowly, and while it has typical cartoon gags, most of them simply aren't funny. In a half hour I think the only laugh I had was a cagey guy dodging a series of trap doors (which are a running gag in the film). Although to be fair I don't like most French comedy in general; I never got the Jaques Tati thing (loved Tall Blonde Man, but that was unusual for the French).
Whatever historical significance this film has, I can't watch any more.
In fact, after ten minutes I came to IMDB just to get a sense of how people felt about it, and reviews were so enthusiastic that I went through another 20 minutes or so before giving up at last.
The animation is interesting, combining elements of 1930s Warner Bros and 1940s Disney. It also follows the surrealist Fleischer Bros. approach to story, which is to not bother explaining or making sense of anything.
The story is an odd fantasy about a kingdom of talking birds and living artworks, and the plot bumps along here and there before it settles into some sort of story, which is basically an old-school evil, lustful man interfering with true love.
It all moves slowly, and while it has typical cartoon gags, most of them simply aren't funny. In a half hour I think the only laugh I had was a cagey guy dodging a series of trap doors (which are a running gag in the film). Although to be fair I don't like most French comedy in general; I never got the Jaques Tati thing (loved Tall Blonde Man, but that was unusual for the French).
Whatever historical significance this film has, I can't watch any more.
My Childhood favourite
KingsDiplomacy19 June 2001
I remember this movie in almost every scene in my head. The version I had was in English and was of course translated to "The King And The Bird." I watched it tirelessly as a child after my mom picked up the tape from somewhere. I could even repeat the bird's soliloquy at the beginning off by heart. The animation and the story are both excellent. I think it's one of the finest pieces of animation ever created. Sadly my tape of this great movie went missing years ago. If anyone knows where I may find another copy, preferably the English version but the French or German version will do despite my lack of understanding of the two languages, I would greatly appreciate it. Seems that this is quite an obscure title and very hard to find despite its winning the Dullec prize in the 80s when it came out.
-Sam
-Sam
Classically beautiful but slightly haunting
dorothyyqu16 February 2014
Warning: Spoilers
I watched this movie when I was a kid, forgot the movie, but constantly had it on the back of my mind. I just remembered a the indescribable love between two portraits that came to life. I rediscovered the movie (and its soundtrack) last year, and it's just fantastic. When I was younger, I felt the dark vibes coming off of it, but didn't think much about it until I saw it last year. I was disturbed, and I loved it. The dictator, wild animals, weird police people, underground city, and the music (especially the music) just worked together so well. Everything is so creepy- especially the ending. The romance between the shepherdess and chimney-sweep is incredibly unique. This entire movie is like Catch-22, a classic Hans Christian Anderson fairy tale, and 1984 all wrapped up into one, with an amazing soundtrack.
You know an animated film is good when even its lesser and rawer version inspired Miyazaki....
ElMaruecan8229 August 2017
In 1992 they showed us "The King and the Mockingbird" in school, I didn't know it had just been was made into VHS. I was at 4th grade then and I guess we were among the first who saw it on screen, but we didn't embrace that privilege, we liked the film but it was too bizarre. You know, even a child can tell the differences between American, Japanese and European animation, and speaking for the child I used to be, I always found the European ones weird
apart from "Asterix" or "Lucky Luke" of course.
Watching it again as an adult, I can say that I fully enjoyed the film, and yes, it's a French animated masterpiece, I love "Asterix" movies but this one evolves on higher grounds, it is really one of a kind, I can't think of a single achievement that is remotely comparable to Paul Grimault and Jacques Prevért's most fruitful collaboration, even outside the world of drawn celluloid. Of course, movie experts will mention such titles as "Metropolis" and "2001", movies with such a hypnotic poetry and penetrative vision we fatally embrace their mysticism, cynicism sometimes, humanism all the way. But have these films waited for three decades to be released in the version intended by the authors?
