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Beauty and the Beast (1978)
"Panna a netvor" (original title)

7.6
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Ratings: 7.6/10 from 466 users  
Reviews: 8 user | 3 critic

A more horrific and gloomy version of The Beauty and the Beast. Julie is a bankrupt merchant's daughter who as the only one of the three daughters chooses to save her father's life by going... See full summary »

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Title: Beauty and the Beast (1978)

Beauty and the Beast (1978) on IMDb 7.6/10

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2 wins & 1 nomination. See more awards »

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Cast

Credited cast:
Zdena Studenková ...
Julie
Vlastimil Harapes ...
Beast
Václav Voska ...
Father
Jana Brejchová ...
Julie's sister Gábinka
Zuzana Kocúriková ...
Julie's sister Málinka
Marta Hrachovinová ...
Maid
Vít Olmer ...
Horseman
Jan Augusta ...
2nd Bridegroom
Jan Preucil ...
Horseman
Frantisek Svacina
Milan Hein ...
Bridegroom
Josef Laufer ...
Bridegroom
Josef Langmiler ...
Bridegroom
Rest of cast listed alphabetically:
Zdenek Jelen
Jorga Kotrbová ...
Málinka (voice)
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Storyline

A more horrific and gloomy version of The Beauty and the Beast. Julie is a bankrupt merchant's daughter who as the only one of the three daughters chooses to save her father's life by going to the Haunted Wood's Castle where she meets Netvor. He wants to kill her, but her beauty prevents him from that. Although she is forbidden to see him she starts to love him and the love rescues him from his curse. Written by Jiri Kacetl <kacetl@usa.net>

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October 1983 (USA)  »

Also Known As:

Beauty and the Beast  »

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Did You Know?

Goofs

When the father is travelling with the painting, a crow flies out from behind a log. A crew member's hands can be seen throwing the bird upwards. See more »

Connections

Version of Kaj og Andrea: Gys og gru (2004) See more »

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User Reviews

 
Dreams, logic and interpretation
13 March 2013 | by (Greece) – See all my reviews

This is such a strange film. Nominally a Beauty and the Beast rendition (the title translates to Virgin and the Monster), it is introspective wandering through dreams. It is both rich in what we see of dreams and silly. The filmmaker (Juraj Herz, also responsible for Cremator) juggles various moods, sombre elegy to medieval fairytale.

As you watch it, it may strike you as both obvious and muddled, obvious because its fantasy is of the schematic sort, with onedimensional characters like the 'kindly father', 'innocent maiden', 'petty step- sisters'. The monster looks silly. So it may seem like it's not worth the effort of bridging the distance to what is going on behind the simplistic surface.

However, scrap all that and this may get to you. It got to me, at least for a while. It isn't about just the Gothic mood. Its appeal is a series of interleavened dreams, but you aren't always sure who is dreaming, if sometimes more than one dreamer, and when one bleeds into the next, so you drift with it.

Consider this as the story. A rich merchant father has to marry off his daughter in a marriage of convenience, the anxiety this causes to both is at the root of the film. It isn't in the film as such, but you will get something of the sort if you conflate the different threads.

From the father's perspective, this means sending off his daughter to live with a 'monster' in his dark lair, from her perspective, it means going to live alone with a stranger, her fate sealed. This translates in several scenes of hallucination, all of it wonderfully visual—the ominous destruction of the merchant wares in the woods, the father's deal with the monster for the girl, the girl's gilded dream of a handsome prince (inside a coffin) and half-frightful, half-anticipatory wandering in the mansion hearing just his voice.

The plucking of roses as loss of purity is a central motif.

It's silly again as we shift to the monster's soliloquies of what it means to be human, but that is because we don't have a surrogate for him in the level of reality, he solely exists inside the fantasy as the abstract ogre made human by her touch. The Czech often favor a juvenile theatricality.

But there's something else that is cool. Now so far all points to constructed realities, dreams as tailored emotional space. The girl wonders if she's not imagining everything, in one scene she visits as ghostly observer her sisters' wedding, no one can see her.

Here's how the filmmaker adds layers to the monster. He has conflicting sides to him, two voices that ponder on whether to kill or spare the girl. The 'evil' voice is disembodied, in his mind. This 'evil' narrator is coming from the camera, you'll notice this is linked with subjective shots of the monster as it kills the wench in the woods, roams with a candelabra and early on 'stages' the frightful visit of the father. It's the filmmaker's hand (as internal consciousness shaping the story) pushing for horror, very cool to see.

So as with many films of this sort, the film becomes more disposable the more you settle on what the story is supposed to be. It fits somewhere between Lynch, Hourglass Sanatorium for nested doll-worlds, Jean Rollin's wandering and Valerie's Week of Wonders.

I listed the films (and makers) in descending order of preference, which for me is the order by which, as you peel away layers, you get less and less of what you thought is there, it opens up, instead of a single solid core. Angels dancing instead of a pin's head.

So if you want a cryptic story disguised to mean something, this is cryptic but as with Rollin and Valerie it makes rather simple sense. At the same time, it is dissonant enough once you disengage from story to captivate. I will see if I can track down more from this guy, he may deserve a place in my nightly viewings.


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