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La bella e la bestia

Titolo originale: La Belle et la Bête
  • 1946
  • T
  • 1h 36min
VALUTAZIONE IMDb
7,9/10
29.173
LA TUA VALUTAZIONE
La bella e la bestia (1946)
Trailer for Beauty and the Beast
Riproduci trailer1: 11
2 video
99+ foto
Costume DramaDark FantasyDark RomanceFairy TaleDramaFantasyRomance

Una bella giovane donna prende il posto di suo padre come prigioniero di una bestia misteriosa.Una bella giovane donna prende il posto di suo padre come prigioniero di una bestia misteriosa.Una bella giovane donna prende il posto di suo padre come prigioniero di una bestia misteriosa.

  • Regia
    • Jean Cocteau
    • René Clément
  • Sceneggiatura
    • Jean Cocteau
    • Jeanne-Marie Leprince de Beaumont
  • Star
    • Jean Marais
    • Josette Day
    • Mila Parély
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,9/10
    29.173
    LA TUA VALUTAZIONE
    • Regia
      • Jean Cocteau
      • René Clément
    • Sceneggiatura
      • Jean Cocteau
      • Jeanne-Marie Leprince de Beaumont
    • Star
      • Jean Marais
      • Josette Day
      • Mila Parély
    • 164Recensioni degli utenti
    • 101Recensioni della critica
    • 92Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria e 2 candidature totali

    Video2

    Beauty and the Beast
    Trailer 1:11
    Beauty and the Beast
    Guillermo del Toro and Neil Gaiman Find Hope in Powerful, Eclectic Films
    Clip 8:43
    Guillermo del Toro and Neil Gaiman Find Hope in Powerful, Eclectic Films
    Guillermo del Toro and Neil Gaiman Find Hope in Powerful, Eclectic Films
    Clip 8:43
    Guillermo del Toro and Neil Gaiman Find Hope in Powerful, Eclectic Films

    Foto101

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
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    + 93
    Visualizza poster

    Interpreti principali18

    Modifica
    Jean Marais
    Jean Marais
    • La Bête…
    Josette Day
    Josette Day
    • Belle
    Mila Parély
    Mila Parély
    • Félicie
    Nane Germon
    • Adélaïde
    Michel Auclair
    Michel Auclair
    • Ludovic
    Raoul Marco
    Raoul Marco
    • Merchant
    • (scene tagliate)
    • (solo nei titoli)
    Marcel André
    • Belle's Father
    Janice Felty
    • La Belle (1995 opera version)
    • (voce (canto))
    John Kuether
    • The Father
    • (voce (canto))
    • …
    Jacques Marbeuf
    Ana María Martinez
    • Félicie (1995 opera version)
    • (voce (canto))
    Hallie Neill
    • Adélaïde (1995 opera version)
    • (voce (canto))
    Gregory Purnhagen
    • La Bête
    • (voce (canto))
    • …
    Zhengzhong Zhou
    • Ludovic (1995 opera version)
    • (voce (canto))
    Noël Blin
    • Footman
    • (non citato nei titoli originali)
    Jean Cocteau
    Jean Cocteau
    • Voice of Magic
    • (voce)
    • (non citato nei titoli originali)
    Christian Marquand
    Christian Marquand
    • Footman
    • (non citato nei titoli originali)
    Gilles Watteaux
    • Footman
    • (non citato nei titoli originali)
    • Regia
      • Jean Cocteau
      • René Clément
    • Sceneggiatura
      • Jean Cocteau
      • Jeanne-Marie Leprince de Beaumont
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti164

    7,929.1K
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    Recensioni in evidenza

    9Spondonman

    Magical Misty Tour de force

    I first saw this when about 10 years old, it made little impression on me then, probably because I couldn't hope to appreciate it or understand it all when so young. Next time I was 25 and was bowled over by its imagery, and as I've got older come to appreciate it more and more.

    So much for watching it through a child's eyes and accepting the fantasy at face value! At the beginning Cocteau states "Once upon a time...", but really for discerning adult cineastes (and/or poets) to drop their guards and enjoy it for what it was - a magical filmic fantasy. It's uniformly marvellous in all departments, direction, photography, acting, music, design, and Cocteau trotted out all his favourite cinematic tricks - just part of the sequence between Blood of a Poet in '30 and Testament of Orphee in '61. The script was suitably steeped in non sequiteurs and puzzles to add to the heaviness of it all. Er, not that it matters but what happened to Ludovic?

    The wonderful dark brooding smoky atmosphere is the most important aspect though - there are few films I've seen with such a powerful cinematic atmosphere, Reinhardt's Midsummer Night's Dream is one and Dead of Night another etc. But the romantic melancholic atmosphere here was something ... incredible. It was only possible with black and white nitrate film stock to capture such gleaming, glistening and time- and place-evoking moving images - it hasn't been quite the same since 1950 with safety film in use.