Grimault and Prévert, while not newcomers, were no Lang or Kubrick, they were dreamers and poets of their own but not just bards, they were also warriors with guts and visions and a bit of contextualization will also help to understand their mindset: at the end of World War II, anything was possible, life was so full of hopes that no challenge was crazy enough not to be taken, so they decided to make the first French animated movie. Disney was the reference but before "Cinderella", his dominance wasn't yet undeniable and maybe it was time to experiment a new tone, to make animated movies for a more mature audience.
On the simple level of their intentions, they were pioneers, foreshadowing the inevitable evolution of animation, to carry a vision of the world, to provide an escapism freed from any form of convention, where myths from the past overlap with modern inventions, where a Metropolis-like city would become the kingdom governed by a tyrannical and egomaniac king, where a shepherdess would fall in love with a chimney sweep and together they would literally escape from their painting to 'discover the world'. That magical moment is the perfect allegory to the film's power. "The King and the Mockingbird" while based on Christian Andersen's tale and featuring very Disney-like creatures has such a majestic ambition it takes itself away from its influences, to become a major influence and a landmark by itself.
Yet the film was released in 1952 with a totally different title, Grimault was fired from the production, cuts were made on the budget and he disowned the first version, many animators followed him including Prévert. The film met with relative success but watching the original version, I can see why Grimault felt the need to work on it once he got the rights in the 70's. The film had a few edgy qualities but was a rather conventional love story, the 80's version enriches it with many new additions and that includes a wonderful sequence where we have a taste on King Charles XVI (V and III make VIII and VII make sixteen). A painter dares to paint him with his strabismus, the King looks perplex and makes feminine poses, the way he contemplates his portrait is a masterpiece of silent humor. He laugh, gives a medal to the painter and a few steps later, opens a trap door.
We never know where the trap doors lead, the point is that the King can dispose of any undesirable person. In the 1952 version, this part of his character isn't set-up and we only see the rivalry between the King and the Mockingbird who teases him after he killed his wife. In the new version, the king is a fully developed character, much more than the rather 'dull' couple of lovers who are more foil to the poetic and introspective moments, and you can tell from the story that Grimault and Prévert were aware of that. The title establishes the true focus, which is about a megalomaniac king and a cynical bird and their interactions providing a few comments of leaving in a totalitarian society, and culminating with the giant robot climax.
The film is the kind of experiences that provides the perfect trifecta, it challenges your intelligence, please your eyes and has a few moments of true emotionality and poetry conveyed by Prévert's script and Woelch' score. The film borrows from Walt Disney, Fritz Lang, it is also Chaplinesque at time, and there are even a few subtle bits that reminds of Tex Avery is the over-escalation of craziness and violence, the trap-door device used as a running gag. The film was completed in 1980, 3 years after the death of Prévert to which the film is dedicated. It is so complete and new, I felt sorry for Grimault, what if that version came up in the 50's.
Maybe it would have changed the face of animation. Maybe Grimault would have had a more deserving career, but let's not reject the original version which was good enough to inspire Hayao Miyazaki and Isao Takahata. Miyazaki's first feature film featured a few nods to 'The King and the Mockinbird", and yes, there are some element in the film that recalls Miyazaki's universe. Speaking of Miyazaki, Roger Ebert said about "Princess Mononoke": "I want to see wondrous sights not available in the real world, in stories where myth and dreams are set free to play. Animation opens that possibility, because it is freed from gravity and the chains of the possible. Realistic films show the physical world; animation shows its essence.".
My thoughts exactly about "The King and the Mockingbird".
Watching it again as an adult, I can say that I fully enjoyed the film, and yes, it's a French animated masterpiece, I love "Asterix" movies but this one evolves on higher grounds, it is really one of a kind, I can't think of a single achievement that is remotely comparable to Paul Grimault and Jacques Prevért's most fruitful collaboration, even outside the world of drawn celluloid. Of course, movie experts will mention such titles as "Metropolis" and "2001", movies with such a hypnotic poetry and penetrative vision we fatally embrace their mysticism, cynicism sometimes, humanism all the way. But have these films waited for three decades to be released in the version intended by the authors?
