This 1946 film adaptation of the
classic fairy tale by poet, director, painter Jean Cocteau is, in my opinion, a
perfect movie. There is not a moment of this visually stunning film that is
less than riveting. Not only is the story a simple and classic tale of love,
greed, beauty and loyalty that any viewer can relate to, the film itself is an
almost incomparable feast of movie magic containing countless beautiful and
unforgettable images. Jean Cocteau does not really change the specifics of the
familiar children’s tale, but within the telling of the story makes his
personal ruminations on love and relationships manifest. Belle, played with
youthful radiance by Josette Day is the scullery maid for her two older
sisters. She seems to be fated to a life of lonely servitude. As her father
leaves one day she asks him to bring her a rose. He finds one, but it is
plucked from the garden of a half-man/half-beast who demands the father’s life
in exchange for the rose. The Beast is willing to take possession of Belle
instead, and thus begins the relationship of Beauty and The Beast. The
particulars of the story are almost irrelevant, because the film is filled with
such lyrical beauty and visual magic that it can be appreciated on its filmic
merits alone. The fact that it is beautifully acted and told in a way that is
both true to the childlike roots of the story and to the philosophical
underpinnings of the director is just a bonus. One can easily be swept away by
the surreal imagery and exceptional film work.
From the first scenes at The
Beast’s magical castle we realize that the rules of the natural world no longer
apply. The Beast walks upright like a man, yet he is part of the natural world,
preying on weaker animals. He is also the keeper of profound magic. His castle
is filled with disembodied arms that hold torches, statues that suddenly come
alive and follow one with their eyes, magical mirrors, gloves that bring the
gift of flight, tears that are shed as diamonds instead of salt water, and a
mysterious pavilion watched over by the goddess Diana where The Beast keeps his
treasure. Like Beauty, The Beast also toils in a world without love. He adores
Beauty but she is repulsed by his animal qualities. As the movie progresses, we
see Belle begin to realize the inner beauty of The Beast and she soon begins to
fall in love with him. Things are complicated when her brother and erstwhile
lover from her old home try to break into the pavilion and steal The Beast’s
treasure. As I said, the particulars of the story are almost meaningless
because one is so swept up by the sets, costumes and special effects. Filmed in
black and white due to budget limitations, it turns out to be the greatest gift
this film could get, as the palette of muted, shadowy tones lends the film a
completely unique otherworldly quality it never could have achieved in color.
Cocteau and his fellow filmmakers are fearless in their use of experimental
techniques used to create a fantasy world where magic is real. No big-budget
action franchise comes close to the mystery and beauty that Cocteau’s small
film achieves.
As the story winds through betrayal
and recognition and Belle ultimately chooses The Beast, thus freeing the
dashing prince within, the viewer is actually left with mixed feelings about
this happy ending. We see that the real story was indeed the acceptance of The
Beast’s inner beauty and humanity that won her over, and that his turning into
a handsome prince is almost a let down. Belle now understands that beauty is
just a trick of the eye and that true love is born of character. The Beast was
not only fascinating, he was internally beautiful, and by making him an
acceptable member of society, some of the real beauty was lost, or obscured by
societal convention. But ultimately none of that matters because Beauty and
The Beast can be enjoyed on the most basic, sensual level. It is
unspeakably lovely to look at, and no amount of analysis can change that. If
the idea of a desert island movie really did exist, and I could only see one
film again for the rest of my life - I could probably be endlessly engaged by
this masterpiece. It is simply impossible to take your eyes off the screen.
- Paul Epstein
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