|In this still from the "The King and the Mockingbird," (a Rialto Pictures release) the eponymous character helps a pair of lovers escape an evil king. (Photo courtesy of Rialto Pictures.)|
The King and the Mockingbird, an official selection at this year's New York Film Festival, was a labor of love for director and animator Paul Grimault, and his co-writer Jacques Prévert (Children of Paradise, 1946). The filmmakers lost rights to the movie shortly after it screened in France in 1953, and it was not until 1979, shortly before Prévert’s demise, that it was completed. The animated feature (in French with English subtitles), loosely based on a Hans Christian Andersen fairy tale, will open at Film Society of Lincoln Center on November 21st. A beautiful example of the traditional cell animation technique, which in today’s digital age is generally seen only in shorts, The King and the Mockingbird is intended for adult audiences.
The setting for the movie is the “rapid heart” kingdom of Tachycardia in which a cross-eyed ruler falls in love with the painted image of a shepherdess. As it turns out, the shepherdess loves another man. Charles V (voiced by Pascal Mazzotti) is not the first cinematic anti-hero to be drawn into or undone by a love triangle, but this king is a Charles Foster Kane (Orson Welles in Citizen Kane), his castle a monument to his megalomania. The plight of the lovers (Agnès Viala and Renaud Marx), and the king’s peasants, are delightfully chronicled by a blind musician (Roger Blin) and the bird of the title (Jean Martin, best-known for his role in The Battle of Algiers). That bird, which continually "mocks" the king, was undoubtedly reborn as the song and dance man Honoré Lachaille (Maurice Chevalier) in Vincent Minnelli’s Gigi (1958).