| Steven Warner | ... | The Little Prince | |
| Joss Ackland | ... | The King | |
| Clive Revill | ... | The Business Man | |
| Victor Spinetti | ... | The Historian | |
| Graham Crowden | ... | The General | |
| Richard Kiley | ... | The Pilot | |
| Donna McKechnie | ... | The Rose | |
| Bob Fosse | ... | The Snake | |
| Gene Wilder | ... | The Fox |
Directed by | |||
| Stanley Donen | |||
Writing credits | ||
| Antoine de Saint-Exupéry | (story "Le Petit Prince") | |
| Alan Jay Lerner | ||
| Antoine de Saint-Exupéry | novel | |
Produced by | |||
| Stanley Donen | .... | producer | |
| A. Joseph Tandet | .... | associate producer | |
Original Music by | |||
| Angela Morley | (uncredited) | ||
Cinematography by | |||
| Christopher Challis | |||
Film Editing by | |||
| Peter Boita | |||
| George Hively | |||
Production Design by | |||
| John Barry | |||
Art Direction by | |||
| Norman Reynolds | |||
Costume Design by | |||
| Tim Goodchild | |||
| Shirley Russell | |||
Makeup Department | |||
| Ronnie Cogan | .... | hair stylist | |
| Ernest Gasser | .... | makeup artist | |
| Eileen Warwick | .... | hair stylist | |
Production Management | |||
| Arthur Carroll | .... | production supervisor | |
| Eric Rattray | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Al Burgess | .... | assistant director | |
| Allan James | .... | first assistant director: Tunisia | |
Art Department | |||
| Jock Lyall | .... | construction manager: location | |
| W.E. Welch | .... | construction manager: studio | |
Sound Department | |||
| Jim Groom | .... | dubbing editor | |
| Bill Rowe | .... | sound mixer | |
| Jim Willis | .... | sound mixer | |
Special Effects by | |||
| Vernon Messenger | .... | special effects technician | |
| John Richardson | .... | special effects | |
Visual Effects by | |||
| Tom Howard | .... | photographic effects (as Thomas Howard) | |
Camera and Electrical Department | |||
| Freddie Cooper | .... | camera operator | |
| Keith Hamshere | .... | still photographer | |
| John Palmer | .... | camera operator | |
| Paul Wilson | .... | director of photography: second unit | |
Costume and Wardrobe Department | |||
| Charles Guerin | .... | wardrobe master | |
Music Department | |||
| Douglas Gamley | .... | conductor | |
| Angela Morley | .... | music supervisor | |
| Angela Morley | .... | orchestrator | |
| Thelma Orr | .... | music editor | |
Other crew | |||
| Gordon Arnell | .... | unit publicist | |
| Al Burgess | .... | location manager | |
| Pamela Carlton | .... | continuity | |
| Ronn Forella | .... | choreographer | |
| Bob Fosse | .... | choreographer | |
| Sally Jones | .... | script supervisor | |
| Marjorie Lavelly | .... | continuity | |
| Kay Mander | .... | continuity | |
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| Green Lantern | Stardust | Avatar | The Last Unicorn | The English Patient |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Family section | IMDb UK section |
This film, a musical version of the classic Antoine de St. Exupery fable, containing the last score written by Alan Jay Lerner and Frederick Loewe (CAMELOT, MY FAIR LADY, GIGI), is a neglected gem of a film musical. Witty, inventive, melodic (the title song alone is as good as anything they ever wrote), and quite moving, it features uniformly superb performances, particularly from the then six-year old Steven Warner in the title role and Bob Fosse, in his final screen performance, as the death-dealing Snake.
Only caveat is Stanley Donen's excessive use of a fish-eye lens, to suggest the curvature of the earth and to relate that to scenes taking place on the Little Prince's asteroid or other asteroids he visits. It grows tiresome. But the on location shooting in the Sahara desert is breathtaking.
This film was cut prior to release by Paramount, excising an entire musical number, "Matters of Consequence," as well as shortening other musical numbers with damaging interior cuts, and removing Donna McKechnie's dance as the vain Rose. It is a prime candidate for restoration on DVD. Good as the film is, the cut material rounds out the story and characters, makes the musical numbers more effective, and would enhance the film.
The uncut version was previewed in NYC, but has never been seen since. Paramount, who dumped the film after only two weeks of release, must have thought they were making a children's movie, but anyone who knows the original knows it is a fable meant primarily for adults.
Donen has given interviews suggesting that he prefers the longer version. Anybody at Paramount listening?