Beauty and the Beast | |
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Directed by | Jean Cocteau |
Screenplay by | Jean Cocteau |
Based on | Beauty and the Beast by Jeanne-Marie Leprince de Beaumont |
Produced by | André Paulvé |
Starring | Jean Marais Josette Day Mila Parély Nane Germon Michel Auclair Marcel André |
Cinematography | Henri Alekan |
Edited by | Claude Iberia |
Music by | Georges Auric |
Distributed by | DisCina |
Release date |
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Running time | 93 minutes |
Country | France |
Language | French |
Box office | 4,202,951 admissions (France) [1] |
Beauty and the Beast (French : La Belle et la Bête – also the UK title) [2] is a 1946 French romantic fantasy film directed by French poet and filmmaker Jean Cocteau. Starring Josette Day as Belle and Jean Marais as the Beast, it is an adaptation of the 1757 story Beauty and the Beast , written by Jeanne-Marie Leprince de Beaumont and published as part of a fairy tale anthology.
The plot of Cocteau's film revolves around Belle's father who is sentenced to death for picking a rose from Beast's garden. Belle offers to go back to the Beast in her father's place. Beast falls in love with her and proposes marriage on a nightly basis which she refuses. Belle eventually becomes more drawn to Beast, who tests her by letting her return home to her family and telling her that if she doesn't return to him within a week, he will die of grief.
Beauty and the Beast is now recognized as a classic of French cinema. [3]
While scrubbing the floor at home, Belle (Josette Day) is interrupted by her brother's friend Avenant (Jean Marais) who tells her she deserves better and suggests they get married. Belle rejects Avenant, as she wishes to stay home and take care of her father, who has suffered much since his ships were lost at sea and the family fortune along with them. Belle's father (Marcel André) arrives home announcing he has come into a great fortune that he will pick up the next day, along with gifts for his daughters, Belle and her shrewish sisters Adelaide and Felicie. Belle's roguish brother Ludovic (Michel Auclair), believing they will soon be wealthy, signs a contract from a moneylender (Raoul Marco) allowing him the ability to sue Ludovic's father if he can't pay. Belle's sisters ask for a monkey and a parrot as gifts, but Belle asks only for a rose.
However, the next day, Belle's father finds on his arrival that his fortune has been seized to clear his debts and he is as penniless as before. He has no money for lodging and is forced to return home through a forest at night. He gets lost in the forest and finds himself at a large castle whose gates and doors magically open themselves. On entering the castle, he is guided by an enchanted candelabra that leads him to a laden dinner table where he falls asleep. Awakened by a loud roar, he wanders the castle's grounds. Remembering that Belle asked for a rose, he plucks a rose from a tree which makes the Beast (Jean Marais) appear. The Beast threatens to kill him for theft but suggests that one of his daughters can take his place. The Beast offers his horse Magnificent to guide him through the forest and to his home.
Belle's father explains the situation to his family and Avenant. Belle agrees to take her father's place and rides Magnificent to the castle. Upon meeting the Beast, Belle faints at his monstrous appearance and is carried to her room in the castle. Belle awakens to find a magic mirror which allows her to see anything. The Beast invites Belle to dinner, where he tells her that she's in equal command to him and that she will be asked every day to marry him. Days pass as Belle grows more accustomed to and fond of the Beast, but she continues to refuse marriage. Using the magic mirror, Belle sees that her father has become deathly ill. Belle begs for permission to visit her family, and the Beast reluctantly grants her permission to leave for a week. He gives Belle two magical items: a glove that can transport her wherever she wishes and a golden key that unlocks Diana's Pavilion, the source of the Beast's true riches. He tells Belle that he gives her these precious items to show his trust in her, and says that if she does not return at the end of the week, he will die of grief.
Belle uses the glove to appear in her bedridden father's room, where her visit restores him to health. Belle finds her family living in poverty, having never recovered from Ludovic's deal with the moneylender. Jealous of Belle's rich life at the castle, Adelaide and Felicie steal her golden key and devise a plan to turn Ludovic and Avenant against the Beast. Avenant and Ludovic devise a plan of their own to kill the Beast, and agree to aid Belle's sisters. To stall Belle, her sisters trick her into staying past her seven-day limit by pretending to love her. Belle reluctantly agrees to stay.
The Beast sends Magnificent with the magic mirror to retrieve Belle but Ludovic and Avenant find Magnificent first, and ride him to the castle. Belle later finds the mirror which reveals the Beast's sorrowful face in its reflection. Belle realizes she is missing the golden key as the mirror breaks. Distraught, Belle returns to the castle using the magic glove and finds the Beast in the courtyard, near death from a broken heart.
