Le testament d'Orphée ou ne me demandez pas pourquoi

There are nice ideas in this final film by Cocteau. It's a pity he made it in 1959: there had already been Bunuel's l'Age d'or (1930) and Un chien andalou (1929), Bergman's Wild Strawberries (1957) and The Seventh Seal (1957) that are all brilliant. Not to mention Cocteau's own Sang d'un poete (1930!), in which the relatively simple technical ideas of Testament d'Orphee were already worked out and even better too. Cocteau utilizes terribly slow motion and awkward backwards play. Where Orpheus was ambitious, this is mere pretentious. The acting is mediocre, despite the interesting cast (Cocteau, Brynner, Picasso). Testament is less thought provoking and less surprising than what I hoped for, but nevertheless worth a try. Perhaps I wasn't in the mood for conversations about eloquence and poetry at the time. Still it is at least as interesting as Orson Welles' F for Fake (1975) in which Cocteau also appeared so prominently.

7/10

While clearly not the first in its eclectic genre, this classic is definitely a great round-up of all that is surreal - all that the ''mechanics'' of both surrealism as those of dream can be deemed to be all about... Said mechanics fascinated Cocteau, to the point that he had to make this, his final film, a very original ''sequel'' of sorts to his classic ORPHÉE. If only all sequels since had been so original!

The cameos are indeed plentiful as also unexpected; many great stars of 1959 show up, from all fields as all continents! In this, the movie has a time capsule quality that only adds to its surrealness...

Most amazing though is the cameo that is not and could have been; Chaplin, who admired Cocteau -and it was mutual- through the language barrier and everything else that separated them... They had met on a cruise and greeted each other as brothers, though unable to exchange a single word almost... Surely he would have accepted to don the clothes of the Tramp one more time for this unique film... What a surreal addition to an already singular film it would have been! Although, on that cruise, through interpreters, Chaplin had confided that he was sad that he had become rich while playing a poor man... Cocteau admired him all the more for that...

Throughout "Le Testament d'Orphée", the film-goer has the impression of walking through someone else's dream - the director's dream. It is the goal of every film director to have his or her audience view things as if through the director's own eyes - well, I don't think anyone has ever succeeded quite like Cocteau did in this one, his cinematographic swan song as it was as well...

Le Testament d'Orphée is thus highly recommended for so many reasons; Bergman fans as well as those left unimpressed somehow by "Un Chien Andalou", because it was too short; those few will undoubtedly appreciate the long treatment given to this by the master, Jean Cocteau...!

Ever since I first saw Orphee decades ago I thought it one of world cinema's Greats, a work of Art and underplayed panache that literally transcends Time. That was Part 2 of Jean Cocteau's Orpheus cycle in 1949 – in 1932 Part 1 Le Sang D'un Poete set the scene in a whimsical primitive way, and Testament was the convoluted Part 3 which became his final film released in 1960. First thing – if you enjoyed Orphee I recommend not watching this immediately afterwards, it's a contrast between gold and brass. Second thing - if you don't like pretentious art films this is a special case, it's still by far the best pretentious film I've ever seen and worth watching for its self-confidence. If you do like pretentious art films then to come clean I'm one of the denser people so disparaged by the previous exalted commenter therefore I have nothing I can impart to you. I've always considered this only as Cocteau's Testament – it's all about him and his thoughts of posterity at 70.

Cocteau as film maker and poet stands between two worlds accused of being guilty of Innocence and is condemned to Life while his last film makes itself around him. There's a lot more to it, involving going backwards forwards and sideways in Time and Timelessness with or without trick photography, all of the cast large or small spouting cod-heavy aphorisms with gossamer realism or relevance. It gave him a chance to revisit the subject, and as he admitted at the end of the film to give some of his old friends (Casares, Perier, Dermithe etc) a job in the revisiting – after all, he was by now to use his own words from Orphee now "rotten with success" and could get away with murder. He died twice in here – even the Motorcyclists Of Death only wanted his autograph - and he lived and died to tell the tale. I can see where Banksy got his inspiration for his recent Mobile Phone Lovers from. I take away the image of Cegeste's image being saved from backward burning only for the image to be torn to pieces, that cerebral scene was worth the eighty minutes! The twenty minute wordy trial scene gets tiresome as you gradually realise its pointlessness apart from the padding out of the temporal running time. But there's plenty of tremendous imagery and heavy moralising throughout; Cocteau was incredibly talented, big on surrealism the occult and symbolism of all kinds, all more or less intellectual dead ends and as with many other big thinkers full of mumbo jumbo before and since he agonised over the merits and demerits of the Catholic Church, another dead end. Whereas with Orphee he made a film that could be enjoyed over the generations by all kinds of people with various levels of brainpower he created here a film so obscure it only plays like an in-joke raspberry to the world of the end of his life.

So there you are – I do quite like Le Testament D'Orphee so hopefully Cocteau won't be sad wherever he is, it's just I'm not a poet and have an old nose for Art and Artifice. No matter how unique or interesting this film is to me or even for that matter to those of a higher intellect, he was simply having a laugh.

My summary is NOT meant to be sarcasm but an accurate description of what I saw in "Testament of Orpheus". It really does play a lot like a home movie of Cocteau's--complete with his friends making guest appearances. A few of the more notable ones are Jean Pierre Leaud, Pablo Picasso and Yul Brynner. As for the plot, it's really hard to describe and it is VERY freaky. It's sort of like a combination of a dream, the life of Cocteau, time travel and Greek mythology all rolled into one very strange film. If you try to make sense of all this, it will probably make your head explode--and it seems pretty clear that Cocteau had no intention of making the film understandable or doing a traditional narrative. Because it is essential a vanity project and an art film, I really cannot rate it. However, I think I'm very safe in saying that the film probably holds no interest to the average viewer but is something best seen by Cocteau-philes and lovers of the avant garde or surreal.

As for me and my own opinion about the film's merits, I thought the project was very repetitive--though it did have a few moments of interesting introspection by Cocteau (who plays himself through the film). Sadly, though, despite his introspection, this is yet another Cocteau film in which he over-used slow-motion and rolled the film backwards again and again to achieve his artsy effects. Essentially, you see nothing new here in the way of techniques--having seen this is "Blood of a Poet" thirty years earlier. And, it does not have any sort of lasting appeal or a coherent story like "Orpheus" or "Beauty and the Beast" (his two masterpieces). Skipable if you ask me but a mildly (very mildly) interesting piece of performance art.

Modernist renaissance man directed quite a few groundbreaking masterpeices in his time, like the hallucinatory Beauty and the Beast and Blood of a Poet, basically setting the stage for art directors ranging from Ingmar Bergman to Jean-Luc Godard. But here, he made a film so tired and silly looking, it almost crosses the line into so-bad-it's-good.

The film basically consists of the elderly Cocteau himself, wandering through a world of people in crazy-ass costumes, and making faces that bear a striking resemblance to Bela Lugosi's horrified looks in Ed Wood's Glen or Glenda. There are also some elementary special effects (backwards film, for example) that are somewhat less than mind blowing, even by 1960 standards.

Interestingly, the incredulous person staring a people in costumes was done much better 2 years later in Herk Harvey's low budget horror film Carnival of Souls, which, unlike the Testament of Orpheus, is a must see.