Grimault and Prévert, while not newcomers, were no Lang or Kubrick, they were dreamers and poets of their own but not just bards, they were also warriors with guts and visions and a bit of contextualization will also help to understand their mindset: at the end of World War II, anything was possible, life was so full of hopes that no challenge was crazy enough not to be taken, so they decided to make the first French animated movie. Disney was the reference but before "Cinderella", his dominance wasn't yet undeniable and maybe it was time to experiment a new tone, to make animated movies for a more mature audience.
On the simple level of their intentions, they were pioneers, foreshadowing the inevitable evolution of animation, to carry a vision of the world, to provide an escapism freed from any form of convention, where myths from the past overlap with modern inventions, where a Metropolis-like city would become the kingdom governed by a tyrannical and egomaniac king, where a shepherdess would fall in love with a chimney sweep and together they would literally escape from their painting to 'discover the world'. That magical moment is the perfect allegory to the film's power. "The King and the Mockingbird" while based on Christian Andersen's tale and featuring very Disney-like creatures has such a majestic ambition it takes itself away from its influences, to become a major influence and a landmark by itself.
Yet the film was released in 1952 with a totally different title, Grimault was fired from the production, cuts were made on the budget and he disowned the first version, many animators followed him including Prévert. The film met with relative success but watching the original version, I can see why Grimault felt the need to work on it once he got the rights in the 70's. The film had a few edgy qualities but was a rather conventional love story, the 80's version enriches it with many new additions and that includes a wonderful sequence where we have a taste on King Charles XVI (V and III make VIII and VII make sixteen). A painter dares to paint him with his strabismus, the King looks perplex and makes feminine poses, the way he contemplates his portrait is a masterpiece of silent humor. He laugh, gives a medal to the painter and a few steps later, opens a trap door.
We never know where the trap doors lead, the point is that the King can dispose of any undesirable person. In the 1952 version, this part of his character isn't set-up and we only see the rivalry between the King and the Mockingbird who teases him after he killed his wife. In the new version, the king is a fully developed character, much more than the rather 'dull' couple of lovers who are more foil to the poetic and introspective moments, and you can tell from the story that Grimault and Prévert were aware of that. The title establishes the true focus, which is about a megalomaniac king and a cynical bird and their interactions providing a few comments of leaving in a totalitarian society, and culminating with the giant robot climax.
The film is the kind of experiences that provides the perfect trifecta, it challenges your intelligence, please your eyes and has a few moments of true emotionality and poetry conveyed by Prévert's script and Woelch' score. The film borrows from Walt Disney, Fritz Lang, it is also Chaplinesque at time, and there are even a few subtle bits that reminds of Tex Avery is the over-escalation of craziness and violence, the trap-door device used as a running gag. The film was completed in 1980, 3 years after the death of Prévert to which the film is dedicated. It is so complete and new, I felt sorry for Grimault, what if that version came up in the 50's.
Maybe it would have changed the face of animation. Maybe Grimault would have had a more deserving career, but let's not reject the original version which was good enough to inspire Hayao Miyazaki and Isao Takahata. Miyazaki's first feature film featured a few nods to 'The King and the Mockinbird", and yes, there are some element in the film that recalls Miyazaki's universe. Speaking of Miyazaki, Roger Ebert said about "Princess Mononoke": "I want to see wondrous sights not available in the real world, in stories where myth and dreams are set free to play. Animation opens that possibility, because it is freed from gravity and the chains of the possible. Realistic films show the physical world; animation shows its essence.".
My thoughts exactly about "The King and the Mockingbird".
more than a cartoon
peanuts_n_surimi13 July 2010
I first saw this movie when I was really little, and it's still is one of my favorite cartoon.
I've met several people who, when watching it, were disturbed by it. Mainly, i think, because it is so different from the other cartoons. It has a lot of symbolism, and the characters are neither good or bad. But i don't think it's unsuitable for children... The story around the shepherdess and the chimney boy is so adorable, and i remember loving many scenes full of beauty when i was little.
