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To me, Donkey Skin (Peau d'Ane) is like Jean Cocteau reborn into the French New Wave(!). Gorgeous and stylized, it's a fairytale told with the cinematic magic we've come to expect from director Jacques Demy. This is a fairytale that adults will enjoy more than children, as it's full of dark humor. Ms. Deneuve is stunning as always, and the sassy fairy is also wonderful. Surreal and bizarre, Donkey Skin traps you into its world of bold colors, real-life french châteaux, living statues, and loads of fairy magic. But Demy doesn't seem content to let the viewer completely lose him/herself in the world he's created. The movie is full of self-references, something Demy had partly explored earlier with The Umbrellas of Cherbourg, but really let himself have fun with in Donkey Skin. For just when you come to believe the magic, Demy likes to remind you that this is just a movie. With only a smudge of dirt and an animal skin, the beautiful princess (Deneuve) is transformed on screen into the ugliest girl in the entire kingdom, so ugly that whenever she shares the screen with other characters, they all look on in horror. We still see a beautiful woman, under the dirt on her face and the donkey skin on her back, and we are reminded that this is only a movie-world. The helicopter is an amazing touch, and it made the movie for me. I won't say more, see it for yourself! (The reprint is currently making its rounds and is well worth it!)

Talking flowers, red horses, bizarre musical numbers and a girl walking around in a donkey carcass, this is my kind of movie. The great prince may look more like a glam rocker than anything else, and the plot may not make a lick of sense, but it's still a pretty magical tale. Many of the scenes are rather surreal, and some scenes look like the entire crew just broke out of rehab, but if anything that just makes the movie more exciting. As for content, it's just weird. It's a classic love story, but it's told in such a peculiar way that for the most part I just stared blankly and pointed at the screen. Still, it's a very entertaining movie. Also comes with the most surprising helicopter appearance in movie history.

The fairy tale on which this colorful musical is based might not seem the most promising story for a light-hearted movie: as the story begins, a dying queen makes her husband promise that his next wife will be as beautiful as she, and his solution is to marry his own daughter. Fortunately, our heroine has a savvy confidante, the marcel-waved fairy godmother, whose worldly advice allows the girl to keep putting off the marriage. Finally, however, the princess has to flee her kingdom and, in a Cinderella twist, disguise herself as a lowly scullion. Fortunately, even covered in a donkey's skin, she manages to win the heart of a prince.

An enjoyably tongue-in-cheek combination of music, humor, and romance, this film features some of the most splendidly over-the-top costumes I've ever seen, and an adorable soft-focus, slow-motion duet between the two young lovers (with hilariously anachronistic lyrics). Actor Jean Marais, who distinguished himself in a very different fairy tale film --Cocteau's -La Belle et la Bete- --makes a distinguished if warped king, and Catherine Deneuve charms as she bakes a cake while singing the recipe--and daintily keeping her ruffled sleeves out of the batter. The fairy godmother is probably the most enjoyable character, a modish lady in high heels who has her own ideas about the king's proper romantic destiny. A plus for tourists is that much of the film takes place in actual French castles, including the one with the famous double-helix staircase.

Those who prefer a darker slant to fairy tales may enjoy reading Robin McKinley's novel -Deerskin-, based on the same story. But if -The Slipper and the Rose- is more your speed, or if you want something appropriate for all ages, track down -Donkey Skin-. Just be prepared if your daughter demands a dress the color of the moon next Halloween.

If ever you need any kind of indication that fairy tales were not always excessively cute stories to entertain children, look no further than Jacques Demy's movie version of Charles Perrault's "Peau d'ane" ("Donkey Skin" in English). I had heard some about the story but until now never known the specific plot. The events during the first part of the movie imply that it must have been harder to gross people out in the 17th century.

