"Beauty and the Beast," by Jean Cocteau
The climax of the film occurs when the Beast is transformed due to the actions of Belle's treacherous family. He is revealed to be truly handsome; in fact, he bears a striking resemblance to the shallow Avenant. There is a certain degree of ambiguity in this moment, which makes it quite a memorable scene. Belle views the transformed Beast with a suspicion, as if she prefers the Beast's monster-form to his human incarnation. Cocteau plays up the sense of disappointment in this scene, making the audience wait a moment before Belle accepts the Prince Charming that the Beast has become.

From the film's opening moments, Cocteau strives to imbue the film with a sense of childlike fantasy. It is shot in black and white, and Cocteau plays careful attention to the use of light and shadow. As one might expect, the Beast's dreamy castle is filled with shadows, and when Cocteau first introduces the audience to this enchanted locale, the candelabras with their human arms that seem to be alive and the statues with eyes that follow those who past are shaded in darkness, giving them a mysterious, fairy tale feel.

Indeed, Cocteau makes a clear distinction between the realistic imagery of the countryside in which Belle and her family live, and the fantastic, magical kingdom that the Beast rules. In scenes that take p

 

lace at the merchant's manor, the camera shows clear, simple images that convey a sense of boredom and drudgery, an obvious parallel to Belle's life in this setting. This is contrasted with the camera work in the scenes at the Beast's castle, where the shots all seem to be taken from a slight angle. In fact, during key moments in the film, Cocteau often blocks the view of objects in the Beast's castle, adding to the air of mystery and wonder that fills his world.

Cocteau's "Beauty and the Beast" is so visually stunning that it must be considered the standard against which all fairy tale inspired films should be judged. One can see its inspiration in a variety of movies, in fact, but none more notably than the Disney version of the same story. The cartoon borrows overtly from Cocteau's vision, with its elaborate, magical imagery of the Beast's kingdom, complete with living candelabras and other sentient household objects. But even Disney's rendering of the tale falls short of the sheer magic that Cocteau is able to weave with his gorgeous, complex vision.

Beauty and the Beast (La Belle et la bete). Screenplay by Jean Cocteau. Dir. Jean Cocteau and Rene Clement. Public Media Inc. 1946, rereleased 2003.

The film's dreamlike

 
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