It is a metaphor of what power can do to people. It shows how love and freedom can never be kept locked up. Every scene of this movie is a small piece of symbolism, making it a piece of art, not always likable, but admirable in its perfection.
I've met several people who, when watching it, were disturbed by it. Mainly, i think, because it is so different from the other cartoons. It has a lot of symbolism, and the characters are neither good or bad. But i don't think it's unsuitable for children... The story around the shepherdess and the chimney boy is so adorable, and i remember loving many scenes full of beauty when i was little.
It is a metaphor of what power can do to people. It shows how love and freedom can never be kept locked up. Every scene of this movie is a small piece of symbolism, making it a piece of art, not always likable, but admirable in its perfection.
A real bon bon of an animated film
TheLittleSongbird20 February 2011
I am actually kind of furious with myself for taking so long to see The King and the Mockingbird. Seeing how good the film is makes me wonder why it was that I did take as long as I did to view it. As an animated film, it is a real bon bon and rivals anything Disney, Studio Ghibli or Pixar has done, and in some respects better than some to be honest.
The visuals are one of the many great strengths. The animation on the kingdom of Tikicardia itself looks amazing with a unique stylistic look to it, and the rest of the landscapes are a thing of true beauty. The colours are also gorgeous with the shadings very pleasing to the eye, and the architecture is enough to make your jaw drop. And the characters are very well modelled.
The music is both haunting and poignant and really enhances to the atmosphere of the film. The script is poetic and ironic, the story is just magical with some fine themes such as a touching love story and tyranny and class difference which are explored in a tender way. The final message of the film affected me in a way very few other animated films have done, while the characters are engaging and the direction and voice work are top notch.
All in all, The King and the Mockingbird is a gem. If you love animated films, I think you should see this beautiful yet criminally under-seen film. 10/10 Bethany Cox
The visuals are one of the many great strengths. The animation on the kingdom of Tikicardia itself looks amazing with a unique stylistic look to it, and the rest of the landscapes are a thing of true beauty. The colours are also gorgeous with the shadings very pleasing to the eye, and the architecture is enough to make your jaw drop. And the characters are very well modelled.
The music is both haunting and poignant and really enhances to the atmosphere of the film. The script is poetic and ironic, the story is just magical with some fine themes such as a touching love story and tyranny and class difference which are explored in a tender way. The final message of the film affected me in a way very few other animated films have done, while the characters are engaging and the direction and voice work are top notch.
All in all, The King and the Mockingbird is a gem. If you love animated films, I think you should see this beautiful yet criminally under-seen film. 10/10 Bethany Cox
The King and the Mockingbird : This is undoubtedly one of the best animation films ever made anywhere in the world !!!!
FilmCriticLalitRao6 August 2015
French film 'Le Roi Et L'Oiseau' is one of the world's best animation film. Nobody can doubt this film's sheer brilliance as well as its artistic greatness as not one but three geniuses lent artistic support towards its making. It is based on the Danish short story 'Hyrdinden Og Skorstensfejeren'/The Shepherdess and the Chimney Sweep written by Hans Christian Andersen for which director Paul Grimault worked closely for many years with creative partner and maverick French poet friend Jacques Prévert. His only wish was to see this immortal tale transformed into a phenomenal animation film. In recent years, many animation directors including Japanese masters have acknowledged the influence of this masterpiece on their works. The greatness as well as the popularity of this film is immense. This is one valid reason why 'Le Roi Et L'Oiseau' continues to be one of the important elements of French culture. It is believed that it is so important for people from all walks of life that its viewing ought to be made compulsory for people learning French language. 'The king and the mocking bird' can be construed as a film for children but it can also be appreciated by adults. The production values are high for this film and its message of the victory of good over evil needs to be understood by many viewers. Lastly, as an acclaimed animation film which provides valuable moral science insights for children, 'The King and the Mocking Bird' is a film for all those who believe in ethical dimensions of fair play and justice.