But once Donkey Skin (Catherine Deneuve) flees, the film becomes almost a different movie. Aside from the fact that she now has to live among the peasants and do lowly work, her experiences with the prince (Jacques Perrin) take on a dimension of their own. The movie has a hippie-like quality, what with the colors and the fact that Donkey Skin and the prince set out to break the rules. And finally at the end, a deliberate anachronism; not only has the film had several contrasts between colors, there's a contrast between old and modern. This is truly a movie unlike any other.

So while I do recommend the film, I should remind you that this is not really a movie for the little ones. Seriously, some of the stuff in the first part of the movie was the sort of stuff that one would expect in a Farrelly brothers movie. No matter; as a whole, the movie is one that you'll probably never forget. Also starring Jean Marais, Delphine Seyrig, Micheline Presle and Fernand Ledoux.

PS: in a DVD featurette about the production, they note that Jim Morrison visited the set. Now there was something that Charles Perrault never could have predicted!

Jacques Demy is a French maker who is famous for his musicals such as "les parapluies de Cherbourg" or "les demoiselles de Rochefort". For this movie, he chose to adapt a fairy tale written by Charles Perrault during the seventeenth century and he wisely chose. This movie is a real treat, an absolute enchantment and rare are the movies that succeed in recreating the wonderful atmosphere of fairy tales. Everything, here, reaches a level of perfection rarely reached: sceneries and costumes are marvellous, especially the rooms of the first castle that you see at the beginning of the movie. Moreover, a part of it was made at Chambord. Then, the music is really gorgeous and the songs ravishing. I also noticed that Demy introduced a contemporary humor which contains numerous anachronisms. For example, near the end of the film, Jean Marais appears in a helicopter! However, the story takes place in the seventeenth century. How strange it is... Don't forget, a performance of quality. Catherine Deneuve is an ideal and delicate princess but Jean Marais is probably the best actor in the movie. He's very convincing in his role of tormented and jaded king. Besides, it was his last role for the cinema. After that, he's given over to painting and sculpture. Even if certain special effects are a little kitsch, the movie is impregnated with a lot of poetry. So, at the end, a movie that seduces the eyesight and the hearing and this is one of Demy's masterpieces.

Weird, yes and off-putting to some, but this is a classic French "conte de fée" (fairy tale) by Charles Perrault.

This man was also responsible for Little Red Riding Hood, Puss in Boots, Sleeping Beauty and Cinderella.

The stories in Mother Goose also stemmed from his work.

If you think about it, many of these stories contain weird or gruesome elements but are now all considered classics which we read to our children, albeit in somewhat doctored form.

So, weird to Americans, but normal to the French.

One cannot deny that the picture is beautifully filmed, and that the color is truly outstanding.

We should note that Jacques Demy also directed the Umbrellas of Cherbourg and the Young Girls of Rochefort. There is a great similarity in attitude and art if one compares these three films of his.

I saw this movie for the first time in the movies when I was a little girl. I never forgot it, I never forgot the main song. For years I tried to find it in the video stores, I wish it was released in DVD. This is a cult-fantasy movie and deserves to be more available to the general public. Nowadays the "fantasy" movies have a lot of silliness and disgusting behavior due to lack of imagination of new filmmakers. Movies like Peau d'ane should not be forgotten and should be re-released so the new generation can learn to appreciate true art. Catherine Deneuve is in the top of her beauty in this movie, the clothes are wonderful, the music unforgettable.

This French film is loosely based on the famous tale of the same name by Charles Perrault set in a magical realm. It is about a wonderful fairy tale, on her deathbed, the queen makes the king (Jean Marais) promise not to marry again until he finds a woman who surpasses her in goodness and beauty. Years later, after a restless quest for the most beautiful spouse when he learns that his daughter (Catherine Deneuve) is that woman . The king discovers the perfect substitute for his deceased wife: his own daughter. She prefers Prince Charming (Jacques Perrin) , however. The lilac fairy, godmother of the princess, mischievously advises the young woman to avoid the wedding. The skin of an animal hid her captivating beauty that only a prince could discover!

