Terror minicycler 
Beauty and the Beast (1946) Jean Cocteau (France)
On Monday November 8
12m
At the small auditorium in Block K FREE ENTRY! ! Synopsis
almost ruined
A merchant gets lost in the forest and going to a strange castle. At the time it takes a flower garden, it appears the master of the place, a powerful beast that gives a choice: die as punishment for stealing the flower, or sends someone in his place. The trader decides to buy time and choose the latter. Who choose to replace is his daughter Bella, who soon discover that the Beast is not so stupid nor so wicked.
One of the most famous fantasy films ever made, this film by Jean Cocteau (The Testament of Orpheus) is a classic beauty, full of memorable images of that majestic tone to the Disney animated version just touched.
(from bazuka.com)
Sheet
Jean Cocteau
Original title: La Belle et la Bête
Country: France
Year: 1946
Genre: Romance,
Drama Screenplay: Jean Cocteau, from a story by Mme. Leprince de Beaumont.
Director: Jean Cocteau
Dialogues: Jean Cocteau
Art Direction: Christian Bérard
Photo: Henri Alekan (BN)
Music: Georges Auric
Production: André Paulvé
Duration: 96 minutes
Cast: Jean Marais (The Beast, Avenant, Prince), Josette Day (Belle), Marcel André (his father), Mila Parély, Nane Germon (the sisters), Michel Auclair (Ludovic).
The Director
French artist and writer, who made his name widely known in poetry, fiction, theater, ballet, painting and opera. Jean Cocteau's work reflects the influence of surrealism, psychoanalysis, Cubism, the Catholic religion. In his time Cocteau was a promoter and the fashion avant garde. His friends included such prominent figures as Pablo Picasso, the composer Erik Satie, the writer Marcel Proust, and Russian director Sergei Diaghilev.
"The worst tragedy for a poet is to be admired by the incomprehension" (from Le Rappel à l'Ordre, 1926)
Jean Cocteau was born in Maisons-Lafitte in the bosom of a wealthy Parisian family, which also was politically prominent. His father was a lawyer and amateur painter, who committed suicide when Cocteau was nine. However, he had a lasting influence on his son. It is said that this tragic event created an awareness of human weakness, which made up for seeing to it to serve the arts and the mysterious forces in the universe. Poetry was for Cocteau the basis of all his art, a religion without hope. "
At the age of fifteen, Cocteau left home. In high school it was only a mediocre student, and failed to pass the graduation test after several attempts. His first volume of poems, Aladdin's lamp, was published by Cocteau at age 19. Cocteau quickly became known in bohemian artistic circles as "The Frivolous Prince", the title of a volume of poems was published when he was 21 years. American writer Edith Wharton described him as a man, "for whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City ...." Cocteau in their young twenties was associated with Proust, Gide, and Barrès Mauris. It was also a close friend of the grandson of Victor Hugo, Jean.
In 1915 he met Picasso and Cocteau succumbs to its spell. "I admired his intelligence, and I clung to everything you said, because he speaks little, I kept careful not to miss a word. There were long silences and Varèse could not understand why they were left staring intently without saying a word. I'm talking, Picasso used a visual syntax, and you could see immediately what he was saying. He liked the formulas and arming of value in their claims while arming of value to sculpted in immediately to tangible objects. "(From Pablo Picasso by Pierre Cabanne, 1977) Cocteau and the poet Apollinaire were witnesses at Picasso's marriage Olga. Remained golden crowns on the heads of the bride and groom while giving three times around the altar in the Russian Orthodox Church rue Daru. Cocteau's friendship with Picasso continued after the artist said in an interview: "He's not a poet ... Jean is just a journalist. " Picasso also used to say, "Cocteau is the tail of my kite."
The Russian ballet master Sergei Diaghilev challenged Cocteau to write for the ballet - "Surprise me", with emphasis. This resulted Parade (1917), produced by Diaghilev, designed by Pablo Picasso, and composed by Eric Satie. "Picasso had ideas that I liked more than those of Jean" confessed Satie. "How awful!" The audience hissed at the time of the beginning of modern art. "Had it not been for Apollinaire in uniform," Cocteau wrote, "with his head shaved, the scar on his temple and bands around his head, women had been gouged out his eyes with forks. " In 1919 appears Le Potomac, a prose fantasy centered around a creature that lives caged in an aquarium. The book gave prestige to Cocteau as a writer. The theme of the poet's ability to see clearly into the world of the dead was a central theme of Cocteau's early poems such as 'L'ange Heurtebise' (1925). The first major critical work of Cocteau, Le rappel à l'ordre, was published in 1926. His adaptation of Sophocles' Antigone was performed in 1922 with sets by Picasso and music by Paul Honegger. However, Coco Chanel stole many headlines with designs that made for the work.