Take note Criterion
MissSimonetta6 July 2014
Aside from having a fascinating production history and being a major influence on Isao Takahata and Hayao Miyazaki of Studio Ghibli, this French animated masterwork is a great film on its own merits. Adjectives such as imaginative and beautiful do not even begin to do its creative visuals and humane story justice. It's meditative and uplifting, and I only wish contemporary American animation could take note, but that would not sell toys I suppose.
The King and the Mockingbird (1980) is underrated and rarely seen; this should not be. The Criterion Collection has released about two animated films in its entire existence: Akira on Laserdisc and The Fantastic Mr. Fox on Blu-ray and DVD (but that has more to do with their obsession with Wes Anderson than concern over the lack of animation in their library). The King and the Mockingbird has never had a US release as far as I know, and Criterion would be perfect for putting this influential film out there.
The King and the Mockingbird (1980) is underrated and rarely seen; this should not be. The Criterion Collection has released about two animated films in its entire existence: Akira on Laserdisc and The Fantastic Mr. Fox on Blu-ray and DVD (but that has more to do with their obsession with Wes Anderson than concern over the lack of animation in their library). The King and the Mockingbird has never had a US release as far as I know, and Criterion would be perfect for putting this influential film out there.
Mediocre and highly overrated by a few people on IMDb
nwsts23 July 2010
Beware! Although not a bad movie, this movie is definitely not deserving of being placed ahead of such breakthrough features as Toy Story and Nightmare Before Christmas.
Why is this movie so-so? First, the animation, though decent is not first class like the old Disney and Miyazaki features. Second, the story, again, though decent, does not engage us enough to care about the protagonists, a young couple (compared to, say, how much we care about Shrek and Fiona). Third, most of the conflicts and enemies are standard Saturday morning cartoon constructions....just not fresh at all (compared to, for example, the monsters in Spirited Away).
So, in conclusion, although this movie MIGHT have been in the top 100 animated features in the 1950's, it certainly does not merit being considered among the best of all time. Somehow, IMDb needs to figure out a way to prevent a few people from ginning up the ratings in a way that places a weak sister ahead of the opinion of tens of thousands.
Why is this movie so-so? First, the animation, though decent is not first class like the old Disney and Miyazaki features. Second, the story, again, though decent, does not engage us enough to care about the protagonists, a young couple (compared to, say, how much we care about Shrek and Fiona). Third, most of the conflicts and enemies are standard Saturday morning cartoon constructions....just not fresh at all (compared to, for example, the monsters in Spirited Away).
So, in conclusion, although this movie MIGHT have been in the top 100 animated features in the 1950's, it certainly does not merit being considered among the best of all time. Somehow, IMDb needs to figure out a way to prevent a few people from ginning up the ratings in a way that places a weak sister ahead of the opinion of tens of thousands.
A Masterpiece.
Animany949 October 2019
I can't say that The King And The Mockingbird is anything less of a masterpiece of animation. After spending over thirty years in production hell after being released too soon and without Grimault's consent in 1952, it is really admirable that he kept his spirits up to finish the job with every obstacle that appeared.
The version I watched was that finished one from 1980 which today is regarded as an animated classic that went on to inspire many animation legends like Isao Takahata of Studio Ghibli fame.
And holy moly what a ride it was watching this movie. First and foremost, the animation is nothing short of fantastic with so much time and care put into crafting this immersive kingdom called Tikicardia which is inhabited by the tyrannical egomaniac of the king, who's always presented in the most hilarious manner. What angle the kingdom isn't shown from or what creative gadget the king doesn't use is crazy. Never have I expirienced such an immense world going by in the mere 80 minutes runtime.
But one needs to bare in mind that the movie is a fairy-tale meaning that there is no complex plotline or complex characters. The plot is very straight-forward and the two main characters of the story, the shepherdess and the chimney sweep, are just lover running from the king and nothing more. But even if the king is just a tyrant, he just oozes of self-worth and is such an egomaniac that he becomes so entertaining to watch.
In a movie that is well aware of its tone, it can get away with uninterestingly plane characters and a straight-forward plot, so therefore The King And The Mockingbird is a masterpiece of art in motion.
