It is loosely based on Hans Christian Andersen’s “The Shepherdess and the Chimney Sweep,” but it includes elements of dystopia and steampunk long before they were cool. When production began in 1948, it was supposed to be France’s first animated feature (and it sort of was), yet it would take three decades for it to be completed to its creators’ satisfaction.
You might think you have seen it, but if you have only seen the unfinished cut released by the producer under the title “The Curious Adventures of Mr. Wonderbird,” you really haven’t seen Paul Grimault’s complete and restored “The King and the Mockingbird.”
In the kingdom of Takicardia, it is good to be the king, at least until the tyrannical Charles V + III = VIII + VIII = XVI (yes, that’s his title) is deposed by his own portrait come to life. However, the monarch is so unpopular and self-absorbed that nobody notices the change.
He is not the only painting at large in the towering palace. The Shepherdess and her true love, the Chimney Sweep, have left the walls of the King’s private quarters to escape her forced marriage to the King’s portrait. They will find a resourceful ally in the Mockingbird, who rather resents the King’s attempts to hunt his young hatchlings. Fortunately, Charles V etc. is a blasted poor shot.
Written by Grimault and celebrated poet-screenwriter Jacques Prévert, “Mockingbird” is a kitchen-sink movie that includes disparate elements, such as the Metropolis-like castle, with the King perched up top and the proles buried down below.
There is also a trenchant commentary on personality cults, most vividly realized in the steampunky factory, a veritable mass of gears, cranking out busts of the despised king. Grimault even delivers a “kaiju” fix when the King’s portrait unveils his secret weapon: a giant killer robot.
