Movie Before Disney's 1991 movie, Jean Cocteau had already filmed "Beauty and the Beast" in 1946. This is one of the most magical movies in movie history. Before the advent of computer special effects and modern biological makeup technology, this fantasy full of skills and amazing special effects brought us a beast, lonely like a man and misunderstood like an animal. As a poet and surrealist, Cocteau is not making a "children's film", but is adapting a classic French story. He believes that this story has a special meaning after experiencing the pain of World War II: any unfortunate childhood People may grow into a beast. Those familiar with the 1991 cartoon will recognize some elements in this story, but the style is definitely different. Cocteau uses unforgettable images and bold Freudian symbols to suggest that emotions erupt in the character's subconscious. Consider this extraordinary scene: Beauty is waiting for the first appearance of the beast at the table in the castle. He appeared behind her and walked over quietly. She sensed his presence and began to react, in a way that some viewers described as fear, even though it was obviously an orgasm. Before she saw him, she was deeply awakened, and a few seconds later, she told him that she could not marry—a beast! ——She's playing with a knife, and it's not just a knife. The dwelling of the beast is one of the strangest dwellings in movie history-Dali's version of Xanadu. On both sides of the hall are candlesticks held by living human arms protruding from the wall. The statues are alive, their eyes follow the steps of the characters (are they captives of beasts, imprisoned by spells?). The door opens automatically. When Belle first entered the territory of the beast, she seemed to run dreamily a few feet above the ground. After that, her feet didn't move, but she was sliding, as if attracted by magnetism. (Spike Lee borrowed from this effect.) She was disturbed by seeing smoke from the beast's fingertips—this was a sign of his killing. When he carried her into the bedroom, one side of the door was ordinary clothes, and the other was the queen's attire. The beauty came to the castle as a hostage. She lives with her father, two unkind sisters and a stupid brother, and his handsome friend wants to marry her. But she cannot get married because she has to take care of her father. His business was threatened, and he learned that he had lost everything during a trip to the harbor. On the way home, on a stormy night, he walked through a forest and happened to come to the castle of the beast, was captured, and was told that he must die. The Beast made a condition: He can go home, but he must come back within three days, or send him a daughter back. Of course the other sisters will Sneezing his nose and making excuses, his father said that he was in his dying year and would go back by himself. But the beauty slipped out and rode the beast's white horse, she knew the way to the castle. The first sentence of the beast told her: "You are not in danger." She is indeed not in danger. The beast may intuitively believe that a daughter who is willing to replace her father has a kind heart. He told her that every night at 7 o’clock, he would ask her the same question: "Will you be my wife?" She shuddered and said that she would never marry him, but in the end she relented and she sympathized with him, see He is kind to him. He gave her a magical glove that allowed her to quickly cross between the castle and home (the whole person emerged from the wall), while the key to the garden where his property was located caused a conspiracy. The sisters conspired badly, but of course the beauty won. Her father woke up from his dying bed. Instead, the beast finally fell ill. When she begged him to cheer up, his last words were tragic: "If I were a human, maybe I could. But the poor beast if To prove their love, they could only kneel on the ground and die.” Then, the unfaithful friend who wanted to marry her also died. When his body became the body of a beast, the beast was resurrected and turned into A prince, who looked incredible like the dead friend. No wonder, because these three characters—friend, beast, and prince—are played by Jean Marais. It is strange how attractive Marley is as a beast, and how shallow he looks as a prince. Not even Belle leaped into his arms happily, but looked at her new spouse suspiciously and admitted that she missed the beast. The same goes for Marlene Dietrich, who held Cocteau's hand at the premiere of the film. When the prince appeared in the picture with a shimmering light, smiling and claiming to be the new lover of the beauty, Dietrich shouted to the screen: "Where is my beautiful beast?" Although he made a lot of movies, Cocteau (1889-1963) thought that he was not mainly a filmmaker, but a poet; he also painted, sculpted, wrote novels and plays, and