    If you're an adult about to give it your first (let yourself) go, I envy thee! All in all a lovely inconsequential fantasy, make what erudite and informative allegorical allusions you will.
    villani

    Beauty is socialized to choose the right man

    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.
    10p_cayer

    Dream-like Magical Film

    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.
    8The_Void

    Magical masterpiece

    Based on the classic French fairy tale of the same name, Jean Cocteau's fantastical fantasy masterpiece is as grand and lavish as it is thought provoking and beautiful. Through a haunting and mystical atmosphere, French director Jean Cocteau creates a fairy tale world that completely lives and breathes on it's own. This world is complimented by an assortment of characters that all have their own unique charm, along with serving relevance to the poetic tale itself. The story follows a man that gets lost in the woods and happens upon an enchanted castle. While there, he takes a rose on the request of his youngest daughter, Belle. However, the castle is owned by a half man, half beast that likes to be called, simply, 'The Beast'. The Beast tells the man that the penalty for taking his beloved roses is death, but offers him a chance to get out of it, in exchange for one of his daughters...an offer which Belle accepts.

    Most people will know this classic story as the Disney animated film from the early 1990's. That one wasn't bad for Disney, but I think most will agree that this largely ignored version is a far superior telling of the tale. The Beauty and the Beast works because underneath it's fairytale setting; it's a tender love story. It's a story of how love can transcend superficial boundaries. The Beast is, obviously an ugly character on the outside, albeit one with a heart of gold on the inside, thus allowing Belle to fall in love with him and the audience to feel for the character in spite of his physical affliction. This story has become legend, in both cinema and literature and several stories have taken influence from it since - from soft-core bestiality porn flick, 'The Beast', to the classic 'King Kong'; The Beauty and the Beast is one of the most important stories ever written, and Jean Cocteau has more than done it justice with this film.

    This is my first taste of Jean Cocteau. I've heard many a good thing about the man (including that he inspired the majestic 'Eyes Without a Face'), and judging by this film alone; they would appear to be true. The way that Cocteau creates the atmosphere in the movie is superb, and also very subtle. There's no real macabre imagery on display, and Cocteau relies on smoke and the lavish Gothic settings to do it for him. It's true that the beast itself looks a little rubbish; but it still looks a damn sight better than a lot of the CGI incarnations that we see all too much of today. If what I've heard is right; Cocteau is responsible for much of what cinema has come to rely on, but even if it isn't true; this film is a must see.
    9Xstal

    Hypnotically Spellbinding...

    You can venture into this hypnotic domain and dive as deeply into its myriad of meaning and interpretation as you care - whether in the deeps or the shallows or somewhere in between, you'll find a mesmerising presentation of true originality from a legendary pioneer. The scenery, the costumes, the performances, the imagination and the innovation are all supremely wound around a tale few would not have encountered before, albeit through the animation of a slightly differing yarn. If that is what brought you here I hope you have not been disappointed, that it unlocks a door to so many treasures of cinema past, to diverse worlds and continents and by legends occasionally mightier than those found here.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      The effect of the candles lighting themselves as the merchant passes them was achieved by blowing them out and then running the film in reverse as he walked backward past them. The entire sequence was done in one long take and reversed - a quick glimpse of the fireplace shows the flames appearing to move downward.
    • Blooper
      As Belle and The Beast walk in the garden, a comparatively modernly dressed boy in short pants is visible for a few seconds to the top right behind them.
    • Citazioni

      Opening Title: Children believe what we tell them. They have complete faith in us. They believe that a rose plucked from a garden can plunge a family into conflict. They believe that the hands of a human beast will smoke when he slays a victim, and that this will cause the beast shame when a young maiden takes up residence in his home. They believe a thousand other simple things. I ask of you a little of this childlike simplicity, and, to bring us luck, let me speak four truly magic words, childhood's "Open Sesame": "Once upon a time..." Jean Cocteau

    • Curiosità sui crediti
      The title and some of the opening credits are written with chalk on a blackboard, and then erased.
    • Versioni alternative
      The 1946 American release of the film had an entirely different set of opening credits, and is the one available on VHS. In that release, these credits were presented straightforwardly, with nothing unusual about them, and with the title in English. In the film's original release, available on DVD, the credits were written on a blackboard, in what is known as cursive handwriting, the same type of writing in which the opening prologue appears. After every credit, Jean Cocteau's hand would erase it and write the next credit with what appeared to be chalk. Then, after the credits ended, a film clapboard was seen, it was slammed together, as they always are just before a film director yells "Action!", and then the film's written prologue was seen.
    • Connessioni
      Edited into Histoire(s) du cinéma: Fatale beauté (1994)
    • Colonne sonore
      La belle et la bête
      an opera by Philip Glass

      (Not part of the original soundtrack, and not heard in the film's first two releases)

      © 1995 Nonesuch Records for the US and WEA International Inc. for the world outside of the United States

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    Dettagli

    Modifica
    • Data di uscita
      • 11 luglio 1947 (Italia)
    • Paese di origine
      • Francia
    • Lingua
      • Francese
    • Celebre anche come
      • Beauty and the Beast
    • Luoghi delle riprese
      • Château de Raray, Senlis, Oise, Francia
    • Azienda produttrice
      • Les Films André Paulvé
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 298.718 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 3708 USD
      • 23 giu 2002
    • Lordo in tutto il mondo
      • 298.718 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 36 minuti
    • Colore
      • Black and White
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.37 : 1

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