|
|
 |
|
Little wonder this is Cocteau's best loved film, its haunting surreal imagery - tears turned to diamonds, a castle wall whose candelabras are held by human arms - borrowed and transformed by countless other artists. Cocteau's rendering of the familiar tale of the hideous beast (Marais) and the young woman (Day) who comes to his castle to do penance for her father's crimes emphasizes psychology over fable, which is perhaps why so many find it emotionally moving. The fantastic sets derived from Vermeer and Doré (which turn up in many other films, from Polanski's REPULSION to Masumura's WAREHOUSE), the creamy, dreamlike cinematography of Henri Alekan, a magnificent music score by Georges Auric, and Jean Marais' double duty role as both prince and beast (he is arguably the beauty of the title) have all made the film famous. “Perhaps the most sensuously elegant of all filmed fairy tales” (Pauline Kael).
|
|
|
|
|
|
|
|
|
|