La favolosa storia di pelle d'asino

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.

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.

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!)

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.

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.