Le testament d'Orphée ou ne me demandez pas pourquoi

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.

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

Jean Cocteau's final filmic flight of fantasy is very special indeed.

Adopting the guise of a poet 'unstuck in time', Cocteau ranges over his life in the world of poetry. It's a phantasmorgorical whirl of imagery, with plenty of humour, pathos and an enormous, transcendent sense of wonder. There's also a trial sequence where the characters from his earlier success 'Orphee' try him for bringing them into existence !

Some of Cocteau famous friends feature in brief cameos. Look out for Picasso and Bardot.

You don't have to be a Cocteau fan to enjoy this movie. All you need is an interest in the nature of creativity and an enjoyment of poetry, symbolic art, and the wonderfully cinematic music of Georges Auric, who scored all Cocteau's major films.

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.

French national treasure Jean Cocteau's last film is as personal and private as it's title suggest. Le Testament d'Orphee is a fond farewell to cinema with it's free-flowing, spirited collection of images and scenes that includes characters from Cocteau's past films and personal friends. One would hardly imagine a cinematic poet like Jean Cocteau would be so crass as to make something like a mere sequel to his acclaimed Orpheus/Orphee (1950). And instead what Cocteau does is to give us perhaps cinema's first meta-film. The film itself is an autobiographical fantasia of his whole life. Playing various versions of himself, Cocteau glides through the film as a time traveler in search of his place in the universe. He called it an active poem.

The film was shot on location at Les Baux in the South of France, a landscape whose rough limestone canyons appealed to Cocteau even more than Greece. Francine Weinweller and the main crew put up at that gourmet's mecca, the Hostellerie de la Baumaniere. Francine had a costume part in the film as La Dame qui s'est trompe d'epoque. All the icons out of Cocteau's past were woven into the visual testament - mirrors, horses, flowers, tapestries, and many of his friends - Dermit, Marais, Yul Brynner, Picasso and his wife, among others, appeared.

Unfortunately for Cocteau, public and critics, weaned on the literature of commitment popularized by Sartre and Camus, turned their backs on Le Testament d'Orphee, finding it a self-serving celluloid relic, oddly out of step with the times. One voice, however, and an important one, praised the film. Young Francois Truffaut, winner of a large prize for his film Les Quatre Cents Coups, had turned the money over to Cocteau to help finance Le Testament. Truffaut liked the finished product, which he considered a remake, thirty years later, of Le Sang d'un Poete. Truffaut was not alone in seeing Cocteau, judged by his previous films, as one of the main precursors of New Wave filmmakers.

Le Testament d'Orphee is a misunderstood masterpiece. Brilliant!!!!