La bella y la bestia

Prominent sociologist Bruno Bettleheim believes that the fairy tale has a very important role in the socialization process of children. Each fairy tale addresses a fear they must overcome; Hansel and Gretel addresses the fear of abandonment, Little Red Riding Hood the fear of the `wolf' in the bed sheets, and Beauty and the Beast the similar fear of the `beast' in men that virgin women face on their wedding night. These tales illustrating the effective resolution of possible threats are very important to natural development.

Cocteau's attempt to socialize his female viewers and alleviate their fear of sex is clear through textual analysis. The mirror that Beauty peers into her first night at the castle shows a reflection of her father where her own self-reflection should have been, indicating that she is still very much defined by the dominant male role in her life. Almost immediately after, the bed sheets slide off the bed in a provocative manner, portending future threat, and she runs away repulsed. She confronts the Beast, and promptly faints. This scene establishes her fear and immaturity; however, Beauty and the Beast become progressively closer through the film, holding hands and talking. During her visit to her family, he caresses and wraps himself in her blanket, another reference to his association with her bed. When she decides she has remained at home too long, she lies on her bed and looks at the beast in the mirror's reflection. This is the point of transition, where she links this new dominant male figure to her bed. Instead of being repulsed by his reflection, she lovingly caresses the mirror and returns to him. In order to do this she slips on his glove, perhaps a reference to condoms. His glove is a perfect fit, displaying their perfect compatibility.

The Cocteau version of Beauty and the Beast also addresses the dual nature of masculinity where good and evil coexisted, and the lines of differentiation are increasingly blurred. He emphasizes his statement that man and beast are indistinguishable by casting Jean Marais in both roles. Beauty comments upon this, when she tells the prince that he reminds her of a friend of her brother's. The fine distinction between the two characters is the prince's inner beauty as well as outer. When the brother's friend becomes greedy, he transforms into a beast so his inner ugliness and outer appearance coincide.

Socialization of Beauty remains central despite two forms of masculinity because the two never meet, so Beauty's choice between the two is central. The film is about the distinctions between men, and the importance of picking the right one. Since both the friend and the prince have the same attractive male face, the lesson is to hold out for the true prince who is good and noble on the inside as well as attractive.

As the Beast-turned-prince reclaims himself at the end of Cocteau's film, the message the audience should take away is that love can cure any ugliness and make any beast a man. The interchangeability is evident and the choice important. Beauty loves the Beast, overcoming her fear of the beastly in marriage and claiming she will get used to him, the reality of a man. Beauty makes a gradual transition from love of her father to a husband, as portrayed in her mirrors depicting her core identity.

When special effects anthologies are shown "Metropolis" is called the grandfather of film FX, "2001" is the son and "Star Wars" is the grandson. Invariably the French are forgotten. This is shameful, since the French were truly the masters of FX or "trick" shots. Following my analogy, Cocteau was the heir apparent of Melies.

"Beauty and the Beast" not only beautifully re-tells a beautiful story, but powerfully displays the Beast's magic. Cocteau's genius is that he makes simple editing techniques look like art and in this movie like the combination of art and magic. Watch what happens when Beauty gives one of her sisters a present from the Beast's castle which the Beast meant only for Beauty.

The version I saw was in French with English subtitles, but the visuals, in glorious black and white, are so stunning, you could almost cover up the subtitles and still understand what's going on.

I can't recommend this movie enough! It is #1 on my foreign film list.

This film immediately captured my attention with the written comments at the beginning of the film. Director Jean Cocteau begins this story by explaining why he wanted to make this film. He talks about the passion behind the picture and all the social unrest at the time. He ends this written dialogue with a comment that will forever remain in my mind. He says, "...and now, we begin our story with a phrase that is like a time machine for children: Once Upon a Time..." This just sent chills down my spine. Why? Because, although he is addressing children, I feel that it is really a phrase meant for all of us. It is used to bring the child out in all of us, to show us that we do not need to be 4 or 5 to fully understand the themes of this film ... we are meant to just sit back and let the film take us to another mythological time.

The amazing set design also impressed me about this film. Again, without the modern conveniences of today's cinema, Cocteau had to improvise. This was hard for him to do. Not only were there huge budgetary issues (since it was the end of WWII and France was about to be demolished), but also he was racing against an impending war. Fear was deep in the hearts of the French after WWII, and what a better way to rally your people then with a story about love found in the darkest of places.

This film also made me very sad. I am sometimes disgusted with the way that Disney ... for lack of a better word ... Disney-fies their fairy tales. I think after watching this masterpiece I will have trouble ever being able to go back to the computer generated "Song as Old as Time" version that Disney plastered their trademark to. Never have I been so impressed with black and white cinematography as I have been with this film. The actress that plays Belle, Josette Day, steals the camera every time it is on her. She looks so radiant with the black and white that to see a colorized version of this film would completely do it injustice. The power and emotion that comes between Belle and the Beast feels so true. Cocteau has somehow grabbed the true feeling of two people that are complete opposites that seem to find true love in the coldest of places. I would be one of those reviewers that believes that if this film were released today, it would still pull the audiences in as it did the first time. Only proving that it was made well before it's time, it shows so many of the characteristics of the modern day movie. Even the special effects seem perfect for this film. Even with budget being sub-par, we are able to get a true feeling that this Beast is one of the magical kind.

Oh, this film was superb. I would have to say that it is the best adaptation of a fairy tale that I have seen today. Definitely my best 40s film (made in 1946), and possibly the best telling of Beauty and the Beast EVER!!

Grade: ***** out of *****

I first saw this film, believe it or not, as a young boy of about four or five. The year was about 1952 or 1953, and I watched it on a typical TV set for those days - a very small screen with a very grainy picture. I remember being mesmerized by the film, particularly the ending. I must have asked my mother the name of it, for I never forgot it. I'm sure I didn't understand it much, it was just that I was swept away by the artfulness and magic of it. Its memory remained in my consciousness for about forty years, during which time I never once saw the film or even heard about it. Then I happened to run across it in a catalog. I just had to have it and ordered it immediately. It was an incredible experience to see this film again after so many decades, and to connect again with my child-self. I could see why the movie had made such an impression on me and haunted me all these years. As it turned out, the film had even more meaning for me as an adult, since the main theme had a special, personal relevance for me. Amazingly, I had also developed an obsession with roses, and tended to a garden of hundreds of rose bushes. All in all, a very beautiful film and a simple yet magical tale.

This famed Jean Cocteau film of the 1940s plays like a poem, moving across the screen. In a triple role (Avenant, a friend of Beauty's brother; The Beast; and the Prince) Jean Marais is curiously flat as a human – it is as the sensual, passionate, sensitive, and complex Beast that he really shines. Josette Day is little more than adequate as Beauty, but good enough for the role that has been written for her.

The tale is one of awakening, of desires, and of strange surroundings. Living statues and disembodied arms holding candles aloft populate the twilight world of the Beast's castle, where the fate of a young girl turns on the plucking of a rose. Ghostly voices, choral and otherwise, shadows and softness accompany Beauty as she walks into the kingdom which first repels and then entrances her.

I have to agree with the view that the great Greta Garbo took of this movie, though: ‘give me back my Beast'. The transformation from powerful feline seducer to run-of-the-mill Prince is a disappointment. It is during the scenes where Beauty and the Beast play out their fantasy that this film has its most potency.