PRINCE OF A FILM

A well-re­mem­bered French clas­sic at­tracts a Chi­nese au­di­ence that seems to ap­prove of the ad­ven­tur­ous screen adap­ta­tion, re­ports.

China Daily (Canada) - - TORONTO -

“ex­per­i­men­tal di­rec­tor”, the Amer­i­can au­teur re­fuses to clas­sify him­self as aHol­ly­wood film­maker.

Os­borne says he doesn’t de­liver a stereo­typed “happy end­ing” in The Lit­tle Prince, the for­mula Hol­ly­wood pro­duc­tions usu­ally fol­low.

“I be­lieve I was do­ing some­thing uni­ver­sal,” he says, “speak­ing to hu­man be­ings”.

The movie tries fresh ex­plo­rations both in the terms of phi­los­o­phy and tech­nol­ogy. It com­bines stop-mo­tion char­ac­ters, for the orig­i­nal prince part, and com­put­er­gen­er­ated im­agery, for the mod­ern girl.

The movie had its global pre­miere at this year’s Cannes Film Fes­ti­val, a trib­ute to its home­land.

Two and a half months af­ter its gen­eral global re­lease, China is the first coun­try in the world to see the film in two ver­sions — in Chi­nese and English.

With a glit­ter­ing voiceover cast, the Chi­nese ver­sion fea­tures around 10 celebri­ties, such as vet­eran ac­tor Huang Bo, box-of­fice fa­vorite Huang Lei and award-win­ning ac­tress Yuan Quan.

Huang Lei, who voices the movie to­gether with his 9-year-old daugh­ter, says the movie is like a child­hood dream which is lost by most adults in this stressed-out so­ci­ety.

“The most touch­ing part is that ev­ery one of us was a good-na­tured kid like the lit­tle prince, and it’s a pity that this good char­ac­ter­is­tic goes away as time flies,” he says.

For Li Ji­hong, one of the most crit­i­cally ac­claimed Chi­nese in­ter­preters of the book, The Lit­tle Prince is not only a fairy tale for chil­dren, but a re­mark­able ex­is­ten­tial work, which re­minds of peo­ple to fol­low their hearts amid the mun­dane chaos.

Con­tact the writer at xufan@chi­nadaily.com.cn

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