Meanwhile, Avenant and Ludovic stumble upon Diana's Pavilion. Thinking that their stolen key may trigger a trap, they scale the wall of the Pavilion. As the Beast dies in Belle's arms, Avenant breaks into the Pavilion through its glass roof, whereupon he is shot with an arrow by an animated statue of the Roman goddess Diana and is himself turned into a Beast. As this happens, arising from where the Beast lay dead is Prince Ardent (Jean Marais) who is cured of being the Beast. He explains that because his parents did not believe in spirits, in revenge the spirits turned him into the Beast. Prince Ardent and Belle embrace, then fly away to his kingdom where she will be his Queen. He promises that her father will stay with them and Belle's sisters will carry the train of her gown.
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After the opening credits, Cocteau briefly breaks the fourth wall with a written preamble: [4]
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The set designs and cinematography were intended to evoke the illustrations and engravings of Gustave Doré and, in the farmhouse scenes, the paintings of Jan Vermeer. The cinematography was performed by Henri Alekan. Christian Bérard and Lucien Carré covered production design.
The score was composed by Georges Auric.
The outdoor locations were primarily filmed
The scenes filmed in a studio were shot
At first, Jean Marais wanted to use a deer head, but decided against it because in La Chatte blanche, the magical castle has a deer head as its door knocker. He also thought it would be linked to the myth of the Celtic god Cernunnos, the horned god. Also, Jean Cocteau thought that the audience would think that the head of a deer would be ridiculous for a dangerous, ferocious beast. They got Jean Marais' Alaskan Husky, Moulouk, to be the model of the beast's face.
The beast's makeup and prostheses took a long time to apply, taking about three hours to attach the beast's mask and one hour for each claw. The teeth would be hooked into the actor's mouth, which was not very practical for eating. This caused the actor to eat mainly soup.
In Vincent Pinel's Century of Cinema, he writes (page 207), "With the complexity of the set designer Christian Bérard, the cinematographer Henri Alekan, and his "technical director" René Clément, Jean Cocteau filmed Beauty and the Beast (1946). The impressive makeup of Jean Marais, including both hands and claws, took long hours to apply." Cocteau says, in his film journal, how the close up shots of the beast resembles a deer. "Clément, hiding behind the beast, moves the beast's ears with a stick to make them stand up. The effect is amazing."
Upon the film's December 1947 New York City release, critic Bosley Crowther called the film a "priceless fabric of subtle images...a fabric of gorgeous visual metaphors, of undulating movements and rhythmic pace, of hypnotic sounds and music, of casually congealing ideas"; according to Crowther, "the dialogue, in French, is spare and simple, with the story largely told in pantomime, and the music of Georges Auric accompanies the dreamy, fitful moods. The settings are likewise expressive, many of the exteriors having been filmed for rare architectural vignettes at Raray, one of the most beautiful palaces and parks in all France. And the costumes, too, by Christian Bérard and Escoffier, are exquisite affairs, glittering and imaginative." [5] According to Time magazine, the film is a "wondrous spectacle for children of any language, and quite a treat for their parents, too"; but the magazine concludes "Cocteau makes about a half-hour too much of a good thing—and few things pall like a dream that cannot be shaken off." [6]
In 1999 Chicago Sun-Times critic Roger Ebert added the film to his The Great Movies list, calling it "one of the most magical of all films" and a "fantasy alive with trick shots and astonishing effects, giving us a Beast who is lonely like a man and misunderstood like an animal." [7] A 2002 Village Voice review found the film's "visual opulence" "both appealing and problematic", writing "Full of baroque interiors, elegant costumes, and overwrought jewelry (even tears turn to diamonds), the film is all surface, and undermines its own don't-trust-a-pretty-face and anti-greed themes at every turn." [8] In 2010, the film was ranked #26 in Empire magazine's "100 Best Films of World Cinema". [9]
Jean Maurice Eugène Clément Cocteau was a French poet, playwright, novelist, designer, filmmaker, visual artist and critic. He was one of the foremost creatives of the surrealist, avant-garde, and Dadaist movements; and one of the most influential figures in early 20th-century art as a whole. The National Observer suggested that, “of the artistic generation whose daring gave birth to Twentieth Century Art, Cocteau came closest to being a Renaissance man.”
Beauty and the Beast is a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Américaine et les contes marins. Her lengthy version was abridged, rewritten, and published by French novelist Jeanne-Marie Leprince de Beaumont in 1756 in Magasin des enfants to produce the version most commonly retold. Later, Andrew Lang retold the story in Blue Fairy Book, a part of the Fairy Book series, in 1889. The fairy tale was influenced by Ancient Greek stories such as "Cupid and Psyche" from The Golden Ass, written by Lucius Apuleius Madaurensis in the second century AD, and The Pig King, an Italian fairytale published by Giovanni Francesco Straparola in The Facetious Nights of Straparola around 1550.
Jean-Alfred Villain-Marais, known professionally as Jean Marais, was a French actor, film director, theatre director, painter, sculptor, visual artist, writer and photographer. He performed in over 100 films and was the muse and lover of acclaimed director Jean Cocteau. In 1996, he was awarded the French Legion of Honor for his contributions to French Cinema.
