IMDb > Beauty and the Beast (1946)
La belle et la bête
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Beauty and the Beast (1946) More at IMDbPro »La belle et la bête (original title)

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Beauty and the Beast -- Jean Cocteau's sublime adaptation of Mme. Leprince de Beaumont's fairy-tale masterpiece--in which the pure love of a beautiful girl melts the heart of a feral but gentle beast--is a landmark of motion picture fantasy, with unforgettably romantic performances by Jean Marais and Josette Day.


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Up 2% in popularity this week. See why on IMDbPro.
Jean Cocteau (dialogue)
Jean Cocteau (screenplay)
View company contact information for Beauty and the Beast on IMDbPro.
Release Date:
23 December 1947 (USA) See more »
A beautiful young woman takes her father's place as the prisoner of a mysterious beast, who wishes to marry her. Full summary » | Add synopsis »
Plot Keywords:
2 wins & 1 nomination See more »
(94 articles)
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User Reviews:
Beauty is socialized to choose the right man See more (117 total) »


  (in credits order) (verified as complete)

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)
Jacques Marbeuf
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)
Noël Blin ... Footman (uncredited)

Jean Cocteau ... Voice of Magic (voice) (uncredited)
Christian Marquand ... Footman (uncredited)
Gilles Watteaux ... Footman (uncredited)

Directed by
Jean Cocteau 
René Clément (uncredited)
Writing credits
(in alphabetical order)
Jean Cocteau  dialogue
Jean Cocteau  screenplay
Jean Cocteau  story
Jeanne-Marie Leprince de Beaumont  story

Produced by
André Paulvé .... executive producer
Original Music by
Georges Auric 
Cinematography by
Henri Alekan 
Film Editing by
Claude Ibéria 
Production Design by
Christian Bérard 
Lucien Carré  (as Carré)
Set Decoration by
Lucien Carré  (as Carré)
René Moulaert 
Costume Design by
Antonio Castillo 
Marcel Escoffier 
Christian Bérard (uncredited)
Makeup Department
Hagop Arakelian .... makeup artist (as Arakelian)
Production Management
Émile Darbon .... production manager
Sound Department
Jacques Carrère .... sound
Héctor Castillo .... sound engineer: opera version
P. Gaborian .... sound assistant
Henry Girbal .... sound assistant (as H. Girbal)
Jacques Lebreton .... sound
Mario McNulty .... assistant sound engineer: opera version
Rouzenat .... sound effects (uncredited)
Camera and Electrical Department
G.R. Aldo .... still photographer (as Aldo)
Robert Foucard .... camera operator (as Foucard)
Raymond Letouzey .... camera operator (as Letouzey)
Henri Tiquet .... camera operator
Costume and Wardrobe Department
Pierre Cardin .... costume maker (uncredited)
Music Department
Roger Desormière .... orchestra's conductor
Other crew
René Clément .... technical advisor
Lucile Costa .... script supervisor
Roger Rogelys .... general manager
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"La belle et la bête" - France (original title)
See more »
96 min | USA:93 min | Germany:90 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono | Dolby Digital (1995 opera version)

Did You Know?

Philip Glass composed an opera perfectly synchronized to the film. The original soundtrack was eliminated, and he composed the opera to be performed along with the film projected behind the orchestra and voice talent. The compact disc recording of Glass' "La Belle et la Bête" can be played alongside the film with a very similar effect. Note: the opera is recorded on two compact discs; hence it will be necessary to pause the film once while changing discs. In the US, the second DVD release of this film by the Criterion Collection gives the viewer the option of hearing the original soundtrack or the Glass opera version, which, in a sense, gives you two movies for the price of one. Glass has composed similar works for two other Jean Cocteau films: Orpheus (1950) and Les Enfants Terribles (1950).See more »
Continuity: As the boys ride out of the barn on magnificent to go and steal the treasure of the beast, the lad on back loses his hat. In the next shot, shown from outside, both riders are wearing their hats.See more »
La Bête:Belle, you mustn't look into my eyes. You needn't fear. You will never see me, except each evening at 7:00, when you will dine, and I will come to the great hall. And never look into my eyes.See more »
Movie Connections:
La belle et la bêteSee more »


Why was the same actor cast as both the Beast and as Avenant?
How much sex, violence, and profanity are in this movie?
Is this movie based on a book?
See more »
20 out of 33 people found the following review useful.
Beauty is socialized to choose the right man, 1 April 2002
Author: lindsay from wayland, ma

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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Message Boards

Discuss this movie with other users on IMDb message board for Beauty and the Beast (1946)
Recent Posts (updated daily)User
Was the story about how the beast got transformed a lie Mxyzptlk-3
Jean Cocteau's or Disney's. HuGore
Was anyone disappointed? sir73069-1
Belle's Coming of Age Weber4278
Filled with wonder, this film amazes me. goodvibe61
does anyone know? thatcat1960-1
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