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La Belle et la Bete is a very stylized fairytale, which oozes charm on several levels. In terms of themes, the film projects several throughout. The first major development in the story is when the Beast is encountered for the first time. The Beast catches Belles merchant father stealing one of his roses as a gift for her. The beast grants the merchant the offer of an exchange; the life of one of his daughters for his own to remain intact. This encounter highlights the perceived value of women of the period. To the Beast, she begins as simply as source of sustenance (or perhaps a method of making the merchant suffer on a level far greater than death alone). This soon changes, as the Beast begins to transform emotionally, falling for Belle, and he realizes that his true desire is companionship. My heart is kind, but I am a monster
The transformation from Beast to something more is carried throughout the film, resulting in the Beast dying, only to be resurrected as the beauty within comes forth, echoing themes of beauty only being skin deep. This transformation is experienced from Belles perspective also, with Belle pushing past the grizzled exterior to fall for the true love within. The cinematography in the film is very theatrical, correlating well with the theatrical tone of the tale. Scenes tend to linger in one area, with characters taking advantage of the whole space and moving frequently throughout various centerpieces. An example of this is the Beasts dining hall, also serving as the entrance to the castle and the home of the iconic staircase. Several major developments in the plot occur in this area (the merchant stumbling upon the castle, the Beast propositioning Belle nightly and the slow motion sequence of Belle ascending the stairs, as well as others). This structure could be translated seamlessly to the stage and no impact of the story would be lost in the translation. The composition of the shots is very reminiscent of iconic photography of the time. The general style and visual tone shares a likeness to the work of Jacques-Henri Lartigue, with a similar high contrast, wide- shot photographic style, housed within a heavy vignette frame. As it turns out, Lartigue and Cocteau were very good friends, and the likelihood that Lartigues work had an impact on the composition is quite high. There are references to other photographic works in the film, most notably in the scene where Belles tears turn to diamonds. This is incredibly reminiscent to the photograph Les Larmes by Man Ray, reinforcing the idea that the photographic world as a whole had quite a direct influence on the direction of the film, as well as lending to the story.
Steven Payne
Fig
4
Les
Larmes-
Man
Ray
(1932)
Fig
3
The
Diamond
Tear
The
fantastical
set
design
amplifies
the
overall
fairytale
style,
but
at
no
point
does
the
film
feel
childish,
as
the
word
fairytale
may
lead
you
to
believe.
It
feels
very
much
as
if
you
are
watching
a
kinetic
interpretation
of
a
surrealist
painting,
with
the
charming
hand-held
(literally)
candelabras
and
the
faces
inset
within
the
wall,
following
the
characters
from
one
side
of
the
room
to
the
other,
much
like
the
illusion
presented
by
the
Mona
Lisa.
The
Beasts
dwelling
is
one
of
the
strangest
put
on
film-
Xanadu
crossed
with
Dali
(Ebert,
1999)
The
combination
of
the
fairytale
themes,
stylistic
visuals
and
enjoyable
story
make
La
Belle
et
la
Bete
a
thoroughly
interesting
and
exciting
film,
appealing
to
everyone
in
one
way
or
another.
Fig
2
A
Diamond
Tear
Forms
Under
Belle's
Eye
Fig. 1. La Belle et la Bete Film Poster From: La Belle et la Bette Directed by: Jean Cocteau. [film poster] France: Discina.
Fig.
2.
A
Diamond
Tear
Forms
Under
Belles
Eye
From:
La
Belle
et
la
Bette
Directed
by:
Jean
Cocteau.
[film
still]
France:
Discina.
Fig.
3.
The
Diamond
Tear
From:
La
Belle
et
la
Bette
Directed
by:
Jean
Cocteau.
[film
still]
France:
Discina.
Fig.
4.
Ray,
Man
(1932)
Les
Larmes
[Photograph]
At:
http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=44253
(Accessed
On:
28.09.2011)
Quotes
Ebert,
R.E.
(1999)
Beauty
and
the
Beast
(1946).
In:
Rogerebert.suntimes.com
26.12.99
[online]
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19991226/REVIEWS08/912260301/1023
(Accessed
on:
28/09/11)