During World War Cocteau served as an ambulance driver on the Belgian front. After the war he met the future poet and novelist Raymond Radiguet, whose early death from typhoid fever plunged him into addiction to opium. In 1929 Cocteau was hospitalized for opium poisoning. Opium (1929) was a report about his addictions.
In the 1920 Cocteau turned to the psychological novel Thomas the Impostor (1923), and Les Enfants Terribles (1929), his masterpiece about four children trapped in their own frightening world. In 1926 Cocteau designed the scenery for the opera Pelléas et Mélisande by Claude Debussy. Cocteau also collaborated with Stravinsky in Oedipus Rex, an opera oratory. Orphée (1926) was an original one-act tragedy, and La Voix Humaine (1930) a sole proprietorship consisting of a telephone conversation. The famous sketch Indifféent Le Bel (1940), about a young woman and her indifferent lover, was originally written for Edith Piaf.
Cocteau's first feature film, The Blood of a Poet (1930), was based on his own private mythology. Typical of his films is the use of mirrors as doors to other worlds. For Cocteau, the reality was a mystery. In The Blood of a poet Enrique Rivero strikes the surface of a large mirror. "Proof, if proof," said his muse, Lee Millar. The hostility of the surreal Cocteau was to leave the avant-garde for something closer to classicism. His major work, The Infernal Machine, written before World War II, presented Oedipus as a puppet in the work of the gods. The work was based on Oedipus Rex of Sophocles' ancient Greek writer.
As a result of a bet with the newspaper Paris-Soir, Cocteau completed the journey imagined by Jules Verne Around the World in Eighty Days, describing his travels on my first trip (1936). His close friendship with the young Jean Marais began in 1937, when Marais played the role in the play Knights of the Round Table. From this film, paper design especially major Marais.
In the 1940s Cocteau returned to films, producing Beauty and the Beast (1946), Orpheus (1950), and Le testament d'Orphée (1961), which acted on the screen itself. The film was one of the favorite themes of Cocteau's death, which he called his "mistress." "As I shrank, it enlarges, it gradually becomes more places, cares about the little details, addresses trivial and unimportant tasks. Increasingly less and less effort to deceive. But his hour of triumph is one in which longer. Then you can consider your problems solved, and leave, slamming the door behind it. "
During World War II Vichy government Cocteau ranked as "decadent." But Cocteau himself in 1942 wrote a tribute to a fascist artist, Arno Becker, a mistake that would go unnoticed. A colleague of Cocteau, Paul Elouard, was disappointed: "We used to see among those prohibited. How wrong we were to expose among the censors. " The collaborationist press denounced him as a homosexual and the German police closed the performances of his works after riots. Although ostensibly Cocteau was never interested in politics, he denounced the Vichy government, but took no active part in the Resistance. In 1949 he was made Knight of the Legion of Honor.
romantic work of Cocteau's L'Aigle à Deux Têtes (1946), which takes as its theme the assassination of Empress Elizabeth of Austria, was shot twice. The first version of 1947 was directed by the author, starring Edwige Feulliére as the Queen, and Jean Marais as his lover and probable murderer. A new version was made by Michelangelo Antonioni in 1980 under the title of The Mystery of Oberwald. Antonioni was not particularly fond of Cocteau's work, but wanted to work with Monica Vitti, who played the Queen.
Cocteau in 1949 made a trip to the United States and a theatrical tour of the Middle East continuing its active life until 1953 when his health forced him to semi-retirement. Cocteau still amazed the public. It had a facelift in the face and had begun to wear leather pants and layers of bullfighter. In 1955 he was elected to the Belgian Academy and the Académie Française. In his last decade Cocteau worked on a wide variety of graphic arts. At the age of 70 he painted frescoes in the city of Menton and the chapel of Saint-Pierre in Ville-franche-sur Mer. Cocteau's mural at Notre-Dame de France in London was completed in 1960. In an unconventional way, we see the crucified figure in the media from the knees down, the identity of the figure is open to speculation. A foot of the cross is a rose cross. The artist himself is among the characters in the background, but he has turned his back on the cross.
"To enclose the whole work of Cocteau not reach a library, but a deposit ..." WH Auden once said. Cocteau died in Milly, on the outskirts of Paris on October 11, 1963. Was preparing a radio program in memory of Edith Piaf and when he heard he had died, he exclaimed: "Ah, la Piaf est morte, je peux mourir" and suffered a heart attack. Cocteau's last film was his faithful adaptation of a novel by Madame de La Fallet, The Princess of Cleves. American artist and filmmaker Andy Warhol, who perhaps felt more spiritual affinity with Cocteau, then developed the vision of the prints in a series of iconographic. Filmography
Le sang d'un poète, 1930.
La Belle et la Bête, 1945.
L'aigle à deux têtes, 1945.
Les Parents Terribles, 1948.
Orphée, 1949.
La villa Santo-Sospir, 1952. L'Amour sous l'
electrode, 1955.
Le testament d'Orphée, 1959.
