Orphee is a poet who becomes obsessed with Death (the Princess). They fall in love. Orphee's wife, Eurydice, is killed by the Princess' henchmen and Orphee goes after her into the ... See full summary »
During the first World War, two French soldiers are captured and imprisoned in a German P.O.W. camp. Several escape attempts follow until they are sent to a seemingly impenetrable fortress which seems impossible to escape from.
After World War II, a small French village struggles to put the war behind as the controlling Communist Party tries to flush out Petain loyalists. The local bar owner, a simple man who ... See full summary »
After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
Marcel, recently released from prison, attempt to rebuild his relationship with his girlfriend Julie (now a prostitute) and especially his father Albert (who thinks he's been away on a long... See full summary »
An ex-convict struggles to survive by brute force alone in a turn-of-the-century slum in Braila. Codine (Alexandre Virgil Platon) is the thug who served 10 years for murdering a friend. He ... See full summary »
Alexandru Virgil Platon,
Adélaïde, Belle, Félicie and Ludovic are young adult siblings who once lived in grandeur until their father's merchant ships were lost at sea. The family is now near ruin, but Adélaïde and Félicie nonetheless still squander away the family money on themselves and keeping beautiful, whereas Belle slaves around the house, doting on her father. Ludovic detests his two spoiled sisters, but is protective of Belle, especially with his friend Avenant, a handsome scoundrel who wants to marry Belle. Crossing the forest one dark and stormy evening, the father gets lost and takes refuge in a fantastical castle. Upon leaving, he steals a blossom off a rose bush, which Belle requested. The castle's resident, an angry beast, sentences him to one of two options for the theft of the rose: his own death, or that of one of his daughters. As she feels she is the cause of her father's predicament (despite her sisters asking for far more lavish gifts), Belle sacrifices herself to the beast. Upon arriving ... Written by
The first screening took place before the staff of the studio at Joinville. Jean Cocteau was so nervous, he invited his friend Marlene Dietrich, whose hand he held tightly as the film unwound. The response, however, was enthusiastic. See more »
(at around 1 min) The chin of the actor portraying the "arm candle branch" to the left of Belle as she nears the talking door is visible. See more »
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.
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