inspired trends in the Paris art world. His first film, the surrealist "Blood of the Poet" was shot in 1930, the same year as the infamous "Golden Age" with Dali and Bunuel. Both films were produced by Viconte de Noyer, and after the latter caused a commotion, he postponed the release of the Cocteau film (Bunuel wrote that if the audience rushed to the screen, he would put The pockets full of stones are thrown at the audience). Cocteau’s films include some famous images, such as a mirror turned into a puddle of water, and when the protagonist wipes off the painted mouth with his hand, the mouth sticks to his hand. "Blood of the Poet" An artistic film made by a poet. "Beauty and the Beast" is a poetic film made by an artist. He was filmed at the urging of his lover Marley for many years. Marley is a burly figure, has an extraordinary silhouette and an idol-like appearance-this is in stark contrast to the skinny and smoking Cocteau, which is taken by Cocteau. The months of this movie are very painful, because a skin disease requires an injection of penicillin every three hours. Because Cocteau was not sure whether he had mastered the technology of this ambitious work, he recruited director Rene Clement ("The Dead in the Wrath") as his technical adviser; the talented photographer Henry Alecorn Responsible for handling the subtle changes between outdoor realism and indoor fantasy, stage designer Christian Bélar is responsible for designing makeup, sets and costumes (his ideas are based on illustrations by Gustave Doll). These costumes are very delicate and it is said that "the actors can wear as much as they can." All of Cocteau's thoughts on this process are kept in his diary "Beauty and the Beast: Movie Diary", which records his perseverance and disregard for his health. He wrote on October 18, 1945: "When I woke up in pain. Because I could neither sleep nor walk, I picked up this notebook and tried to speak to those strangers who would read these words. Call out my pain to calm myself down. "We exist. His movies make us friends. Watching it again tonight, I feel very excited. Its technique reveals the conventions of narration and attracts the audience on a deeper psychological level. Cocteau wanted to create a poem and wanted to arouse interest through images rather than words. Although the story adopts a familiar allegory form, its surface seems to conceal a deeper and more disturbing trend of thought. This is not a "children's movie", is it even suitable for children to watch? Some people will be discouraged by black and white photography and subtitles (however, short and easy to read). Those who cross these barriers will find a movie that allows them to participate more than a Disney cartoon, because it is not just a cheerful comedy musical, but like all fairy tales, it discusses what we truly fear and desire. thing. I guess that smarter and more curious kids will love it very much, although they may be surprised that this movie is much more than that when they watch it again as an adult. Often painful, because a skin disease requires an injection of penicillin every three hours. Because Cocteau was not sure whether he had mastered the technology of this ambitious work, he recruited director Rene Clement ("The Dead in the Wrath") as his technical adviser; the talented photographer Henry Alecorn Responsible for handling the subtle changes between outdoor realism and indoor fantasy, stage designer Christian Bélar is responsible for designing makeup, sets and costumes (his ideas are based on illustrations by Gustave Doll). These costumes are very delicate and it is said that "the actors can wear as much as they can." All of Cocteau's thoughts on this process are kept in his diary "Beauty and the Beast: Movie Diary", which records his perseverance and disregard for his health. He wrote on October 18, 1945: "When I woke up in pain. Because I could neither sleep nor walk, I picked up this notebook and tried to speak to those strangers who would read these words. Call out my pain to calm myself down. "We exist. His movies make us friends. Watching it again tonight, I feel very excited. Its technique reveals the conventions of narration and attracts the audience on a deeper psychological level. Cocteau wanted to create a poem and wanted to arouse interest through images rather than words. Although the story adopts a familiar allegory form, its surface seems to conceal a deeper and more disturbing trend of thought. This is not a "children's movie", is it even suitable for children to watch? Some people will be discouraged by black and white photography and subtitles (however, short and easy to read). Those who cross these barriers will find a movie that allows them to participate more than a Disney cartoon, because it is not just a cheerful comedy musical, but like all fairy tales, it discusses what we truly fear and