Beauty and the Beast (1946)
You've seen this one. It's the cloying Disney™ product.
You haven't seen this one. It's the enchanting original done by the great French artist Jean Cocteau.
Beauty and the Beast should not have been made. It was 1946 France and what wasn't in rubble was only merely falling apart. Cocteau, however, wasn't a practical man and didn't give a shit. Neither did anyone else. France needed a beautiful escapist movie to help lift her spirits in the postwar gloom. But how to do it? There was no film stock, little to no electricity of any reliability, no costumes, no actors, no technicians, no food, and certainly no money.
Cocteau, being Cocteau, ran around Paris trying to get together the makings of a film crew. As many tell it, they had nothing better to do so why not go make a movie off in some abandoned chateau? And who wouldn't want to make a movie with someone as loved as Cocteau? At least they'd be eating.
It took a while but after traveling from Paris by car, truck, and then oxcart, the film crew arrived at the chateau. Everyone worked on everything. The cast and crew did their jobs. The cast and crew cooked. The cast and crew did makeup. The cast and crew went into their own wardrobes. The cast and crew froze as the chateau had no heat. The cast and crew stood guard through the night to make sure nobody stole anything.
Complaining about France is one of the easiest things in the world to do. The rest of the world does it all the time. Yet sometimes the
infants terrible of the western world just charm in a way nobody else can. I think only the French could have done this, and perhaps it was Cocteau himself or just the desire by everyone involved to make a great movie; whatever happened however, came together as unrivaled magic. When the French make something beautiful, the world gasps.
It's the basic Beauty and the Beast tale told but without all the high fructose corn syrup the Americans like to bake into their fairy tales. It's all live-action and the budget was so low that every special effect was done in-camera. Unless you've seen
Bram Stoker's Dracula, then you likely haven't seen a modern film done with every special effect done in-camera, but the effect is striking because you're watching an optical illusion done in real time without any blue screens or image generators. We're not used to that kind of thing any longer and while Cocteau's people used odd camera angles and magician tricks for many effects, the realism of the effects doesn't seem any less.
But ignore the special effects. Pay attention to Josette Day. Day was a prima ballerina with the Paris ballet and not a film actress, but Cocteau wanted a Beauty with a sublime gracefulness, able to pose her body in exactly the manner and expression Cocteau was seeking. Cocteau's Beauty had to be beautiful and he only found that in Day.
Cocteau was a Pisces, an occultist, a painter, and one of the great artistic minds of France. Like Chagall he was intrigued by the dream world, the somewhere else just outside of mundanity. When you see
Beauty and the Beast, you'll know what I mean. His living set pieces would later be copied by Disney almost exactly, yet Disney's animated live set pieces diminish enormously in shock value because they aren't live at all as Cocteau's are.
Cocteau's Beauty isn't sweet, she's haughty and cold. Beast isn't noble, he's a smoldering animal. All of the sexual tension drained out of the Disney version is fully present here in performance and symbolism. We know what Beast wants and it isn't an elegant dance.
I perpetually tell people never to watch it during the day as the magic of the story is ruined outside of a dark room. I stick by that. Cocteau's
Beauty and the Beast is a dream and needs to be nourished as such.