When the movie happens to be an adaptation of one of the most beloved children’s novels of all time, the potential for disappointment looms especially large. But director Mark Osborne’s “The Little Prince” turns out to be a respectful, lovingly reimagined take on Antoine de Saint-Exupery’s classic 1943 tale, which adds all manner of narrative bells and whistles to the author’s slender, lyrical story of friendship between a pilot and a mysterious extraterrestrial voyager.
當影片恰巧是根據(jù)深受廣大兒童喜愛的小說改編過來的時候，（期望越大）人們的失望可能也就越大。但事實證明，由馬克·奧斯本執(zhí)導的《小王子》是對安東尼·德·圣?？颂K佩里1943年經(jīng)典之作的重現(xiàn)——既尊重原著，又十分有愛。故事講述了一名飛行員和和一個來自于異星球的神秘漫游者之間的友誼。電影以形形色色的敘事，為原作者情節(jié)簡單、抒情詩調的故事錦上添花。

Published a year before Saint-Exupery disappeared somewhere over Corsica in his Lockheed P-38 fighter plane, “The Little Prince” took its inspiration from an earlier air disaster, in which the author, trying to break the record time in a Paris-Saigon race, crashed in the Sahara desert, near the Nile delta. From that, Saint-Exupery spun a fanciful, faintly ethereal fable about a downed airman who finds himself face-to-face with a curious, blond-haired young boy who claims to be the sole inhabitant of a distant asteroid (#B-612), and who regales the pilot with tales of the interplanetary travels that eventually brought him to earth.
《小王子》這本書是圣?？颂K佩里開著自己洛克希德P-38號戰(zhàn)斗機在科西嘉島某個地方消失前一年出版的，靈感來源于早前的一場空難，那場災難中，作者試圖打破巴黎到西貢飛行比賽的記錄。但卻意外墜落在尼羅河三角洲附近的撒哈拉沙漠中。從那件事中，圣?？颂K佩里構想出一個關于落難的飛行員和一個小男孩面對面的離奇、有些許不現(xiàn)實的寓言故事。這個好奇的小男孩有著一頭金發(fā)，自稱是一個遙遠星球（B-612）的唯一居住者，他和這名飛行員分享自己星際旅行的經(jīng)歷，并最終把他帶回了地球。

Those adventures consist largely of meetings with puffed-up, self-important adults who imagine themselves to be powerful despots but are, in fact, just orbiting the universe alone on their own similarly uninhabited rocks. But there are also touches of melancholy romance and a darkly poetic ending that can be interpreted as either a salvation or a suicide. Seventy years later, the book’s influence can be seen in everything from “The English Patient”to “The Lego Movie.”
這些冒險很大一部分，講述了小男孩遇見了一些官氣十足、自以為舉足輕重手握大權的大人，但事實上，他們不過是在自己無人居住的星球上獨自徘徊于宇宙罷了。但是故事中也不乏些許憂郁的浪漫情調，和一個腹黑又有詩意的結局，可以被解讀為一種救贖或是自殺。70年后，這本書的影響可以從電影《英國病人》細數(shù)到《樂高大電影》的方方面面。

The book was scarcely enough material for a feature film, which didn’t stop Hollywood from trying one in 1974 — an ill-advised live-action version. For the new film, Osborne (“Kung Fu Panda”) and screenwriters Irena Brignull (“The Boxtrolls”) and Bob Persichetti have taken the generally more effective tack of nesting Saint-Exupery’s story within an elaborate framing device set in the kind of modular modern metropolis prophesied by Jacques Tati’s “Playtime,” full of technology and free of wonder.
這本書作為拍電影的素材而言略微單薄不夠豐富，但也沒阻止1974年好萊塢嘗試翻拍真人電影——但是不好意思，這個版本弱爆了。但是在這部新作中，奧斯本（《功夫熊貓》）、編劇伊蓮娜·布里格努爾（《盒子怪》）還有鮑勃·佩爾西凱蒂，將圣?？颂K佩里的故事高效的在一個精心制作的道具背景中構造出來，這個以雅克·塔蒂在《夢想樂園》里預言的現(xiàn)代大都市的背景，充滿著科技和自由的想象。

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