This is a marvellous fairy tale, with a surprising premise, a father wants to marry and can't think of any other option than his daughter . Even on paper this couldn't attempt to fuse Jean Cocteau with Walt Disney via one of Perrault's less endearing conceits (a gold-shitting donkey) contrives to be both coyly and garish tasteful. Charles Perrault was a French writer, mainly recognized for having given literary form to classic children's stories such as Donkey Skin, Tom Thumb, Bluebeard, Cinderella, Sleeping Beauty, Little Red Riding Hood and Puss in Boots, in many cases tempering the crudeness of the oral versions, most of his stories are childish and fantasy. Cast is pretty good: Catherine Deneuve as the gorgeous princess and Jean Marais as a king who wishes marry his own daughter, this scandalous affair, totally incestuous, it is the axis of the film and the truth is that it is based on a fairy tale written by the prestigious author, expert in these fields, Charles Perrault. Adding other good French actors, such as: Jacques Perrin as Prince Charming, Michele Presle as attractive La reine rouge, Sacha Pitoëff as Prime Minister, among others. Several film elements pay tribute to Beauty and the Beast (1946) by Jean Cocteau with Jean Marais as the beast and including slow motion sequences. There's also a nice Cinderella-like premise, only this time a Slipper is replaced by a Ring. Deneuve sings four Michael Legrand ballads whose resemblance to each other is matched by their resemblance to the composer's early work, while a soppy Perrin emerges more as a capricious Prince than the Charming Prince . To its credit are Delpine Serig's as a malicious, chic Fairy Godmother, and Marais as the genuinely Cocteau-esque king.

Adding luxurious cinematography by cameraman Ghislain Cloquet filmed on location in Château de Chambord (the princess's castle), Château de Pierrefonds in Picardy (finale), Château du Plessis-Bourré (the blue king's castle) in the Loire Valley, and Senlis (restored medieval streets, squares, and buildings). The moton picture was well directed by Jacques Demy. He often directed musicals or movies involving musical numbers . And often worked with Catherine Deneuve and Anouk Aimée. Demy was influenced as a film maker at once by the French New Wave, and by Hollywood. His best films are, consequently, hybrids of both, often concerning rela Jacques tionships between dreams and reality. He is best known for The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967). And he also directed another magical story for children: The Pied Piper (1972) based on poem: The Pied Piper of Hamelin by Robert Browning. Peau d'âne(1970) Rating: 7/10.

In a storybook kingdom, the King has been enriched by a donkey which excretes gold coins and gems. On her death bed, the Queen makes the King promise that he would only remarry someone who is as beautiful as she is. His advisors demand that he remarry and get a male heir. His solution is to marry his own daughter. She is advised by her fairy godmother and she starts making impossible nuptial demands to forestall the wedding. Finally, she asks for the skin of the magical donkey.

This is a live-action demented fairytale. A lot of fairytales are crazy and demented. This is definitely one of those. The use of natural real spaces does create a weird unrealism to the production. I find this somewhat fascinating and Catherine Deneuve is always a beauty.

A fairy godmother (Delphine Seyrig) helps a princess (Catherine Deneuve) disguise herself so she will not have to marry a man (Jean Marais) she does not love.

Jacques Demy loved fairy tales since childhood, and they remained a strong presence in his life. He attempted to make a Sleeping Beauty film in the 1950s, and ended up putting fairy tale references in both "Lola" (1961) and "The Umbrellas of Cherbourg" (1964). With "Donkey Skin", he finally succeeded, and made what could be his greatest film.

He also cast Catherine Deneuve, possibly Europe's greatest actress, and his constant muse. Rounding out the talent was Italian costume designer Gitt Magrini, who is apparently not a well-known figure, but based solely on this film ought to be.

Numerous elements in the film refer to Jean Cocteau's 1946 fairy tale film "Beauty and the Beast": the casting of Jean Marais (who had been Cocteau's beast), the use of live actors to portray human statues in the castles, and the use of simple special effects such as slow motion and reverse motion.