desire. thing. I guess that smarter and more curious kids will love it very much, although they may be surprised that this movie is much more than that when they watch it again as an adult. Often painful, because a skin disease requires an injection of penicillin every three hours. Because Cocteau was not sure whether he had mastered the technology of this ambitious work, he recruited director Rene Clement ("The Dead in the Wrath") as his technical adviser; the talented photographer Henry Alecorn Responsible for handling the subtle changes between outdoor realism and indoor fantasy, stage designer Christian Bélar is responsible for designing makeup, sets and costumes (his ideas are based on illustrations by Gustave Doll). These costumes are very delicate and it is said that "the actors can wear as much as they can." All of Cocteau's thoughts on this process are kept in his diary "Beauty and the Beast: Movie Diary", which records his perseverance and disregard for his health. He wrote on October 18, 1945: "When I woke up in pain. Because I could neither sleep nor walk, I picked up this notebook and tried to speak to those strangers who would read these words. Call out my pain to calm myself down. "We exist. His movies make us friends. Watching it again tonight, I feel very excited. Its technique reveals the conventions of narration and attracts the audience on a deeper psychological level. Cocteau wanted to create a poem and wanted to arouse interest through images rather than words. Although the story adopts a familiar allegory form, its surface seems to conceal a deeper and more disturbing trend of thought. This is not a "children's movie", is it even suitable for children to watch? Some people will be discouraged by black and white photography and subtitles (however, short and easy to read). Those who cross these barriers will find a movie that allows them to participate more than a Disney cartoon, because it is not just a cheerful comedy musical, but like all fairy tales, it discusses what we truly fear and desire. thing. I guess that smarter and more curious kids will love it very much, although they may be surprised that this movie is much more than that when they watch it again as an adult. , The diary records that he persevered and ignored his health. He wrote on October 18, 1945: "When I woke up in pain. Because I could neither sleep nor walk, I picked up this notebook and tried to speak to those strangers who would read these words. Call out my pain to calm myself down. "We exist. His movies make us friends. Watching it again tonight, I feel very excited. Its technique reveals the conventions of narration and attracts the audience on a deeper psychological level. Cocteau wanted to create a poem and wanted to arouse interest through images rather than words. Although the story adopts a familiar allegory form, its surface seems to conceal a deeper and more disturbing trend of thought. This is not a "children's movie", is it even suitable for children to watch? Some people will be discouraged by black and white photography and subtitles (however, short and easy to read). Those who cross these barriers will find a movie that allows them to participate more than a Disney cartoon, because it is not just a cheerful comedy musical, but like all fairy tales, it discusses what we truly fear and desire. thing. I guess that smarter and more curious kids will love it very much, although they may be surprised that this movie is much more than that when they watch it again as an adult. , The diary records that he persevered and ignored his health. He wrote on October 18, 1945: "When I woke up in pain. Because I could neither sleep nor walk, I picked up this notebook and tried to speak to those strangers who would read these words. Call out my pain to calm myself down. "We exist. His movies make us friends. Watching it again tonight, I feel very excited. Its technique reveals the conventions of narration and attracts the audience on a deeper psychological level. Cocteau wanted to create a poem and wanted to arouse interest through images rather than words. Although the story adopts a familiar allegory form, its surface seems to conceal a deeper and more disturbing trend of thought. This is not a "children's movie", is it even suitable for children to watch? Some people will be discouraged by black and white photography and subtitles (however, short and easy to read). Those who cross these barriers will find a movie that allows them to participate more than a Disney cartoon, because it is not just a cheerful comedy musical, but like all fairy tales, it discusses what we truly fear and desire. thing. I guess that smarter and more curious kids will love it very much, although they may be surprised that this movie is much more than that when they watch it again as an adult.
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