La Belle et la Bête

NOTE IMDb

7,9/10

29 k

MA NOTE

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Costume Drama Dark Fantasy Dark Romance Fairy Tale Drama Fantasy Romance

Pris dans une tempête, le père de Belle trouve refuge au château de la Bête, mais, le moment du départ venu, il cueille une rose pour sa fille. Courroucé, son hôte lui laisse la vie sauve à ... Tout lirePris dans une tempête, le père de Belle trouve refuge au château de la Bête, mais, le moment du départ venu, il cueille une rose pour sa fille. Courroucé, son hôte lui laisse la vie sauve à la condition que Belle devienne sa captive.Pris dans une tempête, le père de Belle trouve refuge au château de la Bête, mais, le moment du départ venu, il cueille une rose pour sa fille. Courroucé, son hôte lui laisse la vie sauve à la condition que Belle devienne sa captive.

Voir les informations de production sur IMDbPro

NOTE IMDb

7,9/10

29 k

MA NOTE

Voir les informations de production sur IMDbPro

Récompenses
- 1 victoire et 2 nominations au total

Merchant
(scènes coupées)
(générique uniquement)

Marcel André

Belle's Father

Janice Felty

La Belle (1995 opera version)
(voix (chant))

John Kuether

The Father
(voix (chant))
…

Jacques Marbeuf

Ana María Martinez

Félicie (1995 opera version)
(voix (chant))

Hallie Neill

Adélaïde (1995 opera version)
(voix (chant))

Gregory Purnhagen

La Bête
(voix (chant))
…

Zhengzhong Zhou

Ludovic (1995 opera version)
(voix (chant))

Noël Blin

Footman
(non crédité)

Jean Cocteau

Voice of Magic
(voix)
(non crédité)

Christian Marquand

Footman
(non crédité)

Gilles Watteaux

Footman
(non crédité)

Histoire

Modifier

Le saviez-vous

Modifier

Anecdotes
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.

Gaffes
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.

Citations
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

Crédits fous
The title and some of the opening credits are written with chalk on a blackboard, and then erased.

Versions alternatives
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.

Connexions
Edited into Histoire(s) du cinéma: Fatale beauté (1994)

Bandes originales
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

Avis des utilisateurs162

Commenter

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beautiful interpretation

This famed Jean Cocteau film of the 1940s plays like a poem, moving across the screen. In a triple role (Avenant, a friend of Beauty's brother; The Beast; and the Prince) Jean Marais is curiously flat as a human it is as the sensual, passionate, sensitive, and complex Beast that he really shines. Josette Day is little more than adequate as Beauty, but good enough for the role that has been written for her.

The tale is one of awakening, of desires, and of strange surroundings. Living statues and disembodied arms holding candles aloft populate the twilight world of the Beast's castle, where the fate of a young girl turns on the plucking of a rose. Ghostly voices, choral and otherwise, shadows and softness accompany Beauty as she walks into the kingdom which first repels and then entrances her.

I have to agree with the view that the great Greta Garbo took of this movie, though: give me back my Beast'. The transformation from powerful feline seducer to run-of-the-mill Prince is a disappointment. It is during the scenes where Beauty and the Beast play out their fantasy that this film has its most potency.