There is also the influence of Walt Disney. Demy himself noted in 1971, "When I wrote the scene where we see Donkey Skin kneading the dough and singing the song of the love cake, I saw Snow White, assisted by birds, preparing a pie." What are we to make of the incest theme? Interestingly, the whole concept seems to be ignored, with the idea of father-daughter love being wrong only on practical, never moral, grounds. What is the film trying to say? Demy returned to this theme in "Three Seats for the 26th" (1988), although in a very different context.

There is also the unusual blend of fairy tale and modernity, both in the "poetry of the future" and a later reveal concerning transportation. Again, how are we to interpret this? Is it all a dream, a fantasy world outside of time itself?

Being a fairy-tale doesn't mean it can't have depth of character or plot ... but it doesn't. This may be a necessity, since the driving plot conflict is a king who determines to marry his own daughter; the princess seems resigned but her fairy godmother strenuously objects. Don't worry -- she flees and meets a handsome prince, who devises strategies for meeting her, and then marries instead. There's also a little something for the fairy godmother, but that's it.

This isn't a lot of plot for a feature-length film, so every part of this story plays out as slowly as possible, and with all the direct simplicity of a children's TV show (albeit with better budget and superior art design). It does look very good -- it must -- but never carries us away in the story or characters, nor is there anything clever in the lengthy dialog, so the songs simply pad out running time and kill momentum.

... And yet it was worth seeing for the exquisite costumes, the interesting editing and settings, and of course the beauty of its principals. Whether that's enough is up to the individual viewer.

... Once upon a time there was a kingdom were a king a queen and their beautiful daughter lived... One day the queen dies but king promises her that if one day he should marry again it would only be with a woman most beautiful, most charming, most.... than his wife. The only woman on earth "most" than his wife is his daughter... That is why he wants to marry his own child... If I remember the dresses were kept in a nut... And it was one with the colour of the sun, another of the colour of the moon and the third one with the colour of the weather...

A beautiful movie that everyone should see... as any movie with Jean Marais.

Being a university student in the 60's, in Toronto, it was a given that one saw as many foreign films as possible. The French New Wave was happening so we all trudged off to see the latest incomprehensible (to me) Godard or the new, much more accessible Truffaut or the ever bleaker Bergman or the latest jaw-dropper from Fellini and woe betide you if you dared to admit that you didn't "get" Antonioni. We knew how to pronounce the names of Japanese and Czech directors and argued the merits of Bunuel. We were into it, man. Cinema (not "the movies") was our passion. So how did "Peau d'Ane pass us by? I'd seen "The Umbrellas Of Cherbourg" of course. Who hadn't? Jacques Demy and Michel Legrande were practically house-hold names and yet no one raced off to see "Peau d'Ane". I'm sure it must have had a theatrical release, here and I dimly remember being aware of it at the time but it certainly didn't have the "Oh muh God!" critical reaction and word-of-mouth that would have turned it into the cult hit that it should have been. With no CGI and, by today's standards, the simplest of special effects, this movie is utterly magical and astonishing. I suspect that, for 1970, it was just too "French". The story is an (apparently) beloved French classic by Felix Perrault but quite unknown outside French culture. The title, "Donkey's Skin" and a slightly ick-factor plot line may have put off critics and audiences at the time but I'm now convinced that every director of the spate of fantasy movies that we currently enjoy has been heavily influenced by "Peau d'Ane".

