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Pippin: His Life and Times (1981) (TV)
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Overview
User Rating:
Plot:
At the goading of the ominous and omnipresent Leading Player, Pippin, the eldest son of King Charlemagne, samples life's pleasures to discover his place in the world and the meaning of his life. | add synopsisAwards:
1 nomination moreNewsDesk:
Weinstein Says He Wants To Be the New Arthur Freed(From Studio Briefing - Film News. 26 June 2003)
User Comments:
Can you paint with all the colors of my wind? moreCast
(Cast overview, first billed only)| Ben Vereen | ... | The Leading Player | |
| William Katt | ... | Pippin | |
| Leslie Denniston | ... | Catherine | |
| Benjamin Rayson | ... | Charlemagne | |
| Martha Raye | ... | Berthe | |
| Chita Rivera | ... | Fastrada | |
| Joanie P. Oneill | ... | Player | |
| Debra Phelan | ... | Player | |
| Linda Haberman | ... | Player | |
| Kate Wright | ... | Player | |
| Allison Williams | ... | Player | |
| John Mineo | ... | Sword Bearer | |
| Charles Lee Ward | ... | Peasant | |
| Lee Mathis | ... | Beggar | |
| Frank Mastrocola | ... | Noble |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
112 minLanguage:
EnglishColor:
ColorSound Mix:
MonoFilming Locations:
Hamilton, Ontario, CanadaFun Stuff
Trivia:
The lyrics to "With You" are almost entirely different than the lyrics appearing on the Original Cast Recording. Also, slight differences in "War is a Science" and "Simple Joys." moreSoundtrack:
Corner of the Sky moreFAQ
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Discuss this movie with other users on IMDb message board for Pippin: His Life and Times (1981) (TV)| Recent Posts (updated daily) | User |
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| Pippin Might End Up on the Big Screen!!! | wickywackyman135 |
| Martha Raye | georgestrum |
| Irene Ryan | bigredrecondog |
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Perhaps there's a worse librettist in the history of musicals than Stephen Schwartz but I don't know one. What the hell does the lyric "morning glow/fill the earth/come and shine/for all you're worth/we'll be present/at the birth/of old faith looking new..." mean? He begins with a vague hopeful image but then the sentence keeps going and going, desperately trying to find it's point; the next twelve words do little to deepen things.
This is what annoys people about musicals. You can get away with perky, poorly written sentiment tossed away as dialogue (I've just named every drama that won an Oscar in the last 70 years) but as songs, the schlock is transparent. It's called padding; it appears most often on college exams and in poor creative efforts from the 60s and 70s. It was all Fosse could do to undermine this amorphous treacle with his more acid take on things. Schwartz could make a decent melody but his lyrics...ugh. Give him enough rope and he'll hang himself.
Pippin is absolutely trite, and in it's current form it barely resembles Fosse's work.