The version I watched was that finished one from 1980 which today is regarded as an animated classic that went on to inspire many animation legends like Isao Takahata of Studio Ghibli fame.
And holy moly what a ride it was watching this movie. First and foremost, the animation is nothing short of fantastic with so much time and care put into crafting this immersive kingdom called Tikicardia which is inhabited by the tyrannical egomaniac of the king, who's always presented in the most hilarious manner. What angle the kingdom isn't shown from or what creative gadget the king doesn't use is crazy. Never have I expirienced such an immense world going by in the mere 80 minutes runtime.
But one needs to bare in mind that the movie is a fairy-tale meaning that there is no complex plotline or complex characters. The plot is very straight-forward and the two main characters of the story, the shepherdess and the chimney sweep, are just lover running from the king and nothing more. But even if the king is just a tyrant, he just oozes of self-worth and is such an egomaniac that he becomes so entertaining to watch.
In a movie that is well aware of its tone, it can get away with uninterestingly plane characters and a straight-forward plot, so therefore The King And The Mockingbird is a masterpiece of art in motion.
About time this animation was re-released.
moondog-1410 October 1999
The King and Mr Bird, as it was known in England makes most Disney output seem poor in comparison. It is actually stitched together using an old forties (I think) animation called "The Shepherdess and the Chimney Sweep" and modern footage.
It is the modern stuff which gives it the edge as we are whisked through the Kingdom of Tachycardia, a futuristic city run by a vain king. Mr Bird is a symbol of freedom who brings anarchy to the kingdom.
Best bits. All of it but the ride in the lift is recommended as well as the scenes with the giant robot.
It is the modern stuff which gives it the edge as we are whisked through the Kingdom of Tachycardia, a futuristic city run by a vain king. Mr Bird is a symbol of freedom who brings anarchy to the kingdom.
Best bits. All of it but the ride in the lift is recommended as well as the scenes with the giant robot.
The Greatest Animated Film The World Never Heard Of
Eumenides_019 December 2010
Warning: Spoilers
In the spirit of the holiday season I decided to finally watch this classic of animation. Although not an official Christmas movie, I think its light-heartedness and ideas of heroism, solidarity and the triumph of love over tyranny make it a perfect movie for this time of the year.
In the vertical kingdom of Takicardia the King Charles V + III = VIII + VIII = XVI rules with an iron fist. He likes no one and no one likes him. His hobby is hunting birds, which attracts the enmity of the title's Mockingbird, a joyful talking bird. The story properly begins when one night the King's portrait comes to life and falls in love with the portrait of a shepherdess, who in turn loves the portrait of a chimney sweep next to her. The King's portrait kills the real one and pursues the fugitive star-crossed lovers, who use the Mockingbird's help to evade the dangers and obstacles on their path to freedom.
Paul Grimault and screenwriter Jacques Prévert found the inspiration for this magical story in one of Hans Christian Andersen's many fairy-tales. Production started in 1948 and, after a shorter version came out in 1952, it was released in its complete version in 1980. More than thirty years in the making, The King and the Mockingbird is now considered one of the best animated movies ever made and fans of Japanese animation may like to know that Isao Takahata and Hayao Miyazaki consider it an influence on their work.
Like these animators, Grimault and Prévert don't believe animation precludes seriousness. Hidden inside a simple love story is a bigger story about tyranny and class difference. The creators make several parallels between the King and Hitler: in some shots they look the same; in his cult of personality (a factory works non-stop to produce statues of his majesty); and in an scene when he sentences the chimney sweep and the Mockingbird to forced labour, he declares that work is freedom, eerily evoking Auschwitz' motto. The other face of the exuberant Takicardia is the Lower City, a community of poor people living under the streets, hidden from the sun, who maintain hope alive thanks to a blind musician.
