La belle et la bête (1946)

User Rating:

8.1/10   

Director:

Jean Cocteau

Writers:

Jean Cocteau (dialogue)
Jean Cocteau (screenplay)

Release Date:

23 December 1947 (USA)

Genre:

Drama | Fantasy | Romance

Plot:

A half-ruined merchant lives in the country with his son Ludovic and his three daughters. Two of the daughters...

Plot Keywords:

Castle | Beast | Rose | Forest | Magic

Awards:

1 win

US Showtimes:

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Cast

Jean Marais	...	La Bête (The Beast) / The Prince / Avenant
Josette Day	...	Belle
Mila Parély	...	Félicie
Nane Germon	...	Adélaïde
Michel Auclair	...	Ludovic
Raoul Marco	...	The Usurer
Marcel André	...	Belle's Father
rest of cast listed alphabetically:
Janice Felty	...	La Belle (1995 opera version) (singing voice)
John Kuether	...	The Father / The usurer (1995 opera version) (singing voice)
Ana María Martinez	...	Félicie (1995 opera version) (singing voice)
Hallie Neill	...	Adélaïde (1995 opera version) (singing voice)
Gregory Purnhagen	...	La Bête / Avenant / Ardent / The port official (1995 opera version) (singing voice)
Zhang Zhou	...	Ludovic (1995 opera version) (singing voice)

Also Known As:

Beauty and the Beast (International: English title) (USA)

Runtime:

96 min | USA:93 min

Country:

France

Language:

French

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono | Dolby Digital (1995 opera version)

Certification:

Singapore:PG | South Korea:All | Argentina:13 | Finland:K-16

Filming Locations:

Château de Raray, Senlis, Oise, France

Company:

DisCina

Trivia:

The stream that the Beast tries to drink from when he is weak and dying is actually a sewage runoff behind the studio.

Goofs:

Revealing mistakes: (At 30:00) The chin of the actor portraying the "arm candle branch" to the left of Belle as she nears the talking door is visible.

Movie Connections:

Referenced in Little Darlings (1980)

Soundtrack:

La belle et la bête

For its time, as for today, a unique, emotionally involving adaptation

Jean Cocteau, famous for this work and for his "Orpheus" trilogy (which includes his breakthrough Blood of a Poet), takes the viewer on a journey that he requests at the start to be thought of as a pure fantasy- Once Upon a Time- and, thus, the viewer can expect anything from the inventive, abstract auteur. There is plenty that Cocteau uses from Jeanne-Marie Leprince de Beaumont's original story, and makes entirely his own with his brand of enlightening the visual medium- surrealism in a subtler fashion than in his debut.

Most people know the story of Beauty and the Beast, even if one hasn't seen the flashy, fully romanticized Disney flick: an old man, in danger of losing most of his earnings, goes off one night in the darkness and fog to return home. He's detoured onto the property of the Beast (Jean Marais, truly with the skills of a stage actor), a creature who's been in a world of loneliness and conflict with his primal instincts and his human heart. He lets the old man go, as long as he can bring one of his daughters over to take his place.

His family includes three daughters, two of which are spoiled and another, Bela (Josette Day), who is like the servant of the house to them. Bela agrees, and when she arrives at the castle, she finds that it's like nothing she's ever seen before: arms holding candles, statues with eyes, and a mirror that can give the Beast sight of Bela when he wants to. The story unfolds, as some of us can guess, and when Bela returns home to visit her ailing father, her descriptions of the Beast as brutish yet cordial and sad, infuriates Ludivoic (Michael Auclair) who's been pining for Bela's hand in marriage. This leads up to an ending we can assume from the start, and it may be varied on the viewer whether or not it seems rushed or leaving a loophole or other.

Cocteau tells the story, with the obvious psychological comparisons between humans and the Beast(s) in us all, and he does so gracefully, however he has his collaborators in tuning the right mood- Christian Berard, Lucien Carre, and Rene Moulart combine to create some of the most dankly elegant sets/design to any film of its time, mostly in the rooms of the castle, and also in the minor touches of the forests. Their backdrop gives Henri Alekan the motives to add cinematography of a truly evocative timing and grace. He doesn't add or take away shadows in certain scenes to make it more beautiful, he adds them so he can apply the right light to the scene, and the results only make it all the more-so worthwhile.

There was something in me that thought, while viewing Beauty and the Beast, that this version could be suitable for (intelligent) children. Now, writing this commentary, I'm not so sure- for American audiences it is a change of pace from filmmakers using he standard visual effects and computer enhancements, and I've always been of the opinion that kids need a peek at a few dark movies during their adolescence to prepare them for what's coming up. But, it is from a different time, has subtitles, and the actors sometime seem to inhabit the landscape and involvement of an opera over that of a movie. I can definitely pin-point this work, to rap this up, as a highlighted mark in the history of (French) film, with an artist who can take his ideas and transfer them to a past work and make them as palatable, and at the least fascinating to the common film-fan, as possible for the period it was made.