Beauty and the Beast: The Enchanted Christmas is a 1997 direct-to-video animated Christmas musical fantasy film produced by Walt Disney Television Animation. It is a follow-up to the 1991 Disney animated film Beauty and the Beast. The film sold 7.6 million VHS tapes in 1997. This is the first of two sequels to Beauty and the Beast that were released, with the other being Belle's Magical World (1998).
La Belle et la Bête may refer to:
Gabrielle-Suzanne Barbot de Villeneuve was a French novelist influenced by Madame d'Aulnoy, Charles Perrault, and various précieuse writers. Villeneuve is particularly noted for her original story of La Belle et la Bête, which was published in 1740 and is the oldest known variant of the fairy tale Beauty and the Beast.
Christian Marquand was a French actor, screenwriter and film director. Born in Marseille, he was born to a Spanish father and an Arab mother, and his sister was film director Nadine Trintignant. He was often cast as a heartthrob in French films of the 1950s.
Donkey Skin is a 1970 French musical fantasy comedy film directed by Jacques Demy, based on Donkeyskin, a fairy tale by Charles Perrault about a king who wishes to marry his daughter. It stars Catherine Deneuve and Jean Marais, with music by Michel Legrand. Donkey Skin proved to be Demy's biggest success in France, with a total of 2,198,576 tickets sold.
Les Parents terribles is a 1938 French play written by Jean Cocteau. Despite initial problems with censorship, it was revived on the French stage several times after its original production, and in 1948 a film adaptation directed by Cocteau was released. English-language versions have been produced under various titles including Intimate Relations and Indiscretions.
Christian Bérard , also known as Bebè, was a French artist, fashion illustrator and designer.
The Eagle with Two Heads is a French film directed by Jean Cocteau released in 1948. It was adapted from his own play L'Aigle à deux têtes which was first staged in 1946, and it retained the principal actors from the first Paris production.
Gaston is a fictional character and the main antagonist of Walt Disney Pictures' 30th animated feature film Beauty and the Beast (1991). Voiced by American actor and singer Richard White, Gaston is extremely conceited and violent though charismatic and admired hunter whose unrequited advances to the intellectual Belle drive him to murder his adversary, the Beast, once he realizes she cares for him instead. Gaston is not really in love with Belle, he just wants to have her as a trophy wife, so another "hunting-trophy" to be displayed publicly as a sign of conquest, and as the most handsome man in town he must consequently have the most beautiful girl in town as his wife. Someone who can't take a "no" as a response and whose end justifies the means, thus bringing out his dark, insensitive, calculating and manipulative side, despite his initial appearance. Gaston serves as a foil personality to the Beast, who was once as vain as Gaston prior to his transformation.
Les Parents terribles is a 1948 film adaptation directed by Jean Cocteau from his own stage play Les Parents terribles. Cocteau used the same cast who had appeared in a successful stage revival of the play in Paris in 1946. The film has sometimes been known by the English title The Storm Within.
Josette Day was a French film actress.
Beauty and the Beast is a 1987 American/Israeli musical film, part of the 1980s film series Cannon Movie Tales. It is a contemporary adaptation of the classic tale of Beauty and the Beast by Jeanne-Marie Leprince de Beaumont, borrowing also elements from Villeneuve's version, such as the dream sequences. The film was shot entirely in Israel, and the taglines were: "The monster they feared was the prince she loved" and "The classic fairy tale about seeing with your heart".
Mila Parély, born Olga Colette Peszynski, was a French actress of Polish ancestry best known for the roles of Félicie, Belle's eldest sister, in Jean Cocteau's La Belle et la Bête (1946), and as Geneviève in La Règle du jeu (1939).
Beauty and the Beast is a 2014 Franco-German romantic fantasy film based on the traditional fairy tale of the same name by Gabrielle-Suzanne Barbot de Villeneuve. Written by Christophe Gans and Sandra Vo-Anh and directed by Gans, the film stars Léa Seydoux as Belle and Vincent Cassel as the Beast.
The Jean Cocteau House was the residence of the French poet, artist, playwright and film maker Jean Cocteau (1889–1963), which he purchased with the film actor Jean Marais in 1947, and where he created many of his later works before his death in 1963. It is located about fifty kilometers south of Paris in the village of Milly-la-Forêt in the Essonne Department of France. The 16th century house was originally part of the domain of a 13th-century chateau whose moat and a ruined tower are next to the house. The house also has gardens and a small wooded park. The house now displays furnished rooms and a museum of his work. The tomb of Cocteau, decorated with his work, is found in a small chapel, Saint Blaise des Simples, at the edge of town not from the house. The house facade and roof were listed in the supplemental inventory of historic monuments in 1969.
La Belle et la Bête is an opera for ensemble and film, composed in 1994 by Philip Glass based on a libretto in French by the composer according to the script of the film by Jean Cocteau released in 1946. This is the second part of a trilogy in homage to the French poet after Orphée (1993) and before Les Enfants terribles (1996). The world premiere of the work took place on 4 June 1994 in Seville, with Michael Riesman conducting.