Los Pitufos y la flauta mágica

My review was written in February 1984 after a Times Square screening.

"The Smurfs and the Magic Flute" is an uninteresting but innocuous animated feature film bringing the popular hit of books, tv and merchandising, the Smurfs (or "Schtroumpfs" as they were originally known in parts of Europe) to the big screen. Its success in U. S. distribution just before the last Christmas season is more a testament to effective marketing and a vacuum of new, G-rated product than to the virtues of the film itself.

Weak, episodic storyline, set in the Middle Ages, has a bandit named Oilycreep stealing the magic flute (which has the power to cause people to dance uncontrollably when it is played) from Pee Wee at the king's castle. Pee Wee, whose dubbed voice vaguely resembles that of comic Pee Wee Herman, sets out on a dull trek with his pal Johan to retrieve the magical instrument.

Hypnotized by a friendly wizard, the twosome are transported to the land of the Smurfs, tiny blue creatures who all look alike and wear white hats and pants, except for their 542-year-old leader Papa Smurf, whose hat and pants are red. The Smurfs fabricate a second magic flute for Pee Wee, who ultimately bests Oilycreep in a final reel musical battle. Film has no relationship to Mozart's opera "The Magic Flute".

Despite their billing and title come-on, the Smurfs do not appear (save for a tiny blue hand entering the frame at one point) until the second half of the film. A defensive song designed to demonstrate hw individual Smurfs act like their names only proves that the character animation here lacks the differentiation of say, Disney's Seven Dwarfs.

The film utilizes rather limited animation techniques, with pretty but strictly static backgrounds against which the characters move. Absence of much fantasy material is disappointing and the labored gags aren't funny. The Smurfs themselves have irritating resonant voices and the premise of substituting the word "Smurf" for nouns and verbs in their language is run into the ground. Michel Legrand's soundtrack score (to which additional music has been added for the U. S. release version) is subpar.