Catherine Deneuve reteams w/her Umbrellas of Cherbourg director, Jacques Demy, for this 1970 fantasy. In a happy, colorful kingdom the king suffers a great loss when his wife dies so trying to overcome his grief he promises her he'll only remarry if he finds another woman as beautiful as she which comes in the form of his own daughter, Deneuve (yuck!). Hoping to avoid an unfortunate romantic clutch (especially after she puts her father through a series of seemingly impossible desires like providing dresses which mimic the colors of the weather), Deneuve leaves the kingdom finally residing in a neighboring village where she finds a job as a pig farmer where on her downtime & not so soiled, indulges in her true self looking like a vision dressed in gold. One day while working, a prince from another kingdom sees her & instantly falls in love w/her even getting lovesick (I hate when that happens!) leaving him bedridden but Deneuve has just the thing for that when she leaves a ring in a slice of cake he eats which when he finds it makes a declaration he'll marry the woman whose ring finger fits it (eat your heart out, Cinderella!) which carries the narrative to the end when the lovers are finally reunited & live happily ever after. Demy leaves his production awash in primary colors w/enough adult incident to mark this a true fairy tale which delights as well as disturbs but being some of the elements like the incestuous infatuation (Deneuve's employer spits out frogs to clear her palette) may turn some viewers off to see Jean Marais (the Beast in Cocteau's Beauty & the Beast) here playing the king. It may be enough to keep certain cinephiles chomping at the bit but for me the entire thing was bit too much & too little at the same time.

My response to this film is remarkably like the one posted previously. I saw this movie once, about 30 years ago when I was in my mid-20's. I thought it was completely magical and I, too, remember the music. The art direction is superb, from scenery to costumes, to makeup and hair. Exquisite cinematography befitting a fairy-tale. Catherine Deneuve is as beautiful, seductive and INNOCENT as one could ever hope a romantic heroine to be. Jean Marais, similarly, is an archetypal romantic hero, either despite of, or because of, his nonstandard handsome visage.

I have been waiting to see it again for decades, and was delighted to see that it is going to be aired on TCM. I have my DVD recorder all programmed and ready to roll.

It is an exquisite example of the film-makers art. It is not a chick-flick, because it is NOT a movie, it is a film, and a film worthy of your time and focus.

I first watched this movie at 14 and I had forgotten most of it when I got hold of the DVD. From the start I could tell that the movie had an unusual angle, and that is was deconstructing the traditional fairy tale - but it went far beyond that and one of its qualities is that it never takes itself seriously. Deneuve is as stunning as ever; Perrin, Marais and especially Seyrig are most effective in supporting roles; the music is really gentle but highly effective; and the direction inspired. I think it is a film with far more to teach than critics would believe or allow. I am glad I found this film and saw it again. As for my kids, they felt it was far more advanced than anything kids see these days.

Target group? Unknown. Too bulky and weird for children, too infantile for adults.

Reputation? Not comprehensible. An arthouse fairy tale that probably sunk its entire budget into its two superstars, then there wasn't much left for the rest. "Rich in fantasy, colourful, lavish, detailed, artistic, [...]". Well, I don't know, for me it all seems cheap above all. So many Eastern European fairy tales do so much more, in all areas. Maybe I'm classifying the work completely wrong in principle, but the time break at the end had given me the rest in my overall moderate impression. Only the musical interludes were positive, everything else was a disappointment after too many expectations.

This film is charming, the songs are adorable and catchy, even for those of us who are not perfect at french. The film is by Demy, one of the French New Wave film makers, who, as did the others, had his own distinct style. His joy at adding colour to his films is obvious in this film as it was in Umbrellas of Cherbourg. Each kingdom has its distinct colour, such as red, and as such all the horses, servants and outfits complement this. The colour and the music are not the only things this film has going for it. Another is that it is brilliantly acted bu Catherine Deneuve, who, though keeping the film light, absorbs you into her world. Though the film is suitable for children, the classic fairy tale story, there is an undercurrent and theme of incest between Deneuve's character and her father the King, whose wife on her death bed tells him to marry someone prettier than her. The Princess, the only one prettier, therefore becomes her father's choice of his next wife. It is a film that is first and foremost fun, and this can be seen no where more clearly than at the end when Deneuve's father and fairy godmother arrive. Very enjoyable!