La belle et la bête (1946)

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 | Rose | Beast | Magic | Forest

Awards:

1 win

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 | Germany:90 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 | Germany:16 | Argentina:13 | Finland:K-16

Filming Locations:

Château de Raray, Senlis, Oise, France

Company:

DisCina

Trivia:

The costumes were manufactured at the workshop of the famous Paris couture house of Jeanne Lanvin, with the men's costumes under the supervision of Lanvin designer Pierre Cardin

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:

Featured in Détective (1985)

Soundtrack:

La belle et la bête

Beauty is socialized to choose the right man

Prominent sociologist Bruno Bettleheim believes that the fairy tale has a very important role in the socialization process of children. Each fairy tale addresses a fear they must overcome; Hansel and Gretel addresses the fear of abandonment, Little Red Riding Hood the fear of the `wolf' in the bed sheets, and Beauty and the Beast the similar fear of the `beast' in men that virgin women face on their wedding night. These tales illustrating the effective resolution of possible threats are very important to natural development.

Cocteau's attempt to socialize his female viewers and alleviate their fear of sex is clear through textual analysis. The mirror that Beauty peers into her first night at the castle shows a reflection of her father where her own self-reflection should have been, indicating that she is still very much defined by the dominant male role in her life. Almost immediately after, the bed sheets slide off the bed in a provocative manner, portending future threat, and she runs away repulsed. She confronts the Beast, and promptly faints. This scene establishes her fear and immaturity; however, Beauty and the Beast become progressively closer through the film, holding hands and talking. During her visit to her family, he caresses and wraps himself in her blanket, another reference to his association with her bed. When she decides she has remained at home too long, she lies on her bed and looks at the beast in the mirror's reflection. This is the point of transition, where she links this new dominant male figure to her bed. Instead of being repulsed by his reflection, she lovingly caresses the mirror and returns to him. In order to do this she slips on his glove, perhaps a reference to condoms. His glove is a perfect fit, displaying their perfect compatibility.

The Cocteau version of Beauty and the Beast also addresses the dual nature of masculinity where good and evil coexisted, and the lines of differentiation are increasingly blurred. He emphasizes his statement that man and beast are indistinguishable by casting Jean Marais in both roles. Beauty comments upon this, when she tells the prince that he reminds her of a friend of her brother's. The fine distinction between the two characters is the prince's inner beauty as well as outer. When the brother's friend becomes greedy, he transforms into a beast so his inner ugliness and outer appearance coincide.

Socialization of Beauty remains central despite two forms of masculinity because the two never meet, so Beauty's choice between the two is central. The film is about the distinctions between men, and the importance of picking the right one. Since both the friend and the prince have the same attractive male face, the lesson is to hold out for the true prince who is good and noble on the inside as well as attractive.

As the Beast-turned-prince reclaims himself at the end of Cocteau's film, the message the audience should take away is that love can cure any ugliness and make any beast a man. The interchangeability is evident and the choice important. Beauty loves the Beast, overcoming her fear of the beastly in marriage and claiming she will get used to him, the reality of a man. Beauty makes a gradual transition from love of her father to a husband, as portrayed in her mirrors depicting her core identity.