The animation, very traditional-looking in appearance, is one of the movie's best assets. The Kingdom of Takicardia, designed like an exaggerated fairy-tale castle, is characterized by long vertical lines and deep perspective, giving it the illusion of infinite space. Some of the best scenes are those that simply reveal details of its architecture, like the never-ending steep staircases, the long corridors, or the sombre streets of the cave-like Lower City. There's also retro look in the way technology is drawn (there's a giant robot in the movie that could have walked out of a '50s science fiction movie), and the attention to little details invite the viewer to study each frame for a few minutes just to absorb everything.
Fans of animation in the style of the bizarre 2003 French movie The Triplets of Belleville will probably love The King and the Mockingbird. It's a fairy-tale movie full of magic and humor, told in a very tender way with a life-affirming final message. I challenge anyone to watch this movie and not be emotionally affected by it.
In the vertical kingdom of Takicardia the King Charles V + III = VIII + VIII = XVI rules with an iron fist. He likes no one and no one likes him. His hobby is hunting birds, which attracts the enmity of the title's Mockingbird, a joyful talking bird. The story properly begins when one night the King's portrait comes to life and falls in love with the portrait of a shepherdess, who in turn loves the portrait of a chimney sweep next to her. The King's portrait kills the real one and pursues the fugitive star-crossed lovers, who use the Mockingbird's help to evade the dangers and obstacles on their path to freedom.
Paul Grimault and screenwriter Jacques Prévert found the inspiration for this magical story in one of Hans Christian Andersen's many fairy-tales. Production started in 1948 and, after a shorter version came out in 1952, it was released in its complete version in 1980. More than thirty years in the making, The King and the Mockingbird is now considered one of the best animated movies ever made and fans of Japanese animation may like to know that Isao Takahata and Hayao Miyazaki consider it an influence on their work.
Like these animators, Grimault and Prévert don't believe animation precludes seriousness. Hidden inside a simple love story is a bigger story about tyranny and class difference. The creators make several parallels between the King and Hitler: in some shots they look the same; in his cult of personality (a factory works non-stop to produce statues of his majesty); and in an scene when he sentences the chimney sweep and the Mockingbird to forced labour, he declares that work is freedom, eerily evoking Auschwitz' motto. The other face of the exuberant Takicardia is the Lower City, a community of poor people living under the streets, hidden from the sun, who maintain hope alive thanks to a blind musician.
The animation, very traditional-looking in appearance, is one of the movie's best assets. The Kingdom of Takicardia, designed like an exaggerated fairy-tale castle, is characterized by long vertical lines and deep perspective, giving it the illusion of infinite space. Some of the best scenes are those that simply reveal details of its architecture, like the never-ending steep staircases, the long corridors, or the sombre streets of the cave-like Lower City. There's also retro look in the way technology is drawn (there's a giant robot in the movie that could have walked out of a '50s science fiction movie), and the attention to little details invite the viewer to study each frame for a few minutes just to absorb everything.
Fans of animation in the style of the bizarre 2003 French movie The Triplets of Belleville will probably love The King and the Mockingbird. It's a fairy-tale movie full of magic and humor, told in a very tender way with a life-affirming final message. I challenge anyone to watch this movie and not be emotionally affected by it.
Need help finding English dub of "The King and Mister Bird"
krameraxeman11 January 2009
I am looking for the English dub version of "The King and Mister Bird" and am having zero luck finding it. My parents taped it off of SelecTV cable back in the early 80's for me. I still have the tape, however the recording is poor quality and the tape is over 25 years old so I'm a little afraid to try and play it. This is a fantastic movie with really ground breaking animation for the time.
I found a DVD "The Curious Adventures of Mr. Wonderbird" on Amazon that is in English dub, however the voice actors are not the same as the version I had as a kid and the animation looks to be the original from the 50's. The quality is really bad on this one....I don't recommend it.
Does anyone know where I could find the English release of of The King and Mister Bird from 1980???
I found a DVD "The Curious Adventures of Mr. Wonderbird" on Amazon that is in English dub, however the voice actors are not the same as the version I had as a kid and the animation looks to be the original from the 50's. The quality is really bad on this one....I don't recommend it.
Does anyone know where I could find the English release of of The King and Mister Bird from 1980???
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
