Le testament d'Orphée ou ne me demandez pas pourquoi

While I had surely seen the second film in Cocteau's Orpheus trilogy if not the first as well, I suspect I was in no position to appreciate any of what Cocteau accomplished. Now I'm about the same age he was when he did the Testament. I remember the time period for the second and third pictures, having grown up in it. But how all three of these films really transcend time as Cocteau is trying to show you works of art should! I had to rely on the subtitles for the sense of the lines but it was no matter. I don't remember anything else like these films. They are political to the extent they lobby for the poet's point of view. And in spite of the black and white and old prints their effect is most striking. Orpheus Descending and Testament sometimes look like the inspiration for Rebel Without a Cause. And Testament has some pithy comments on modern technology and the short comings of air travel that seem funnier and more relevant today. And toward the end of Testament, having the red blood and the red hibiscus in this black and white movie--how many times has that been imitated by computer technology? But it is what the poet saw then, not what technology makes commonplace and commercial today.

On the discs for Blood of the Poet and Testament are two separate bonus features, documentaries of Cocteau in fading Technicolor--but oh how interesting they are as well. At some point Cocteau says it was Picasso who taught them all to see. But what a treasure trove of talent Paris produced in the first half of the twentieth century. I hope this kind of sharing of artistic discovery can take place on the internet. Maybe it is already happening and I just don't know it. But I do know people who care for serious--but not heavy and sometimes witty--artistic expression, let alone movies, should see all three of these movies and the docs which accompany them.

Although the elements involved in the last part of the trilogy (of course it's a trilogy!) are same, the movie is brilliant in the way it deal and approaches with a poet's final years. I loved the self-reference to the earlier versions and to Jean cocteau himself. The film touches A film inside a film, a stage inside a stage, a life inside a life, a body inside a body and ofcourse a world inside a world. This is a "timeless" classic. No pun intended. This just my first viewing, I intend to see it again and again. One interesting thing (a speculation) is the BULLET from the future world. I wonder whether James cameroon got inspired from this idea to come up with "The Terminator".

Personally, I was always interested by the idea of NO TIME. This movie touches the possible cyclic nature of the time and sometime it even goes even further suggesting that -- ALL TIMES reside within ONE or NONE -- Well we're not supposed to understand it :) I loved the dig at intellectuals.

I would recommend this movie to all surrealist and anybody who has the eternal question -- WHY?! This movie is not an answer nor it asks question. Just OBEY the natural laws and see the movie :)

9/10

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.

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.

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