Alakazam the Great (1960), listed as Japanese anime (our version was dubbed by such names as Jonathan Winters) of a Chinese story, is quite candid about its message: punishment and redemption. Alakazam is the king of the monkeys, having obtained his throne through great, if reluctant bravery – and then going on to obtain great conceit and pride. (Side lesson: bravery does not make for leadership or management skills. These tests should be connected to the eventual skills needed, eh?) He compels a wizard to teach him magic, which he begins to use to his advantage. The king of Majutsu Land, aka Heaven, takes note of his pride and resolves to teach him humility, sending his human son, the Prince, down from heaven and requiring Alakazam to escort him through the desert and over the mountains.

Hey, lady, does that flower ever come off?
During the trip they encounter various obstacles, including a criminal pig and a human cannibal, both of whom the Prince and Alakazam convince to join them in their quest, thus giving up their former ways and playing into the theme of redemption. In their toils and troubles, yeah, let me save my fingers. We know how this ends, no?
Aaaand all this while ignoring the entreaties of a beautiful lady monkey.
This is mostly a pell mell movie, leaping from scene to scene with scarcely a segue to be found. Not that the pace is uniform, as we do drowse for a bit in a prison, and plod, if ever so briefly, through a desert; but it’s never leisurely, and quite often frantic – do not attempt to knit a shawl during this movie. And there is no lack of characterization of Alakazam, as we both acquired a great distaste for this impulsive, domineering monkey; many other supporting characters are also flamboyantly driven, including the wife of the primary antagonist, who was an ambiguous fascinating character.
So for all that it’s an obvious movie, we watched the whole of it. We were never quite sure where it would turn next, partially because we didn’t have time to think about it; the action was forced upon us so quickly that we spent more time deconstructing the art (which was surprisingly interesting) than thinking about the story.
Oddly enough, the style of animation also reminded me of a Russian version of The Nutcracker we saw at The Museum of Russian Art over Christmas, although much shorter in length, which can also be found here. I’m not entirely sure why; the points of similarity are the somewhat slap dash animation styles, the use of animals in key roles, a studied ignorance of physics, and a certain dispatch to the storytelling, although not with the same frantic nature of Alakazam the Great.
Today, this movie may be an orphan in terms of audience appeal. Certainly, the historical anime gourmand will take notice of it, but that is a small audience. Children will expect a more polished product and perhaps be bored with it, while adults will find this basically a bit too juvenile, although fun if you’re in the mood for it.
It’s hard to stamp Recommended on it, especially as we nearly gave up on it early on, but there is a certain charm to it. If you happen to run across it on TV, as we did, give it a whirl. Maybe it’ll tickle your penny.